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My official website/tumblr is justynhegreberg.com. There you will find a selection of my work and only my work. Random Amber Stars has everything on the other site plus: more of my work, the work of others, my writing, the writing of others and music. Please feel free to follow according to your interest. I have chosen to spend my life with two whom I love very much: tomorrowsghosts and electroduck. All rights are reserved for images of my own work.
correspondenceco:

(via Michael Dean at Herald St (Contemporary Art Daily))
borogovesss:

C J Matherne

borogovesss:

C J Matherne

theglaze:

Matias Faldbakken

theglaze:

Matias Faldbakken

borogovesss:

Sarah Braman

borogovesss:

Sarah Braman

Two very interesting people talk about the ineffable, both with non-native language and many thoughtful pauses.

meinwelt:



Björk interviews Arvo Pärt for the BBC program ‘Modern Minimalists’ (1997)

mtrt:

Joseph Montgomery 
Image Fifty Six
2009–2010
oil, clay and cardboard on panel
12 1/4 x 9 1/2 x 3 inches

mtrt:

Joseph Montgomery

Image Fifty Six

2009–2010

oil, clay and cardboard on panel

12 1/4 x 9 1/2 x 3 inches

(Source: jessedraxler)

theglaze:

Joseph Montgomery

theglaze:

Joseph Montgomery

mellabrown:

Ryan Steadman
Wages Of Wins, 2012
oil on canvas
10 x 8 x 1.75 inches

mellabrown:

Ryan Steadman

Wages Of Wins, 2012

oil on canvas

10 x 8 x 1.75 inches

(Source: shopkarma)

This little guy is going to be making its way to Boston to hang out for a while in the Thompson Gallery.
justyn hegreberg
green cracked surface with bisected frame, 2011
10 1/2 inches by 8 inches
acrylic, plywood, frame

This little guy is going to be making its way to Boston to hang out for a while in the Thompson Gallery.

justyn hegreberg

green cracked surface with bisected frame, 2011

10 1/2 inches by 8 inches

acrylic, plywood, frame

"After abstract expressionism, a lot of artists haven’t been trained to manipulate material. Instead, they’ve been taught that what they’re supposed to manipulate is concepts or ideas. To me, this is absolutely responsible for a lot of weaknesses in artists’ production at this point. I’m an advocate of a return to very fundamental, very basic studio practices, which means that you first spend a lot of your time trying to figure out what materials will do, and in the process of figuring that out, you figure out what to do with them. […] If my teacher Charles White said anything really important to me, it was that you have to worry about making the best paintings and the best drawings you can, and the ideas will take care of themselves. I believe that wholeheartedly. I don’t think there’s anything worse than having a good idea that’s poorly realized. And if you hope to break through to something meaningful, in terms of the relationship between form and content, it’s gotta come out of a more experimental approach to material - a more experimental practice. That way, you see the possibility in materials for constructing meaning. If you don’t understand the capacity of materials to carry meaning - if you don’t have a certain set of skills - you’re limited in your range to simple expressions, rather than complex ideas. Because what you’re simply doing is selecting from meanings that are already prescribed or described.” “Kerry James Marshall,”
excerpt from a conversation between painter
Kerry James Marshall and Arthur Jaffa, 2000"
julianminima:

Joseph Montgomery

julianminima:

Joseph Montgomery

pootee:

Contemporary Art Daily - Kai Althoff at Focal Point
"The important thing is somehow to begin.” - Henry Moore"
(via sseebode)
raellimalawauwblog:

Pablo Delfos

raellimalawauwblog:

Pablo Delfos