The electronic archives of The Commercial Appeal go back to June 1990, and looking back recently through that digital storehouse, I discovered that I have been writing about Pinkney Herbert’s work since July 1990. Yes, almost 26 years, a long stretch of time in which to become familiar with an artist’s style and method. Fortunately, Herbert is a protean figure, a shape-shifter and pusher of boundaries — his own boundaries — who both acquiesces to and kicks against the limitations of his medium.

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