For Don Stinson and Gregory Euclide, landscape painting is a way to spark new conversations about the state of the world around us.
In this episode of Artists Network’s Art Bound podcast, host and K Contemporary gallery owner Doug Kacena explores the leading edge of landscape painting with Don Stinson and Gregory Euclide, two artists whose works ask the viewer to consider the physical, cultural, and political ways we humans see, relate to, and interact with the lands we inhabit. The three artists discuss the role of landscape in contemporary art and their unique perspectives on capturing the sometimes ugly truths of our surroundings.
About Don Stinson
DON STINSON is an artist known for panoramic oil paintings that explore the physical and cultural geographies of the American West. Stinson’s encompassing views reveal much about shared myths of the West, the lasting impact and evolving shape of energy landscapes, notions of progress, individual creativity, and America’s beautiful, if often deeply flawed, relationship with its own lands. Learn more at donstinson.com and @don.stinson.
About Gregory Euclide
GREGORY EUCLIDE is an artist and teacher known for his three-dimensional pieces that incorporate pastoral views, banal architecture, and everyday trash to “problematize the traditional definitions of a natural landscape.” His work is also featured on the 2012 Grammy Award winning album covers of the musical group Bon Iver and on the cover of McSweeney’s Quarterly Concern #43. Learn more at gregoryeuclide.com and @gregory_euclide.
Extending Traditional Templates
DON STINSON: I love direct observation. It’s such a powerful tool of learning. It’s like the spoken word; it’s that basic. Everyone should have to learn to do that as part of education, especially in such a visual culture. But I find that what happens is that most people use a set of templates — and it’s that template that becomes the limit to our understanding. So, anytime I see artwork that is taking a form and then extending it and asking further questions, I’m thrilled.
Pushing the Boundaries of Understanding
GREGORY EUCLIDE: When I’m out looking at artwork, the things that interest me the most are the things I don’t quite understand in the beginning. If I can understand [an artist’s work], it’s not exciting to me. But when I see something I don’t quite understand, it’s like poetry; it’s something I’m intrigued by. It’s this unique personal voice that’s doing something in a way that makes us pause. If you’re going to be a landscape painter, that mystery and personal voice are some of the most important things to creating any work that’s valuable.
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