Documentation of 3/8 of an inch white circular felt pads positioned on an image on a poster-filled makeshift wall along the street of New York City- Site-Specific- PUBLIC SPACE INTERVENTION- 2023 Keith O. Anderson ©

Detail, Documentation of 3/8 of an inch white circular felt pads placed on an image on a poster-filled makeshift wall along the street of New York City- Site- Specific- PUBLIC SPACE INTERVENTION- 2023 Keith O. Anderson ©

Documentation of 3/8 of an inch white circular felt pads placed on the neck of the model in the photograph on a poster filled makeshift wall along the streets of New York- Site-Specific- PUBLIC SPACE INTERVENTION- 2023- Keith O. Anderson ©

Documentation of 3/8 of an inch white felt pads placed on the eyes of the model in the photograph on a poster filled makeshift wall along the streets of New York- Site- Specific- PUBLIC SPACE INTERVENTION- 2023 Keith O. Anderson ©

Black Archival masking tape on subway station wall as it was- Dimensions Variable- Site- Specific- SUBWAY INTERVENTION- 2023 Keith O. Anderson ©

3/8 of an inch white circular white felt pads on Artist skin (lower back, buttocks and legs)- 20 × 24 in- Site-Specific- Performance/Photography- 2022 Keith O. Anderson ©

Inspired by one of the oldest African traditions and art forms, “Body Painting” this particular ritual is one of several (scarification, deformation of the skull, perforations of the ear, nose, and mouth), that has been perpetuated from generation to generation in the pursuit of conveying beauty, cultural identity, initiation rites, social status, and distinguishing oneself from the enemy, whilst building a link between the natural and spirit worlds. As, I reference this act of embellishing the body with painted-on small white dots, I spontaneously position 3/8 of an inch white circular felt pads on to an isolated area of my bare skin as oppose to mimicking the archetypical painting process associated with this dynamic activity. The introduction of felt pads, which are traditionally placed underneath the bottoms of chairs and stools to protect hardwood floors from unsightly marks and scratches, enables me to conceptually transfer this idea in application to my bare skin speaks to illustrating intimacy in the ritual, and my proclivity for spiritualizing each component of my body. This performance is carried out in the privacy of my studio or a designated public space of devoid of all human activity. I shoot with a 35mm manual camera, utilizing solely the natural light illuminating the space I inhabit at that moment. Upon depositing the felt pads on to my unclad body, I begin a series of extemporaneous movements: sitting, reclining, lying on the bed, standing, moving, bending, and gesticulating. Throughout this process I am photographing and shooting my body from various angles as I document this ritual.

3/8 of an inch white circular felt pads on Artist skin (lower body)- 20 × 24 in - Site-Specific- Performance/Photography- 2022 Keith O. Anderson ©

Installation View, Featuring Artists: Keith O. Anderson, Catherine Opie, Kahlil Joseph, Brendan Fernandes, Lyle Ashton Harris, Arthur Java, Mark Bradford, Nick Cave, Jeffrey Gibson, Derek Fordjour, Mike Kelly, Yashua Klos, Deanna Lawson, Pixy Liao, Joe Overstreet, Ebony G. Patterson, Patrick Quarm, Felandus Thames, William Werge, Kehinde Wiley, Robin Rhode, Andy Warhol, Earlie Hudnall Jr, Sheila Pee Bright, Alex Katz, and Robert Mappelthorpe. Co-Curator Rehema C. Barber and Larry Ossei-Mensah Independent Curator

Detail, Throne- Matchsticks, archival glue, linseed oil, fire residue- 36 × 16 × 16 in- 2010- 2011 Keith O. Anderson ©

Co- Curated by Rehema C. Barber, Chief Curator and Larry Ossei-Mensah, Independent Curator

(Detail), Uncooked black eyed peas, archival glue, and wood- 48 x 49 1/2 x 2 1/2 in- 2017 Keith O. Anderson ©

Black archival masking tape executed on subway station wall as it was- Dimensions variable- Site-Specific- SUBWAY STATION INTERVENTION- 2021 Keith O. Anderson ©

Documentation of Fat Crayon utilized to execute text on a mattress discovered along the sidewalk on the Lower Eastside one early morning- Site-Specific- PUBLIC SPACE INTERVENTION- 2020 Keith O. Anderson ©

Documentation of Fat Crayon, utilize to execute text on a mattress discovered along the sidewalk on the Lower East side- Site-Specific- PUBLIC SPACE INTERVENTION- 2020 Keith O. Anderson ©

3/8 of an inch white circular felt pads on then bark of trees that were located in the Meatpacking district- Dimensions variable- Site-Specific- PUBLIC SPACE INTERVENTION- 2020 Keith O. Anderson ©

3/8 of an inch white circular felt pads on the bark of trees that were located in the Meatpacking district- Dimensions variable- Site- Specific- PUBLIC SPACE INTERVENTION- 2020 Keith O. Anderson ©

Documentation of Fat crayon, and text executed on the Subway station wall as it was- Dimensions Variable- Site -Specific- SUBWAY STATION INTERVENTION- 2020 Keith O. Anderson ©

3/8 of an inch white circular felt pads on chair- Dimensions Variable- 2019 Keith O. Anderson ©

3/8 of an inch white circular felt pads on broken scissor- 2019 Keith O. Anderson ©

3/8 of an inch white circular felt pads utilized to follow the contour of the wood grain pattern on a door- Dimensions variable- Site-Specific - 2019 Keith O. Anderson ©

Burnt matches, spray paint, archival glue on a canvas retrieved from the garbage- 27 x 27 in- Keith O. Anderson ©

Burnt matches, spray paint, archival glue and a canvas retrieved from the garbage- 27 x 27 in- Keith O. Anderson (c)

Installation View, These are not my colors- Burnt marks and a discarded painted dropcloth retrieved from the garbage- 53 x 69 1/2 in- 2018 - Keith O. Anderson ©

Burnt matches, archival glue and raw cotton duck canvas- 48 x 48 in- 2018 Keith O. Anderson ©

Installation View: Burnt marks, numerous pieces of broken glass, and a wood frame that has been carved with a blade and struck incessantly with a hammer- 31 x 38 in- 2018 Keith O. Anderson ©

Match heads all cut by hand by the Artist, wood, archival glue and spray paint- 2 x 42 1/2 x 3 1/2 in - 2018 Keith O. Anderson ©

Match heads all cut by hand by the Artist, fire residue, and paint residue on rags retrieved from the garbage - 2018 Keith O. Anderson ©

Detail, Match heads all cut by hand by the Artist, fire residue, archival glue, and paint residue on rags retrieved from the garbage- 2018- Keith O. Anderson ©

Uncooked black eyed peas, archival glue and wood- 48 x 49 1/2 x 2/1/2 in- 2017 Keith O. Anderson ©

Burnt matches, ashes, dirt, debris and wood- 9 x 60 x 2 1/2 in- 2017- Keith O. Anderson ©

I placed the installation piece onto a wall that possessed sawdust, stains, footprints, and an assortment of markings. I found this discovery to be ideal and is in line with my commitment to finding other surfaces, materials, elements and substances that will start a new conversation.

Installation View: Group Exhibition featuring Artists, Keith O. Anderson, Res, and Qian Zhao: Curated by Andrianna Campbell

Detail: I no longer write poems for her- 3/8 of an inch white circular felt pads on artist genitals and lower body- Site-Specific- 11 x 14 in- Performance/Photography- Gelatin Silver Print- 2013 Keith O. Anderson (c)

Hand torn strips of Black archival masking tape, fire residue and a sheet of Black wrap aluminum foil.- Sculpture 11 x 14 x 15 in- Sheet of Black wrap aluminum foil- 38 x 39 1/2 in- 2016- Keith O. Anderson ©

Documentation of me installing, For Nico, because,- I am positioning hand torn strips of Black archival masking tape on to the surfaces of the window and window frame. I was captivated by the idea of hand torn strips of Black archival masking tape projecting from the surfaces of the window and the window frame. The interplay of artificial light and natural light caressing the adhesive side of the masking tape created an iridescent effect of which was not planned. Keith O. Anderson ©

Installation View, For Nico, because…..- Hand torn strips of Black archival masking tape positioned on the surfaces of the window and window frame- 79 x 117- Site-Specific- 2015 Keith O. Anderson (c) Curated by Michael Sarf featuring artists: Keith O. Anderson, Marcy Chevalier, and James Cullinae: Curated by Michael Sarf

Detail: For Nico, because……..- Hand torn strips of Black archival masking tape positioned on the surfaces of the window and window frame- 79 x 117 in- Site-Specific- 2015- Keith O. Anderson ©

Installation View of Artist Salon Group Exhibition, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette, Brad Silk, Cindy Rucker, and Southfirst.

During the year 2010, I participated in a Group Exhibition organized by the Curator Christine Licata. On the last day of the exhibition I brought my 35mm camera, and I asked her to photograph me wearing my sculpture around my neck, while executing a series of extemporaneous movements in the gallery space inhabited by natural light. I set up the camera for Christine and she did the rest, my aim was to experience all of her sensibilities, and apprehensions.

(Detail: To Tanser Anderson, Eva Hesse, Jackie Winsor, and Leontyne Price,Sculpture (around the neck of the Artist)- Wiggleboard, and dry almonds archival glue- 2008-09- Site-Specific- Performance/Photography- Gelatin Silver Print- 11 x 14 in- 2010 Keith O. Anderson ©

Purification, My Melody (Rakim)- Stencil letters, spray paint, and a music stand- 2013- Keith O. Anderson ©

BEAT, BRONXARTSPACE, Group Exhibition Featuring artists, Keith O. Anderson, Crystal Z. Campbell, Glendalys Medina, Michael Paul Britto, R. Armstrong, Daniel Santiago Salguero, Devin Kenny, Drag Lomax, Jeff Kurosaki and Tara Pelletier

Installation View: This side of the bed is occupied- Matchsticks (all cut by hand by the Artist), wood glue and a piece of wood- 4 ½ x 16 × 5 in- 2002 Keith O. Anderson ©

Detail: This side of the bed is occupied- Matchsticks (all the tips/heads of the matches were cut by hand by the Artist), wood glue and a piece of wood glue- 4 1/2 x 16 × 5 in- 2002 Keith O. Anderson ©

Autoportrait- Dry golden raisins and the Artist shirt- 2009 Keith O. Anderson ©

Last night a DJ saved my life with a song- Straight pins penetrating the skin of the Artist foot- Performance/Photography- C-Print- 20 x 24 in- 2007 Keith O. Anderson ©

Straight pins penetrating the skin of the Artist foot, therefore becoming a receptacle for ideas and emotions- Keith O. Anderson ©

Group Exhibition Curated by Nico Wheadon featuring Artist: Keith O. Anderson, Ezra Wube, Wayne Hodge, Jessica Lagunas, Johannes DeYoung, Regina Locke, Legato Shade

She says I don’t kiss her everyday like I used to- Latex flat paint mixed with dry pigment, uncooked Black eyed peas, and wood- 4 x 5 x 3 in- Site-Specific- 2009 Keith O. Anderson © Curated By Nico Wheadon Featuring Artists: Keith O. Anderson, Ezra Wube, Jessica Lagunas, Johannes DeYoung, Wayne Hodge, Regina Rocke, Lerato Shadi

As Africa Turns- Burnt marks, and broken vinyl record, and dust- 12 x 10 in- 2008- Installation- Keith O. Anderson (c)

Group Exhibition Curated by Rehema Barber featuring artists Keith O. Anderson, Dwayne Butcher, Shelia Pree Bright, Tam Tran, Joel Parsons, Jonathan and Mary Postal, Jack Ryan, Marie Irmgard, and Charles Huntley Nelson.

Installation View: Nigger this, Nigger that, an on, an on, an on, until we/they just don’t stop !- Wood Clothes pins (each clothespin was painted by hand by the Artist), and acrylic household paint mixed with dry pigment - Dimensions Variable- 2006- Site-Specific Installation- Keith O. Anderson ©

Nigger this, Nigger that, an on, an on, an on, until we/they just don’t stop ! - Wood clothes pins (each clothespin was painted by hand by the Artist), acrylic household paint mixed with dry pigment- 2006- Site-Specific Installation- Keith O. Anderson ©

Installation View: As I sit here listening to Theolonious Monk album entitled “Monk” - razorblades, and cotton puffs- Dimensions Variable- 2003- 2004 Keith O. Anderson ©

The impetus for this work is the West African symbol for communications. The more intersecting lines there are, denotes an intensity in the communication.

Installation View, Alberto Giacometti and I are having lunch at his favorite restaurant and never once do we entertain the thought of being swooped upon by the pretentious ones - Strips of raw cotton canvas cut by the (Artist) by hand, and uncooked black eyed peas- Dimensions variable- 2004-05 - Keith O. Anderson ©