2024

2023

2022

2021

2020

Selections from before 2020

Anna Gregor

2024

2023

Anna Gregor

CV

EDUCATION
2022 - 2025 | MFA Painting, CUNY Hunter College, New York NY
2016 - 2019 | BFA Fine Arts, Parsons School of Design, New York NY
2012 - 2014 | Chemistry, Occidental College, Los Angeles CASOLO SHOWS2024 | After Faith, Tomato Mouse at Art on Paper, New York NY
2024 | Double Space, D.D.D.D. Pictures, New York NY
2023 | Visions and Revisions, Moira Fitzsimmons Arons Art Gallery, Hamden CT
2022 | Embodiments, Tomato Mouse, Brooklyn NYGROUP SHOWS
2024 | I Split the Dream, Neptune in June at Studio 9D, New York NY
2024 | remember the things lurking in the darkness, 205 Hudson Gallery, New York NY
2023 | Surfacing, 54 Stone St, New York NY
2023 | Why Do Nymphs Turn into Trees, SPRING/BREAK Art Show 2023, New York NY
2023 | Homebodies, Unit London, Online
2023 | The Mind Roams as the Moth Roams, St Joseph’s University, Brooklyn NY
2023 | Terrible Terrible, 205 Hudson Gallery, New York NY
2022 | SPRING/BREAK Art Show 2022, New York NY
2022 | Among Friends, NY Artists Equity Association, New York NY
2022 | Intimacies, MAPSpace, Port Chester NY
2022 | Intersections, Art on the Avenue, New York NY
2021 | SPRING/BREAK Art Show, New York NY
2021 | Chasing Light, Gallery 263, Cambridge MA
2021 | Double Vision, Bromfield Gallery, Boston MA
2021 | Storylines, Gallery 263, Cambridge MA
2021 | Fresh Perspectives Group Exhibition, London Paint Club, londonpaintclub.com
2020 | 2020 Members Invitational, NY Artists Equity Association, New York NY
2020 | We Will Meet Again, New Apostle Gallery, Online
2020 | Night & Day, Local Project Art Space & Departure Studios Gallery, Queens NY
2019 | Art 52nd Street 2019, Gallery MC, New York NY
2019 | Gregor, Huang, Karjalainen: Three Painters, 367 Gallery, Brooklyn NY
2019 | BFA Thesis Show, Parsons School of Design, New York NY
2019 | Art, Media + Technology Show, Parsons School of Design, New York NY
2019 | Public Privacy, The New School’s Skybridge Gallery, New York NY
2019 | Beyond Landscape, 25 East Gallery at Parsons School of Design, New York NY
2019 | Milk Press Books, New York Poetry Society, New York NY
2019 | BFA Senior Open Studios, Parsons School of Design, New York NY
2018 | Cover Art, 12th Street Journal, New York NYPUBLICATIONS
2024 | Anna Gregor in the Retracted Age: A Conversation, Whitehot Magazine
2024 | Double Space at D.D.D.D., Art Spiel
2023 | Édouard Vuillard and the Context of Representing Domesticity, Rose Pickering
2022 | Embodiments: Critical Introduction, Eric Bayless-Hall
2022 | Emerging Artist Feature, E66 Studios
2021 | Issue 3, Huts Magazine
2021 | Artist to Watch, Art Connect
2020 | Human Nature, Vellum Magazine No. 24
2019 | Gregor, Huang, Karjalainen: Three Painters by Eric Bayless-HallAWARDS + FELLOWSHIPS
2025 | Masters Thesis Grant, CUNY Hunter College
2024 - 2025 | Elizabeth Greenshields Foundation Grant
2022 - 2025 | Ruth Stanton Scholarship, CUNY Hunter College
2021 | AltMFA Fellow, The Crit Lab
2019 | Social Science Fellowship, The New School
2019 | Global Ambassador, The New School
2018 | Opportunity Award Recipient, The New SchoolCOLLABORATIONS
2019 | Translation/Transmigration, Matthew Gallery, New York NY (reading based on film made in collaboration with Tatiana Istomina)
2018 | Philosophy of the Encounter: Screening, Triangle Arts Association, Brooklyn NY (film in collaboration with Tatiana Istomina)

ANNA GREGOR

Embodiments
Solo Show at Tomato Mouse, October 22 - November 19, 2022
~Tomato Mouse invites you to a presentation of ten new paintings by A. T. Gregor, her first solo exhibition. Completed in the past year, these pieces continue Gregor’s investigation of body and space through paint. The scale of the work is human or smaller. They employ oil paint in a variety of additive and subtractive processes from illusionistic brushwork to sculpting in paint and carving, incising, scraping and wiping it away to create a subtly layered and activated surfaces that reward close and repeated viewing. The combination of techniques evoke art historical references from early Christian painting to high modernism. Gregor’s spaces seem quotidian domestic and yet to open out into the metaphysical. Reversed perspective lines direct the vanishing point back to the viewer, drawing them into the rarified space of the painting. Mirrors and windows create inaccessible annexes. The austerity of the rooms and surfaces depicted forces the sheer beauty of the depiction into high relief. ~

Embodiments, Critical Introduction by Eric Bayless-Hall
Book designed and made by Madison Gordon
High resolution images of accompanying images below

Anna Gregor

My Writing

Essays

Fiction

Anna Gregor

I am an observational painter these days, making still-life paintings of handmade gold mirrors and the contradictory spaces they reflect. Observational, not representational. To merely represent is to illustrate, to be wedded to cliché depictions of objects in logical space. To observe is to follow (the eye, the accidents of paint, a tradition of painting) and, in following, See something new. If I hope to represent anything, it is Seeing itself—the instability of vision, the role the mind plays in organizing phenomena into coherence, the process of constructing new wholes from fragments of our past (personal, communal, artistic, historical).We observe, in the sense of Seeing, and we observe, in the sense of keeping faith. The Byzantine icon, as a material object that mediates between the mundane world (of clichés) and a divine state (of Seeing), is a starting point of the tradition I follow. In another life, I might have been a monk, painting the Virgin repeatedly. But (no longer even Christian) I share little with this alter ego besides a penchant for black tunics and a (some would say, overserious) devotion to my religion (painting). My faith does not promise reward, earthly or divine, in the future, but right now, if only one looks to See. A painting exists right in front of our eyes! (The kingdom of god is at hand!)I appropriate the gold from Byzantine icons, making mirrors with an ancient gilding technique of affixing gold leaf to glass. The squares of gold wrinkle and break as I apply them, creating a fragmented and mirrored grid into which I etch drawings of paintings from the idiosyncratic tradition I see my work in (my patron Painting saints): Botticelli’s Annunciation, Rothko’s No. 13, Guston’s Ancient Wall. These mirrors are complex objects to paint from life. Installed on my studio walls, each reflects its surroundings while maintaining its own form, filtering the present environment through etched reminders of past painterly paradigms. They contain contradictory spatial views to be synthesized in a single painting: the object’s space (the mirror on the wall), the reflected space (my windowless studio), the space of the surface on which I’m painting.My painting process draws from historical materials and techniques: rabbit skin glue, egg tempera, oil paint. Through addition and subtraction, scraping away with a blade (flagellation, doubt) and building up layers of paint (observance, faith), I wrestle like Jacob with my painting angels, trying to wrest from the past a meaningful and forward-looking present, avoiding the temptation of nostalgia and nihilism. The resulting paintings appear abstract at first glance, complicated by the specificity of observation and indications of extended space. With prolonged looking (Seeing), anchored by occasional recognizable objects, viewers can ground themselves in a painterly space that must be reconstructed (Seen) in their mind—an ideal space beyond cliché, made accessible to us through a painting that is here, now: an ideal world we can See together, and in Seeing, recommit to the world we share.

Gregor is a painter and occasional writer about paintings based in New York City. She received her BFA from Parsons in 2019 and her MFA from Hunter College in 2025

Anna Gregor