Posts Tagged ‘Tom Gregg’


Tom Gregg, Bad Apple, oil on panel

Until recently the Dykes Library University of Kansas Medical Center in Kansas City hosted a series small changing exhibits.  It appears that the program was suspended because someone took offense at the latest (and apparently last) exhibition, Tom Gregg: Unsold.  The show was removed before its scheduled closing date and the exhibitions program was discontinued immediately and without notice.  As the title suggests, Unsold featured a few paintings of Gregg’s that hadn’t sold at shows in New York and Los Angeles at the George Billis Gallery.  The unsold work tended to be a little darker, images of rotten apples, hand grenades, pistols etc.  and the working assumption is that these paintings prompted the library’s decision.

Curator Melissa Rountree contacted the National Coalition Against Censorship, who drafted a petition letter to be sent to the University of Kansas.  Anyone interested in adding their name to the letter can contact the NCAC at ncac@ncac.org, just include the phrase “Kansas Letter” in the subject line, your name and occupation in the body of the email.

Here’s a link to our interview with Tom Gregg from last year.  I’ve posted a few more images from the exhibit and the full text of the letter after the cut.


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Color Country installation shot, work by Anne Thompson (foreground) and Tom Gregg (on the wall).

We’ve all learned our lessons about the relative nature of color.  We’ve made one color look like two, or two look like one, been proud of our chromatic grays and the glow that happens in our paintings after ever so slight alterations of tone.  Color Country is a small exhibit I put together for the University of Central Missouri’s Gallery 115 of artists who find content in color’s relativity: Tom Gregg, Daniel Reneau and Anne Thompson.  All three make work that considers the perception of color, and also the desire to define color, make it mean something certain and constant.  The problem is, and this is what makes these three artists approach to color so interesting, is that it’s as impossible to define color, to make it  mean something simple and absolute, as it is to look at color as optically constant.  The problem becomes almost existential.

More images after the cut. (more…)

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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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Tom Gregg’s Seven Lemons, 2008.  Tom Gregg  at George Billis Gallery in NYC, March 3-March 28, 2009.

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Tom Gregg

Tom Gregg Big Duck and Water

Big Duck and Water

Tom Gregg

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