http://www.damelioterras.com/news.html Recent News from D'amelio Terras en-us Wed, 02 May 2012 08:00:00 EST Wed, 02 May 2012 08:00:00 EST http://www.damelioterras.com/news.xml gallery@damelioterras.com gallery@damelioterras.com http://www.damelioterras.com/news.html?id=827 Jed Caesar's work will be on view at the Museum of Fine Arts Boston in a solo show titled, "Soft Structures." The exhibition will open on December 17th and will be on view through April 1st. For more information, please visit the link below. Sat, 17 Dec 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=827 http://www.damelioterras.com/news.html?id=826 HEATHER ROWE The artist is best known for architectonic installations in which she combines construction materials with shards of mirror, disorienting viewers when they catch slivered glimpses of their reflection. Think Alice, through a menacing looking glass. Here Rowe scales things back in three wall-mounted pieces that are enticing, if comparatively tame. Fragments of a sinuous red frame and mirrored elements overlap to form a jagged wreath. Another work is lined with fake fur, a post-minimalist update of Meret Oppenheim’s teacup. One seemingly bare wall is, on closer inspection, covered in white wallpaper with a pattern of raised dots. Curiouser and curiouser. Through Dec. 23. Sat, 10 Dec 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=826 http://www.damelioterras.com/news.html?id=828 Nicole Cherubini is currently being featured in a group exhibition at BISCHOFF/WEISS gallery in London. "Chain, Chain, Chain," curated by Glenn Adamson, will be on view through January 28, 2012. For more information, please visit the link below.


Nicole Cherubini
White Box 2009
24 x 12 x 12 inches 61 x 30.5 x 30.5 cm
earthenware, glaze
Fri, 25 Nov 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=828 http://www.damelioterras.com/news.html?id=823 Matt Keegan is currently featured in an off-site solo exhibition at Altman Siegel Gallery in San Francisco. "Lengua" will be on view through December 22, 2011. The show will be accompanied by a new artist book titled, "Images are words/Las imagenes son palabras."


Thu, 03 Nov 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=823 http://www.damelioterras.com/news.html?id=825 Polly Apfelbaum is currently being featured in a group show at the Espacio 1414 in Santurce, Puerto Rico. Organized by guest curator Marysol Nieves, "Painting...E X P A N D E D," will exhibit a recent floor installation of artist's titled, "L'A - ZP."


Polly Apfelbaum
L'A - ZP 1994-2011
12 sections: synthetic velvet and dye
99 x 172 inches 251.5 x 436.9 cm



Polly Apfelbaum
L'A - ZP 1994-2011
12 sections: synthetic velvet and dye
99 x 172 inches 251.5 x 436.9 cm
Thu, 03 Nov 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=825 http://www.damelioterras.com/news.html?id=824 Joanne Greenbaum's current exhibition at D'Amelio Terras has been reviewed by John Yau in The Brooklyn Rail. Yau writes: Joanne Greenbaum’s exhibition consists entirely of wildly colored, cacophonous abstract paintings measuring 16 × 12 inches, which are installed salon-style, with some paintings paired and others lined up diagonally, with the bottom left corner of the upper painting nearly touching the top right of the one below. The logic of the installation never became didactic. Rather, the first painting to the left of the entrance is echoed by the first painting on the right, which turned me back into the exhibition. In an interview with Marshall N. Price that is in the exhibition catalogue, the artist states: “I recently made a large body of small paintings (16 × 12 inches) and the act of making these was really movement-oriented, and very involved with the materials in a physical way. I would work on 20 at a time, lining them up and then going around and doing something on each of them that could involve just one thing.” Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template-like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures. When she includes numbers, a note of impending chaos inflects the paintings. It is as if one is looking at a system both in a condition of disarray and decay, a combination of Bruno Taut and Robert Smithson’s crystalline vision in a state of irreversible entropy. Working within a smaller surface area, and in her own words, doing “just one thing” at a time, Greenbaum paints incrementally, adding a new layer upon whatever preceded it. She uses oil and acrylic, as well as magic marker, and doesn’t scrape anything away. In this regard, the paintings are geological, with each layer forming a distinct strata. When the artist applies a linear, schematic structure over a solid form, her work evokes the way Mary Heilmann overlays different forms and structures from her early work. At the same time, the constraint on Greenbaum’s movement has pushed her into a new domain. The paintings are more juiced than her earlier works, more openly and, to my mind, complexly emotional, where frenetic passages of coiling lines are covered over by an obliterating smear of paint. Construction and destruction are as distinct and inseparable as the lovers in Brancusi’s “The Kiss.” Greenbaum’s paintings are a record of their coming into being, with each layer acting as a response to the preceding decision. In this regard, they share something with Frank O’Hara’s lunch poems and his aesthetic of “I do this. I do that.” The strongest ones are fresh and lively, full of unexpected moves and revelations. If I take the poetry analogy further, and compare these paintings to O’Hara’s lunch poems and Ted Berrigan’s The Sonnets, which singlehandedly revitalized a largely dormant form, I get the sense that Greenbaum is determined to extricate the intimately scaled painting from the state of familiarity that had settled over it, and make it new, as her predecessors did, by showing no sign of settling into a style or mode of production. Thomas Nozkowski’s quietly radical project, for one, has long set the standard for intimately scaled abstract painting, as well as made it something to try and master. This is where the 1612 paintings come in. To Greenbaum’s credit, she makes none of the moves we associate with Bill Jensen, Nozkowski, or Chris Martin. She’s neither trying to be old masterish, like Jensen, nor work compositionally, like Nozkowski. Archetypal or symbolic forms don’t seem to hold any attraction for her, as they do for Martin. These modes are not in her temperament, which she recognizes and stays true to. In an age where many artists are trying to do the right thing or make the correct move, Greenbaum has long gone her own way, absorbing a wide range of influences (Heilmann, Jean-Michel Basquiat, and Jean Fautrier, just to name three), while arriving at something that is all her own. Parody and pastiche are nowhere to be found. Instead, she remains indomitable about making something fresh arise out of the ruins. Not something nameable and thereby easily turned into a commodity, but something unnamable and resistant.


Joanne Greenbaum
Untitled 2011
oil, acrylic, mixed media on linen
16 x 12 inches 40.6 x 30.5 cm
Wed, 02 Nov 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=824 http://www.damelioterras.com/news.html?id=822 Tony Feher is currently in a group exhibition at Museo de Los Pintores Oaxaquenos in Mexico. "Me gusta el plastico," curated by Steffen Boddeker and Luis Hampshire, will be on view through November 20, 2011. For more information, please visit the link below.











Sat, 15 Oct 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=822 http://www.damelioterras.com/news.html?id=820 TAMAR HALPERN Halpern’s big, chaotic images are based on black-and-white photographs, but even in the few examples where representation isn’t utterly eclipsed by abstraction, it remains beside the point. Trashed cars, trailing wires, an empty sidewalk, a cat—these things are incidental and, more often than not, grounds for slathered, dripping paint and overprinting. Her use of pink and lavender pigments is far from girlie; the work feels brutal and furious. There are signs here of influences (Sigmar Polke, Christopher Wool) and affinities (Mariah Robertson), but Halpern’s work has an aggressive kick all its own. Through Oct. 15.


Installation View
Mon, 10 Oct 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=820 http://www.damelioterras.com/news.html?id=819 Tamar Halpern's current exhibition at D'Amelio Terras has been reviewed by Nana Asfour in this week's Time Out. Asfour writes: "Working in the vein of other young female artists who mess about with photographic processes (Sara Greenberger Rafferty and Mariah Robertson come to mind), Tamar Halpern creates intricate photo compositions using a dizzying modus operandi of photographing, printing, scanning, digitally altering, splashing, sponging, wiping, taping and printing again. The works she exhibited last year at this same gallery were unruly and unhinged—and eloquent. Her latest efforts evince a more tempered, yet still effective, approach. Her current exhibition includes gelatin silver prints of such banal subjects as a cat, a battered pair flip-flops and a self-portrait of the artist holding a stained piece of cardboard. These are interspersed with larger black-and-white images divided into sections, and smeared with hot pink ink. The latter follow Halpern’s previous disdain for boundaries, as well as her penchant for dense layering, but unlike the artist’s earlier works, which were about vandalizing their source imagery, these latest pieces are too obsequious toward the building-block photograph. The results, while impressive, are less dynamic. (Though oddly, this group’s standout is also the least defaced: a large printout of an inverted car, half doused in runny pink, that’s surprisingly punchy.) Further afield, three 90-by-70 inch panels using a streetscape as their point of departure command an entire wall. The thematic color is magenta, and the results are quite assured. But they are outshone by a more brutally disfigured neighbor—a black print with an orange border, bleached in the middle, as if it had been splattered with acid; it spookily resembles an aged photograph of a ghost. Still, though works like this one may have left me pining for Halpern’s earlier desecrations, her virtuosic experimentations keep the viewer avidly tuned in.


Tamar Halpern
Untitled 2011
Ultrachrome ink on paper
70 x 51 inches 177.8 x 129.5 cm
Tue, 04 Oct 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=819 http://www.damelioterras.com/news.html?id=818 Dario Robleto is one of thirteen artists to be awarded the 2011 Smithsonian’s Artist Research Fellowship. As part of the fellowship, artists are invited to conduct research at Smithsonian museums and facilities for a two month residency program. For more information please see the link below. Tue, 27 Sep 2011 08:00:00 EST http://www.damelioterras.com/news.html?id=818