It’s not uncommon to see skateboarders dabble in the art world, but genuine artistic breakthroughs are rare. Brian Anderson, however, stands apart. He’s not just another skater trying his hand at art; he’s been honing his craft for years and has a compelling story to tell. His first official art show, “Fathers Afloat,” in collaboration with Calder Zwicky, a former MoMA coordinator and skateboarding supporter, delves into Brian’s family history and his distinctive psychedelic-inspired aesthetic. The exhibition features works by Brian, his father, and grandfather, all artists in their own right.
Calder helped showcase their art in a unique setting: a renovated public restroom-turned-gallery on Manhattan’s Upper West Side. This unconventional space, at 96th & Broadway, provided a fitting backdrop for three generations of captivating artwork. Instead of the expected public bathroom ambiance, visitors were treated to a collection that resonated with personal history and artistic vision. We spoke with Calder after viewing the art to get a behind-the-scenes look at Brian’s debut show.
Q&A with Calder Zwicky: Behind the Scenes of “Fathers Afloat”
Brian’s friend & organizer / curator
Could you summarize the main concept of the “Fathers Afloat” exhibit?
“Fathers Afloat” presents new paintings by Brian Anderson alongside older works by his father, Edward Anderson (1923-2001), and his grandfather, Einar Anderson (1900-1972). This multigenerational exhibit explores themes of family, childhood, memory, landscapes, oceanic travel, and what I’d call “psychedelic joy.”
What was your role in this show, and how did you connect with Brian?
My role was as the organizer, curator, and artist support system. Brian and I started discussing the show about a year and a half ago. I had previously worked with him twice through the LGBTQ drop-in program at MoMA. After seeing his large-scale paintings, which he created mostly for himself, I asked him if he wanted to collaborate on an exhibition of new work. He was excited about the idea.
Concurrently, I was looking for a suitable exhibition space. We were both enthusiastic about the Upper West Side location, a converted public restroom turned into a small community arts space. It felt perfect for what we envisioned: a funky and intimate venue. We decided on the multi-generational theme after many discussions about aspects of Brian’s life that hadn’t been widely shared. While everyone knows about his LGBTQ story and his incredible skateboarding career, we wanted to explore his experience as the youngest of 14 kids, growing up in New England, and his discovery of his father’s and grandfather’s artwork. The recent passing of his older brother also added a layer of familial loss and nostalgia to the project. I provided support, guidance, and a fresh perspective, while Brian retained full creative control. Crucially, all sales proceeds, excluding my out-of-pocket expenses, went entirely to Brian.
What were the biggest challenges in bringing this show together?
The main challenges were the initial shutdown due to the pandemic and then navigating the reopening safely. The show was initially set for April, but in March, the art space closed down. Despite the setback, we didn’t give up. As museums reopened, I contacted the gallery and we eventually agreed on reopening the space for Brian’s show, adhering to all CDC guidelines. Our priority was ensuring a safe and healthy experience for all visitors.
Did you notice any personal changes or revelations in Brian during this process?
I think Brian recognized the impact of his artwork on the public and how much people connected with his vision, which boosted his confidence as an artist, particularly among those outside the skateboarding world. It was meaningful for him to share his art, as well as that of his father and grandfather, who never had the chance to exhibit while they were alive. Brian’s first art show coincided with his father’s and grandfather’s, making it a very special occasion.
Do you believe psychedelics can fuel the creative process?
Absolutely, but it’s crucial not to oversimplify the connection. Brian and I emphasize the separation between embracing psychedelic experiences and maintaining the discipline necessary for the studio process. While these expansive experiences can inspire and inform the creation of art, there’s a stereotype that artists only create while tripping. Brian takes his art very seriously, and while the psychedelic influence is present in his work, it was also shaped by his childhood, his hometown, his husband, and his father.
As someone who has worked at MoMA, what are the hurdles for skaters entering the art world?
Being a skater and an artist is a double-edged sword. While recognition from the skate world can help in breaking into the arts, as in my case with Brian, there’s also a tendency to lump artists together based solely on their shared skateboarding background. Moreover, people might not take them seriously or acknowledge their intellectual depth. Brian is exceptionally thoughtful about his work, yet people may perceive him as just another “skate artist” doing it as a hobby. Overcoming this perception is a challenge.
What does Brian’s art reveal about him?
Brian is a physical genius with an extraordinary connection between his body and mind. His profound physical and emotional connection with his surroundings makes him an empathetic genius. I believe that this show reflects his humanistic side. “Fathers Afloat” is Brian’s way of sharing the people and places he cherishes with the world. It’s a gentle, loving, psychedelic, and strong exhibition, which embodies Brian’s essence.
Video by: Alexis Castro
Produced by: Alex Raspa
Interview by: Ian Michna
Special thanks: Calder Zwicky
