Twelve artists show what they've been cultivating at the D'Amelio Terras Gallery's summer group show.
By ROBIN EISGRAU
Works by 12 of the artists who call this Chelsea gallery home are on
display at D'Amelio Terras Gallery through July 27 and each artist's contribution provokes thought
and acts as an aesthetic brain teaser.
Immediately to the left as you enter
the gallery's airy space are four convasses by Joanne Greenbaum. On these
canvasses are orange shapes that echo building fragments. There's a
scattering of bricks here, steps going up and down there, along with round
shapes and cubes forming an overall abstract sketch of architecture.
|D'AMELIO TERRAS SUMMER SHOW|
|Exhibition: D'Amelio Terras summer show.|
Paintings, installation by: Polly Apfelbaum, Erica Baum, Martin Eder, Tony Feher, Joanne Greenbaum, Glenn Ligon, John Morris, Rika Noguchi, Damian Ortega, Miguel Rio Branco, Joe Scanlan, Yoshihiro Suda.
|D'Amelio Terras Gallery
525 West 22nd St.
Through July 27
On a nearby wall, Erika Baum frames single words followed by groups of numbers
a la indexes in the back of books. Reading the words staircases, slow motion, silk, shoulders, flying, gesture, falling, flesh, flower and
mud forms a visual narrative in your mind as your eyes travel up and down
the wall from frame to frame.
Next to that is Tony Feher's totem of plastic
soda bottles. The bottles all have small amounts of water in them and are
tethered to a long chain hanging from the ceiling and bring to mind a large
bunch of plastic bananas. Next to that are photos by Rika Noguchi of
industrial sites. The workers in these photos are small white-helmeted
figures against manmade landscapes and there's lots of sky in the pictures.
On the wall next door are Joe Scanlon's DeStijl-like wooden structures.
These objects look like puzzles without pictures. Included among the wood
cutouts are pieces colored robin's-egg blue. On the next wall are Martin
Eder's watercolors of young women, kittens, bunnies, puppies and a duck and
horse. These fuzzy, brightly colored watercolors have a slight menace under
the dreamlike prettiness of the subject matter.|
On the floor are Polly
Apfelbaum's rolled-up and dyed bolts of fabric named after bones. On the
wall opposite are Glenn Ligon's ten lithographs describing the artist as if
he were a runaway slave. The descriptions are lighthearted and witty in
tone. Lastly, Damian Ortega contributes four large, color photos of plants
growing through cracks in the sidewalk, expressing the power of nature
against the manmade world. Like all good group shows, this one may make you
want to see more works by the individual artists.
|JULY 16, 2001|
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