• PORTFOLIOS
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    • Deborah Chlebek
    • Tina Engels
    • Philip Hale
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    • Lynette Lombard
    • Jeremy Long
    • Amy MacLennan
    • Michael Neary
    • Ron Weaver
    • Megan Williamson
  • VITAE
    • MPG VITAE
    • Linda Carey
    • Glen Cebulash
    • Deborah Chlebek
    • Tina Engels
    • Timothy King
    • Lynette Lombard
    • Jeremy Long
    • Amy MacLennan
    • Michael Neary
    • Janet Niewald
    • Bill White
    • Megan Williamson
    • Philip Hale
    • Ron Weaver
  • STATEMENTS/BIOS
    • Quick Look
    • Linda Carey
    • Glen Cebulash
    • Deborah Chlebek
    • Tina Engels
    • Janet Niewald
    • Timothy King
    • Lynette Lombard
    • Jeremy Long
    • Amy MacLennan
    • Michael Neary
    • Bill White
    • Megan Williamson
  • ABOUT
    • ABOUT
  • PRESS
  • EXHIBITS
    • MPG & Guests: Self-Portraits >
      • Self Portraits: Dutoit Gallery
      • Self Portraits: Taubman
    • East Meets Midwest II >
      • East Meets Midwest II: William & Mary
      • East Meets Midwest II: Springfield Museum of Art
    • A Winters Work
    • Of Color and Rhythm
    • Homage to Jean Helion
    • Realism & Its Discontents >
      • Wright State
      • Manchester
    • The Figure >
      • The Figure: Kansas City
      • The Figure: Ithaca College
      • The Figure: Tulsa
    • Pride of Place
    • East Meets Midwest >
      • East Meets Midwest: Chicago
      • East Meets Midwest: St. Louis
      • East Meets Midwest: New York
      • East Meets Midwest William & Mary
    • Works From Perception >
      • Sheldon Swope
      • The Albrecht-Kemper
      • George A. Spiva
    • New Works, Rose-Hulman
    • Post Abstract Figuration
  • CATALOGS
    • Twelve Ways to Look at a Painting
    • Realism PDF
    • Figure PDF
    • EMM PDF
    • Works PDF
    • PAF PDF
    • CATALOGS
  • CONTACT
  • GUEST ARTISTS
    • Stanley Lewis Retrospective Slides
    • Stanley Lewis Univ Tulsa
    • Bob Brock
Picture
Jeremy Long (Ohio) curriculum vitae
“My position is that nature provides so many answers and questions about painting that if one were to disregard the act of looking as a mere academic activity then the opportunity of literally learning how to see would be missed.   Having said that, I don’t agree with Duchamp when he states that the eye is a dumb organ. Duchamp talked about the eye of the mind but I think the eye has a mind of its own and there are different ways we see. My work comes out of abstraction and is engaged with forming ideas derived from Cubism and Mondrian. I admire cubism because at its best it never got rid of the painting that came before it, instead it added something new.  I am not looking backward at representation; I am looking forward to the possibilities available in modernist construction and its sensibility when applied to the motif, its form and its space. Painting should engage bodily and this relates to empathy; I need to feel myself in it.”

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