Dominick Di Meo Good Night, Good Mourning

Sept. 5, 2014 - Oct. 11, 2014

Main Gallery

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Dominick Di Meo


Untitled
c. 1980
Polyform and acrylic on polymer-coated canvas and wire mesh
21 x 12 1/2 x 5 1/2 inches


Dominick Di Meo

Crypt with Arch
c. 1974
Polyform, polymer, and acrylic on canvas
31 x 24 inches

Dominick Di Meo

Figure Landscape with Echo
c. 1974
Polyform, polymer, and acrylic on canvas
31 x 24 inches

Dominick Di Meo

Grey Earthworks
c. 1974
Polyform, polymer, and acrylic on canvas
30 1/4 x 24 inches

Dominick Di Meo

Mirage
c. 1974
Polyform, polymer, and acrylic on canvas
30 x 24 inches

Dominick Di Meo

Enigma
c. 1974
Polyform, polymer, and acrylic on canvas
30 x 24 inches

Installation view

Installation view

Dominick Di Meo

Untitled
1975
Polyform, polymer, and acrylic on canvas
48 x 44 x 3 inches
signed on reverse

Dominick Di Meo

Study for ‘A Monument’ #4
1979
Polyform and acrylic on polymer-coated canvas and wire mesh
9 x 16 1/2 x 9 1/2 inches
signed on bottom

Installation view

Dominick Di Meo

Good Night, Good Mourning
1982
Polyform and acrylic on polymer-coated canvas and wire mesh
29 x 37 x 7 inches
signed on reverse

Dominick Di Meo

Commemorative Ground Cover
1973
Polyform, polymer and acrylic on canvas
36 x 30 1/2 x 3 inches
signed on reverse

Dominick Di Meo

Untitled
c. 1978
Polyform and acrylic on polymer-coated canvas and wire mesh
14 1/4 x 10 1/4 x 1 inch
signed and titled on reverse

Dominick Di Meo

Untitled
1979
Polyform and acrylic on polymer-coated canvas and wire mesh
19 x 7 x 11 inches
signed on reverse

Installation view

Dominick Di Meo

Study for ‘A Monument’ #7
1979
Polyform and acrylic on polymer-coated canvas and wire mesh
9 x 16 1/2 x 10 1/2 inches
signed on bottom

Dominick Di Meo

Elements for a Monument
c. 1981
Polyform, wire, acrylic, and acrylic transfer on wood
15 x 4 x 6 inches
signed on bottom

Dominick Di Meo

Elements for a Monument
c. 1981
Polyform, wire, acrylic, and acrylic transfer on wood
13 x 4 x 9 inches
signed on bottom

Dominick Di Meo

Untitled
c.1979
Polyform and acrylic on polymer-coated canvas and wire mesh
21 x 11 x 11 inches
signed on bottom

Installation view

Dominick Di Meo

Untitled (Study for ‘A Monument’)
c. 1979
Polyform and acrylic on polymer-coated canvas and wire mesh
9 x 17 x 10 inches
signed on bottom

Installation view

Dominick Di Meo

Untitled
c. 1974
Polyform, polymer, transfer and acrylic on canvas
22 x 20 inches
signed on reverse

Installation view with works by Magalie Guerin

Dominick Di Meo

Satie By Moonlight
1966
synthetic with cotton shirt on canvas
50 x 54 inches
signed on reverse

Press Release

Opening Friday, June 20th, 5:00-8:00pm

It is with pleasure that Corbett vs. Dempsey kicks off the Fall season with Good Night, Good Mourning, 1974-1984 , an exhibition of work by Dominick Di Meo.  This is the artist’s third solo show at CvsD.

Di Meo (b. 1927) first emerged as an artist in Chicago during the late 1940s, when he was associated with like-minded figurative expressionists like Leon Golub and George Cohen.  Deeply psychological, Di Meo’s work exhibited a lighter sensibility couched in a morbid exterior.  After he relocated to New York at the end of the 1960s, Di Meo’s playful side came more fully forward, as the work literally grew lighter, from a dark, often black, palette, to a pale, often whitewashed look.  For a decade starting in the mid 1970s, he made an expansive group of works utilizing tiny putty heads, sculpted with open mouths and pinhole eyes, ranging in relief over pock-marked canvases or lined up on 3-dimensional sculptures.  Extending his interest in shrines and fetishes, these sculptures were a new addition to his repertoire, the aggregated little heads lending them a deranged feel, like aghast smiley faces at an Aztec ritual ceremony.  As ever, in these works and associated drawings and paintings, Di Meo is formally resourceful, a master of texture and a ruthless experimenter with materials.  Twenty-two of these works were shown at an exhibition at P.S.1 in New York in 1982, but they have remained otherwise unseen.  This will be their first exhibition in Chicago.

Good Night, Good Mourning, 1974-1984 is accompanied by a 56-page catalog, with a short essay by John Corbett.


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