Beschreibung:

Property from a Private American Collection Hurvin Anderson Follow Peter's Series: Back signed, titled and dated 'hurvin A "Peter's Series: Back" JAN 2008' on the overlap oil on canvas 187 x 147 cm (73 5/8 x 57 7/8 in.) Painted in 2008.
Provenance Private Collection, USA Exhibited San Francisco, Anthony Meier Fine Arts, Hurvin Anderson , 17 January - 28 February 2008 London, Tate Britain, Art Now: Hurvin Anderson Peter’s Series. 2007 – 2009 , 3 February - 19 April 2009, n.p. (illustrated) New York, Studio Museum in Harlem, Peter’s Series 2007 - 2009 , 16 July - 25 October 2009 Museum of Contemporary Art in Chicago, Homebodies, 29 June - 13 October 2013 Literature Hurvin Anderson reporting back , exh.cat., Ikon Gallery, Birmingham, 2013, p. 84 (illustrated) Catalogue Essay Peter’s Series: Back is a pivotal work from Hurvin Anderson’s esteemed Peter’s Series , a group of dynamic paintings and works on paper, which firmly established the artist’s practice on an international platform. Exhibited in Anderson’s celebrated solo exhibitions in 2009 at Tate Britain, London, and the Studio Museum in Harlem, Peter’s Series consists of eight paintings and over fifteen drawings, which Anderson began working on in 2007. Focusing on and revisiting the same subject matter in his painterly re-workings, Anderson’s series depicts an intimate attic space converted into a barbershop. The works from the series, reflecting an integral moment in the artist’s career, are housed in some of the most prominent public collections; Peter’s I is held in the Government Art Collection, London, and Peter’s Sitters II is part of the Zabludowicz Collection. Nominated for the 2017 Turner Prize, Anderson’s work has been internationally celebrated thanks to his profound representation of British and Caribbean culture, captured through a nostalgic lens, his canvases expertly traversing the lines of abstraction and figuration. Reducing the domestic attic space to a geometrically abstract setting, Anderson introduced the figure as the main focus of the canvas in his last three works within the series. With its centrally seated figure and exquisitely rendered interior, Peter’s Series: Back encapsulates Anderson’s development of his composition, where figure and background converge in a harmonious marriage of geometric planes, enriched colours and evocative intimacy. Emigrating from Jamaica after the Second World War, Anderson’s parents were part of the Windrush generation of Caribbean migrants who arrived in Britain from the late 1940s to the mid-1960s. Growing up in Birmingham, Anderson’s oeuvre reflects on his cultural experience being British-Jamaican and explores his ‘own relationship to the Caribbean’ (‘Hurvin Anderson in conversation with Thelma Golden’, Art Now: Hurvin Anderson Peter’s Series. 2007 – 2009 , exh. cat., Tate Britain, London, 2009, n.p.). On arrival, the Caribbean migrants faced an unwelcome reception from their fellow British citizens, soon creating their own support networks inside community members’ houses. Establishing small churches, blues parties and Black salons or barbershops in domestic spaces, public social hubs for the Black community, such as dancehalls, were few and far between. A space to both socialise as well as have a haircut, black barbers became a convivial arena to relax and discuss politics, sport and current affairs. Anderson’s father would take the young artist to his friend Peter Brown’s attic room, which he had converted into a barbershop. On picking his father up one day, Anderson took a number of photographs to document the space: ‘At first it was the physical space itself that intrigued me, the attic seemed to have a presence; it seemed like somewhere that had been forgotten, some sort of secret meeting hall. I realised that there was something about the figure in the chair and the whole nature of that intimate but shared space that was compelling and that I wanted to paint’ (‘Hurvin Anderson in conversation with Thelma Golden’, Art Now: Hurvin Anderson Peter’s Series. 2007 – 2009 , exh. cat., Tate Britain, London, 2009, n.p.). Anderson retrospectively studied his photographs of the room, which he amalgamated with his multiple memories of the space