One such "presence" (no doubt the artist's alter ego) seems taken aback at finding itself in this color and light-filled space, and, for once, seems menaced rather than menacing. It is almost as if someone had turned on the light in the dark closet where Dineen's presences had been hanging out. This exhibition ends, not surprisingly, in a surprise, a large triptych filled with the flecks of color fore-shadowed in the earlier drawing. The piece is surely the most profound in either this or last year's shows. The subject matter is clearly Dineen contemplating what is currently going on in Dineen's own art - the reintroduction of color and a much needed breath of fresh air. Two of these seemingly living breathing bimorphic "presences" connected by an unbilical cord, stand before what appear to be three Dineen drawings inn process each covered with a flurry of short impressionistic strokes of pastel color. It begins where the last one left off with a cycle of charcoal drawings in diptych and triptych formats involving gigantic sheets of white paper upon which Dineen's sleek satiny-surfaced and rather threatening biomophic forms continue to disport themselves in virtuous compositions.īut in a drawing which seems to be the climax of this current cyde, a new and welcome richness and complexity of subject matter is introduced. His new show at Wolfe Street Gallery is no exception. Tom Dineen's shows are marked by an extraordinary fact: Each one seems to represent a complete cycle of work in which a challenge is presented taken up and resolved often in a rousing, surprising conclusion. Why? I think that collectors perceive Dineen as being one of the younger Washington artists who have a chance to make it big," says Andre.Īpart from his extraordinary prolificacy and ability to change.
Now, at age 30, and after six solo exhibitions, Dineen has a devoted following of collectors and his shows regularly sell out. But after seeing two of his paintings in a show at the Alexandria Art League, dealer Louis Andre of Wolfe Street Gallery gave him the first of what were to become annual one-man shows. Milwaukee-born artist Tom Dineen was in the army toiling away in the graphic arts section of the Pentagon. See more on his web site, and his gallery site.Seven years ago. Palm Springs Art Museum Riverside Art Museum Santa Paula Art Museum San Diego Art Institute: Baja Biennial Gallery 140, Portland OR Colliding Worlds Gallery, Cathedral City CA ARTCore Brewery Annex, Los Angeles CA Studios Channel Island, Camarillo, CA Woodman/Shimko Gallery, Palm Springs CA Joseph Wise Gallery, Laguna Beach CA Art Resources Gallery, Minneapolis MN Woodman/Shimko Gallery, Provincetown MA Terry prints his photographs on metal and they are available at a reasonable price through his web site. Let yourself sink into the sensations described by the photographs. The sensation of tall grasses feathering over naked flanks. The sense of shadow and light dappling skin. The struggle of the naked body against the elements of heat and sand and snow. Here in his gallery, Earth, the culmination of his meditations on the elements reveals itself as a sort of photographic poetry. In Terry's two previous galleries here, Wind and Water, he explored the naked male boy in those specific elements. He found this place to be a dichotomy of people: one set basking in a verdant oasis and the other set struggling in a city that was barren and dry. He was immediately taken with his surroundings both geographical and societal. In the Fall of 2009 Terry moved to Palm Springs from Minneapolis. He may have previously directed performers onstage into great configurations and stage pictures, he now collaborates with the four elements: Wind, Water, Earth, and Fire. Terry Hastings discovered photography after years in the theater and performing arts.
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