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Chicago Tribune Review by Alan Artner.
Dominick Di Meo’s ghostly surrealism stands apart
[By Alan G. Artner, Tribune Art Critic. Published June 13, 2008]
It has been a long time since Dominick Di Meo had a solo exhibition in Chicago, and the one now at the Corbett vs. Dempsey gallery makes the absence inexplicable. Both in paintings and reliefs, Di Meo’s is strong, personal work that formally and philosophically surpasses much of the celebrated art by the generation that followed his.
ART: REVIEWS
Exhibit highlights Chicago artist Hahn’s winged work from 1950s
[By Alan G. Artner Tribune art critic Published May 27, 2005]
The Corbett vs. Dempsey gallery is dedicated to the big picture of art in Chicago during the 20th Century by rediscovering figures who have not been accorded places in our few written histories.
Several of the artists died in oblivion and are in the process of exhumation. But Walter Hahn, the primary interest in a current three-person exhibition, is very much alive, pursuing long-held involvement with Asian culture and making collages he has yet to show.
Musical Canvases
Musicians trade the music stand for an easel in ‘Eye & Ear’ exhibition
[By Howard Reich Tribune arts critic Published January 12, 2005]
Practically since the dawn of jazz, great musicians have riffed freely in the world of visual art, bringing unmistakable spontaneity to another realm.
Trumpeter Louis Armstrong created exuberant collages made from images he snipped out of magazines and newspapers. Composer-pianist George Gershwin achieved intriguing textures in his oil portraits (and self-portraits). And clarinetist Pee Wee Russell expressed as much whimsy in his abstract paintings as he had in his solos on the bandstand.
On Exhibit:
overlooked art over Dusty Groove
[By Cara Jepsen for the Chicago Reader Published September 10, 2004 ]
Last year painter Jim Dempsey was helping his friend John Corbett transport some paintings for a retrospective on Chicago-based artist Tristan Meinecke when they got to talking about Briggs Dyer. The artist and School of the Art Institute professor was a favorite of Meinecke's, who credited him as a major influence. Meinecke's wife had told Corbett that Dyer's widow was going to auction off some of his work, and the pair wondered if they could get a look at the paintings before they were sold. "People take these paintings to these dinky county auctions, and they're being scattered to the wind," says Corbett, who teaches sound, exhibition studies, and art history at SAIC. "No one keeps track of where they go, and there's no way to research them."