Archive for March, 2012

Anne Lindberg: Modal Lines at the Nevada Museum of Art, March 24-July 15, 2012.  More Anne Lindberg.

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Max Beckmann’s monumental 1909 painting, “A Scene From the Destruction of Messina” on view at the St. Louis Art Museum.

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Katharine Kuharic: Working in the Lou at Bruno David Gallery until May 5, 2012.

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Sunday Links

It’s a bit afield of this blog’s usual subjects, but this NYT essay on the brain’s response to fiction is interesting.  I keep thinking there might be a way to look at the neuroscience relative to art-making.  It also reminds me of that great bit of writing about color the Ken Kewley did for Painting Perceptions, especially the bit I liked about describing and apple with hand gestures.  And also the passage in Haruki Murakami’s 1Q84 where an editor advises a writer to be as detailed as possible when introducing a thing readers have never seen before while eliminating descriptions of things people are familiar with.

Speaking of Painting Perceptions, there’s an interview with Tim Kennedy online there now.

At HuffPost, John Seed talks to and about Sangram Majumdar.

Also at HuffPost, Brett Baker named Matt Ballou’s writing about Deibenkorn’s provisionality in his assessment of the best art writing on the internet in February.



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More Tom Gregg

Kansas City’s weekly entertainment paper has an interview with Tom Gregg too.  Also a studio visit slide show.

Huff Post’s  Tracey Harnish has a new “10 Questions for Painters” feature that is going to be weekly.  This week she talks to Trudy Benson.

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In January, Kansas City-based painter Tom Gregg held an open studio.  A group of new still life paintings hung salon-style on one white wall.  The wall glowed.  Tom Gregg has always been an impressive  colorist.  The color in these recent paintings has become impossibly vibrant.  The color seems to want to tell a story, reflected light has a personality.  Making the inanimate and inarticulate come to life seems to be a central part of his project, starting with the color and going on to include the objects he chooses to paint, the paint he works with and the very act of perception itself.  In the interview that follows Tom talks about the work that goes into arranging and observing colors, about taking color out of the paintings for a few years and more about his practice in general.

Please tell our readers a little bit about your background.  How did you end up becoming a painter?

I lived in Southern California until I was 7, but then moved to Butler, a small steel mill town outside Pittsburgh, Pennsylvania. I was always drawing and making images and I can’t remember not wanting to be an artist, or ever really wanting to be anything else. Of course I had no idea what that was, I just knew I got a particular (more…)

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I AIM TOO HIGH is a lovely group show at the Dolphin Gallery.  Artists on view include Eric Sall, Archie Scott Gobber, Tom Gregg and Mike Erickson (that’s his “Sophisticated Entry Hall/Foyer Still Life with Reminders of Some Things I’ve Had/Have/Want and…”, 2011 above).  The show’s up until April 7, 2012.

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