From the Archives
Today from the archives we bring you an interview with artist Anne Lindberg, who often works with drawing, photography, sculpture, and installation, “always seeking to push the boundaries of what is considered a drawing.” Lindberg has a solo show opening soon at Haw Contemporary in Kansas City. This article was written by Allie Haeusslein and originally published on September 18, 2012.
On a visit to the Nevada Museum of Art this summer, I first encountered the work of Kansas City-based Anne Lindberg. Tucked in a small, irregularly shaped gallery, Lindberg’s luminous installation immediately caught the eye, where individual threads created volume and marked space in a way that belied its virtually imperceptible constituent parts. Her large-scale graphite drawings also on view in the gallery invited close inspection, the subtle shift in hand-drawn lines creating a palpable sense of movement within the confines of two dimensions. I had the opportunity to speak with Lindberg on the occasion of her exhibition, sustaining pedal, at Carrie Secrist Gallery in Chicago.
Allie Haeusslein: I understand that after receiving your B.F.A., you served as a curatorial assistant at the Smithsonian Institute in the Department of Ethnology. How did your close work with textiles influence your approach to materials, pattern, and color?
Anne Lindberg: As a curatorial assistant, I had the rare opportunity to help unpack and notate objects from the Lamb Collection of West African Textiles that was being given to the museum. I was charged with making a drawing of a section of the objects, counting threads, identify if the threads were Z or S spun (which determined the likely gender of the spinner), make notes on provenance, and repack the item for storage. That work at the Smithsonian, first of all, helped me to decide that I wanted to be an artist rather than an anthropologist or museum professional. I feel that this work honed my tendency to work with very fine delicate elements in accumulation and as a method to build intensity and meaning. I entered a graduate program at Cranbrook Academy of Art immediately after leaving the Smithsonian, and began an investigation of concepts to visualize and materialize space, spatial qualities of architecture and light.