• 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.