Photo Simon Blundell
Tom Kass
Artist / Painter

Kass creates paintings that are so subtle they seem to levitate in the spaces where they are installed. If you take the time, an amazing array of information, beauty and understanding starts to emerge. Kass is a fan of layering pigment and reworking a painting until it is solid and stands on its own. Since his background is in sculpture and he works in the field of architecture, he tends to think of the two-dimensional plane as a three-dimensional space. His work is influenced by the post-war art movements he was surrounded by in his early days. In 1972, Kass’s work was included in an exhibition in Seoul, where he used Korean calligraphic marks in conjunction with contemporary abstract painting – a style that encompasses the theories of Clement Greenberg but also makes a step towards the postmodern phase of art making seen in artists like New Zealander Max Gimblett.

Text by Julie Dunker / Images © Artists of Utah / Philips Gallery

Tom Kass
Artist / Painter

Kass creates paintings that are so subtle they seem to levitate in the spaces where they are installed. If you take the time, an amazing array of information, beauty and understanding starts to emerge. Kass is a fan of layering pigment and reworking a painting until it is solid and stands on its own. Since his background is in sculpture and he works in the field of architecture, he tends to think of the two-dimensional plane as a three-dimensional space. His work is influenced by the post-war art movements he was surrounded by in his early days. In 1972, Kass’s work was included in an exhibition in Seoul, where he used Korean calligraphic marks in conjunction with contemporary abstract painting – a style that encompasses the theories of Clement Greenberg but also makes a step towards the postmodern phase of art making seen in artists like New Zealander Max Gimblett.

Text by Julie Dunker / Images © Artists of Utah / Philips Gallery

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    International
    The German dramatist Heiner Müller observed that German history lies as if smothered by a rheumatism blanket: beneath there is warmth and stagnation, just enough to give the impression all is well, while the peripheries are freezing. Georg Kussmann’s photographs in FRG were created under this metaphoric blanket. Made in the Federal Republic of Germany over a single summer, they depict everyday scenes of life, work, and leisure (more…)
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    Publication
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    International
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