►
From YouTube: Moments with Melinda: Interview with Kathleen Kolb
Description
From Melinda Moulton:
Kathleen Kolb earned her BFA from Rhode Island School of Design. Her work has been represented by David Findlay Galleries (2003-2010) and Sherry French Gallery (1996-2003) in New York City, and by Clarke Galleries (1992-2009) in Stowe, Vermont. She is currently represented by Edgewater Gallery, in Middlebury, VT; Eckert Fine Art, in Kent, CT; and by MA Doran Gallery in Tulsa, OK. She has participated in over 40 solo shows and 90 group shows in New York and New England, and has earned national acclaim for her work.
For more information visit: www.kathleenkolb.com
10/20/2022
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A
B
A
B
Thank
you
so
much
I,
you
I
know
it's
amazing,
because
when
I
interview,
artists,
they're
always
so
understated
about
their
work
and
about
who
they
are,
there's
there's
a
level
of
humility
and
humbleness
that
artists
have
that
I
that
I
really
honor,
but
you
truly
and
we're
going
to
get
into
this
story,
for
my
viewers
are
really
about
how
how
how
how
well
known
your
work
is.
So,
let's
start
at
the
beginning,
can
you
tell
me
a
little
bit
about
your
childhood.
A
Let's
see
I
was
a
child,
I
was
a
child
in
Cleveland,
I
was
the
eldest
of
five
and
then
went
by
when
I
was
20.
My
parents
had
a
sixth
who
is
wonderful
and
lives
here
in
Vermont,
my
youngest
sister,
my
I
had
great
Good
Fortune
of
living
near
the
Cleveland
Museum
of
Art
and
the
Cleveland
Institute
of
Art,
which
is
a
a
regular
art
school
and
enjoyed
the
luxury
really
and
I.
A
A
A
Art
I
think
teachers
started
telling
them.
I
was
a
little
different
when
I
was
five
well,
then
that
was
Kindergarten
right.
That
was
the
first
school
Expo.
The
first
time
somebody
outside
the
family
had
a
chance
to
sort
of
assess
I
think
the
story
was
that
the
teacher,
the
kindergarten
teacher
told
the
class
to
draw
a
picture
of
spring
and
everybody
Drew
pictures
of
tulips
and
daffodils
except
me,
I
drew
a
bear
coming
out
of
a
cave.
Oh,
it
was
just
a
slightly
different
Take,
On,
The
World
and
alerted
the
teacher.
A
B
B
A
A
My
I
can
remember.
I
spent
a
lot
of
time
in
the
museum.
So
a
lot
of
the
inspiration
came
from
dead
artists,
long
dead
artists,
I
mean
I
loved
the
Antiquities
too,
the
Egyptian
things
and
the
shadows,
and
the
de
la
robias
I
mean
it
was
all
over
the
map.
The
Cleveland
Museum
is
an
extraordinary
collection.
A
You
know
what
much
renowned
so
I
had
that
and
didn't
really
realize
you
know
I
can
remember
playing
hide
and
seek
among
the
sarcophagi
with
my
pals,
who
were
you
know,
also
being
picked
up
by
mothers,
and
we
were
waiting.
It
was.
It
was
a
place
of
comfort.
For
me,
the
museum
has
always
been
a
place
of
comfort
and
familiarity,
which
I
think
it
might
be
different
than
it
is
for
a
lot
of
people.
B
B
K-A-T-H-L-E-E-N-K-O-L-B.Com
and
I
encourage
my
viewers
to
visit
Kathleen's
website,
it's
beautiful
now,
Kathleen
your
work
has
been
represented
by
New
York
galleries.
You've
had
over
40
solo
shows
and
90
group
shows
in
New,
York
and
New
England.
Your
work
speaks
for
itself,
it's
beautiful
and
Brilliant,
but
your
success
is
one
that
many
artists
aspire
to
achieve
at
what
point
in
your
life?
Did
you
realize
that
you
were
a
nationally
acclaimed
artist.
A
B
Well,
except
I,
I've
interviewed
artists
who
say:
oh
well,
you
know
my
work
will
never
be
an
accomplished
artist
say
well,
my
work
will
never
be
exhibited
in
New,
York
and
and
there's
a
sort
of
sadness
that
they
just
didn't
quite
I,
know
I
know
and
at
the
end
of
the
day
it's
like
yeah,
but
your
work
is
is
great
and
it's
brilliant.
You
made
a
career
out
of
it.
You
did.
You
did
break
into
the
New
York
yeah.
How
did
that
happen?.
A
How
did
that
happen?
I,
guess
I
guess
I
had
some
ambition
and
I
think
it
takes
a
lot
of
Drive
and
and
luck
and
and
then
luck
with
timing,
so
I
started
sending
I
had
who
did
who
helped
me
with
this
Jovana
Peebles
introduced
me
to
the
guy,
who
does
all
the
photographs
and
I'm
hated
that
I
can't
come
up
with
his
name
right
now,
but
Peter
Miller
or
no
the
Weimaraner
ones,
the
the
dog
photos.
You
know
who
I
mean?
A
No,
no,
no,
those
are
paintings.
These
are
photographs
and
I.
This
is
horrible
that
I'm
stumbling
with
this.
If
I'd
known
your
question,
I
would
have
researched
my
answers,
but
anyway
they
gave
me
a
short
list
of
galleries
in
New
York
that
were
interested
in
realism
and,
believe
me,
it
is
a
short
list,
so
I
just
started
sending
you
know,
exhibition
announcements
and
photographs
of
my
work
to
those
galleries,
thinking
well,
it
doesn't
hurt
to
have
them.
A
You
know
see
my
name
and
say
where
have
I
seen
that
name
because
it
came
in
their
mailbox.
I
mean
that's
not
possible
anymore.
To
do
that
everything
happens
electronically
and
everything's
screened
and
you
can't
submit
so
one
of
those
galleries
was
Sherry
French
gallery
on
57th
Street,
not
a
top
tier,
realistic
Gallery,
but
a
good
gallery-
and
that
was
my
start.
I
stayed
with
her
for
seven
years
and
from
there
I
moved
over
to
David
Finley
galleries,
with
the
help
of
Lee
Potter
Findlay.
A
B
That's
extraordinary
and
you
know
what
you're
not
giving
credit
to
your
work,
so
I
just
want
to
give
credit
to
your
work.
That's
what
oftentimes
gets
you
to
that
level
is
the
is
the
extraordinary
work
that
you
do
now
in
2015
you
were
invited
to
be
a
fellow
at
the
ball
and
Glenn
Arts
foundation
in
Valley.
Castle
Ireland
share
with
us
your
love
of
Ireland,
because
a
lot
of
your
work
is
focused
on
that
on
that
country.
A
Because
yeah
that
was
that
was
just
that
was
an
adventure.
It
was
a
a
residency
Fellowship
that
I
learned
about
from
another
artist
apply.
You
know
that
application
process
and
recommendations-
and
you
know
how
those
things
go
and
I
was
fortunate
to
be
invited
to
spend
five
weeks
there.
And
it's
a
it's
a
small
situation.
It's
very
rural.
It's
it's
very
Irish,
but
in
many
ways
it's
not
that
different
from
rural
Vermont,
except
that
the
ocean
is
just
you
know,
half
a
miles,
walk
away.
B
B
Well,
let's
talk
a
little
bit
about
the
art
of
action,
because
I
was
involved
in
that
as
a
board
member
of
the
Vermont
Arts
Council
that
was
kind
of
a
it
was
kind
of
a
big
deal
back
when
we
did
it-
and
you
were
part
of
10
artists
that
were
selected
from
over
300
applicants.
Tell
us
about
that
experience.
A
It
was
that
was
great.
It
was
crazy
in
a
lot
of
ways.
It
was
really
crazily
structured,
but
it
was.
It
was
an
inspiration
between
the
Vermont,
Arts,
Council
and
Lyman
Orton
and
his
partner
janiceitzi,
and
they
funded
this
amazing
program
to
create
art
by
Vermont
artists
who,
in
a
certain
time
frame
about
the
future
of
Vermont.
A
Being
a
realist.
I.
Remember
telling
the
panel
that
I
I
couldn't
really
paint
the
future,
because
I
I
paint
what
I
see
in
the
future
It's
Not
Invisible
to
me
any
more
than
it
is
to
the
rest
of
us,
but
that
I
would
look
for
The
Cutting
Edge
of
the
chosen
subject,
area
I
had,
which
was
the
working
Forest,
so
I
I
really
enjoyed
doing
that.
A
It
was
really
exciting
to
go
and
find
the
loggers
and
Foresters
who
were
doing
responsible
logging
and
follow
them
around
and
photograph
them
and
bring
those
photos
back
to
the
studio.
Make
the
work
try
to
do
it
in
this
absurd
time
frame.
And
then
you
know
the
whole
thing
had
its
its
own
mechanism
for
for
being
resolved.
But
it
was
a.
It
was
a
great
experience.
A
A
I
think
that
this,
the
the
business
of
art
has
changed
a
lot
over
the
years
and
a
lot
of
that's
the
way.
The
digital
era
has
changed
everything
you
know
you
know
I
mean
the
fact
that
we're
doing
this
that
I'm
going
to
be
able
to
screen
share
images
that
just
didn't
wasn't
the
case.
I
mean
it
used
to
be.
You
took
slides
and
sent
slides
to
places.
It
was
a
very
cumbersome
process
and,
of
course
it's
much
bigger.
It's
so
much
like
everything.
It's
so
much
more
competitive.
A
Now,
because
there's
so
many
more
people
competing
for
the
same
amount
of
exposure
and
acclaim
I
mean
I
watch
the
younger
people
who
I
meet
on
residency,
for
instance
at
the
Vermont
Studio
Center
and
they're
ambitious
they're
hard
working.
They
really
want
to
do
something
different
and
it's
really
hard
to
get
attention
because
there
are
so
many
people
clamoring
for
it
in
so
few
places
that
can
really
provide
that
exposure.
I
think
it's
changed
a
lot
now.
A
In
the
meantime,
I've
had
a
daughter
who
I
have
a
daughter
who
has
become
an
art
dealer
in
an
international
art
dealer.
So
I
see
another
view
of
it.
That
does
keep
me
humble
Melinda,
because
you
know
she's
dealing
with
the
celebrity
artists
that
you
hear
about
or
read
about
and
and
the
our
International
art
fairs
and
all
of
that
stuff.
So
I'm
very
mindful
that
that
there's
there's
a
lot
more
going
on
up
there
than
than
what
I
see
right
here
in
Vermont.
B
A
She
went
on
to
do
choreography
and
teaching
and
other
things
as
dancers
have
to
do,
but
she
one
of
the
pieces
that
she
choreographed
she
wanted
some
some
visuals
and
she
had
a
videographer
involved
and
she
wanted
some
images,
and
so
we
worked
together
and
I
gave
her
some
images
and
they
worked
into
her
show.
So
that
was
a
dance.
Film
was
a
different
thing.
I
the
gallery.
A
I
was
working
with
in
Vermont
at
the
time
in
Stowe,
Clark
galleries
developed
a
relationship
with
a
production
company
that
was
doing
the
film
What
Lies
Beneath
I,
think
who
has
that
Harrison,
Ford
and
Michelle
Pfeiffer
I
think,
and
there
was
an
artist
character,
the
set
designers
needed
stuff,
so
he
contracted
with
them
and
basically
rented
them.
The
entire
contents
of
my
studio
I
mean
I,
basically,
they're
all
wet
the
everything
went
to
LA
a
truck
came
and
they
took
the
couch.
A
A
B
To
remember
well,
your
work
has
expanded
into
so
many
areas.
Now
you
have
a
list
of
works,
as
noted
in
your
bibliography
on
kathleenkold.com
and
I
encourage
my
viewers
to
please
visit
Kathleen's
website.
Your
work
is
Broad
deep
and
extensive.
You
have
your
work
in
so
many
selected
collections
around
the
country.
You
are
an
internationally
recognized
artist.
I
would
like
to
share
some
of
your
work
with
our
viewers
we're
halfway
through
our
show.
B
A
Would
love
to
so
I'm
gonna?
Try
this
we'll
see
if
it
works.
You
tell
me
if
this
is
effective.
Thank
you.
What
have
we
got?
Thank
you
Kathleen.
You
bet.
So
this
is
a
this.
Is
a
recent
I'm
showing
you
recent
work
because
I
have
a
show
up
now
at
Edgewater
Gallery
in
Middlebury
Vermont
and
the
word
some
of
the
work
is
a
little
different
and
some
is
the
same.
This
is
a
watercolor
and
we're
not
we're
not
seeing
it
so
we're
not
seeing
it.
Oh
wait
share
screen
how
about
that?
A
Welcome
I'm
glad
you
alerted
me
to
the
fact
that
it
wasn't
working
I
hope
it
looks
good.
This
looks
beautiful.
This
is
a
painting
from
a
photo
taken
in
Scotland
of
a
dear
friend
and
I
went
over,
let's
see
if
we
can
move
to
the
next
one.
This
is
a
recent
watercolor
of
a
phone,
and
this
is
more
my
traditional
subject
matter.
B
Like
how
do
you
do?
How
do
you
do
the
detail
you
do
in
watercolor,
because
watercolor
is
not
easy
to
it's,
not
an
easy
medium
and
then
to
be
able
to
do
the
kind
of
detail
you
do
well,
let's
keep
moving
through
your,
but
I
just
want
my
viewers
to
understand
that
Kathleen
painted
this
with
you
know,
with
a
wall
in
watercolor
right.
A
Well,
let's
see
if
I
can
figure
this
out,
I've
got
I'm
having
a
little
trouble
with
my
my
application
here,
yeah
I
painted
that
in
watercolor
and
it's
just
what
I
do
I'm
I'm
kind
of
a
nut
case
for
having
it.
So,
let's
I'm
sorry,
just
let
me
go
see
if
I
can
figure
out
how
to
get
this
screen
back
on
my
screen.
So
I
know
what
I'm
looking
at
well.
B
A
A
A
Another
place
that
I
dearly
love.
This
was
a
farm
that
belonged
to
another
very
close
friend
up
in
the
Northeast
Kingdom
foreign.
These
are
all
meaningful
for
me
as
I.
Look
at
them.
It's
actually
good
for
me
to
realize
this.
This
is
another
very
dear
friends
in
the
doorway
of
his
barn
in
Lincoln
on
a
very
cold
early
March
evening,
lots
of
snow
St
Barn
from
a
different
View
and
again
back
to
that.
A
B
A
Means
a
lot
to
me
and
but
my
attended,
so
here's
here's
a
light.
That's
that's
crept
away
from
the
world.
This
lone
person
doing
her
evening
walk
up
a
hillside,
but
the
daylight
is
gone
and
this
one
the
light.
The
daylight
is
only
barely
lingering
in
the
sky
and
on
the
top
of
Mount
Abraham,
but
the
light
originates
in
the
barn.
A
So
it's
I've
I've
taken
up
an
interest
in
very
different
qualities
of
light.
Now
this
is
an
older
painting
that
came
out
of
an
estate
recently-
and
this
is
also
part
of
the
show
and
I'm
kind
of
excited
that
there
are
four
five
or
six
paintings
at
the
gallery
that
are
not
recent
because
they
come
from
a
period
when
I
was
also
doing
some
amazing
work.
This
was
sold
in
New
York
and
never
shown
in
Vermont
before
so.
A
It's
a
unique
opportunity
to
see
it
until
three
by
four
foot
painting-
and
here
you
see
the
very
direct
sunlight
on
the
snow
and
on
the
corner
of
the
building.
The
title
of
the
piece
is
column
of
light.
For
obvious
reasons,
you
see
that
the
light
has
created
this
version
of
a
column
in
the
architecture.
A
I
mean
you
know,
that's
being
lit
from
Beyond
the
Horizon
as
the
Earth
turns
away
from
the
Sun,
but
there's
a
little
glimmer
of
it
on
that
River
in
the
foreground
as
well,
and
then,
at
the
other
end
of
the
day,
the
dawn
like
coming
up
and
lifting
the
Mist
off
the
lake.
So
there's
all
there's
many
versions
of
light
that
I'm
attracted
to
and
Drawn
to
and
they're
all
here.
This
particular
painting
is
a
favorite
of
mine.
A
B
B
Admit
that's
Mutual!
Well,
that's
why
we
need
to
get
together
and
you're
you're
you're
you're
down
in
middlebridge.
Let's
talk
about,
let's
talk
about
the
show
you
have
right
now
called
fragile
and
familiar.
Those
are
some
of
the
images
that
you
showed
there
at
the
Edgewater
Gallery
on
the
Green
in
Montpelier.
It
runs
through
November
8th,
tell
us
about
this
exhibit
and
my
viewers
I
encourage
of
you
to
go
on
down
to
Middlebury
and
see
this
exhibit
at
the
Edgewater
Gallery
on
the
Green
in
Montpelier.
A
Thank
you.
Melinda
I
really
appreciate
that,
because
you
do
a
lot
when
you're
an
artist,
you
do
a
lot
of
work
in
isolation,
because
you
have
something
that
is
compelling
to
you.
You
know
it's
so
compelling
that
you
have
to
make
it
and
the
making
of
it
might
take
weeks
or
months.
So
you
really
has
to
be
meaningful
to
you
to
do
it
or
you
wouldn't
stick
with
it.
A
So
when
you
go
to
see
a
show,
bear
in
mind
that
it
represents
years
out
of
an
artist's
life
generally
speaking,
certainly
the
case
for
me
in
this
in
this
show,
because
the
so
I
started
the
work,
probably
in
2020
and
worked
worked
on.
It
got
a
new
knee
in
the
interim
which
took
a
little
time
but
went
back
to
work
on
it
this
spring
and
finished
the
work
delivered
it
in
September,
and
now
it's
on
the
wall
for
a
brief
month.
B
B
B
That's
beautiful,
but
it
also
is
a
gift
and
as
great
musicians,
great
artists,
great
writers,
there's
a
gift
that
comes
with
that
and
Kathleen
Kolb
you've
got
that
gift
and
you
share
it
with
us
and
you've
shared
it
with
the
world
and
and
I'm
so
glad
that
you're
here
in
Vermont,
and
that
we
can
see
you
and
see
your
work
locally
and
I
want
to.
Thank
you,
I'm
going
to
go
to
the
view,
so
everybody
can
see
both
of
us
together
here:
I
wanna,
I
wanna.
B
Thank
you
for
your
time
and
for
sharing
this
with
my
viewers
and
to
my
viewers.
Please
visit
Kathleen's
website,
Kathleen
Kolb,
dot,
com
and
and
and
and
check
it
out
so
to
you,
my
friends.
Let's
get
together
down
the
road
and
I
wish
you
all
the
best
in
a
beautiful
winter,
capturing
the
light
and
the
beauty
that
you
capture
and
thank
you
for
your
time.
Kathleen
I
really
appreciate.