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Dana Melamed

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Sculptures

Perception of Structure
Perception of Structure (det.)
Perception of Structure (det.)
Reflection on Dynamics
Reflections on Dynamics
Reflections on Dynamics (det)
Reflections on Dynamics
Reflections on Dynamics (det)
Magnitude of Change
Magnitude of Change
Magnitude of Change
Magnitude of Change (det)
Singularity
Singularity (detail)
Eotechnic
Mechanism of Ascent

Perception of Structure
Perception of Structure (det.)
Perception of Structure (det.)
Reflection on Dynamics
Reflections on Dynamics
Reflections on Dynamics (det)
Reflections on Dynamics
Reflections on Dynamics (det)
Magnitude of Change
Magnitude of Change
Magnitude of Change
Magnitude of Change (det)
Singularity
Singularity (detail)
Eotechnic
Mechanism of Ascent

Wall Pieces

Mechanism of Deterioration
Mechanism of Deterioration-det
Under Currents
Under Currents (detail)
Under Currents (detail)
RainShadow
Rain Shadow (detail)
Over shadowed
Over shadowed (detail)
Over shadowed (detail)
Path of Totality
Path of Totality (detail)
Action Replay
Action Replay (detail)
Error in Observation
Error in Observation (detail)
Engine 1
Engine 2.1
Engine 5
Engine 2.2
Engine 2.2 (detail)
Darkest Matter
Darkest Matter (detail)
Darkest Matter (detail)
Darkest Matter (detail)
Post Human
Urban Mechanism
Driven
Temporary Cities

Mechanism of Deterioration
Mechanism of Deterioration-det
Under Currents
Under Currents (detail)
Under Currents (detail)
RainShadow
Rain Shadow (detail)
Over shadowed
Over shadowed (detail)
Over shadowed (detail)
Path of Totality
Path of Totality (detail)
Action Replay
Action Replay (detail)
Error in Observation
Error in Observation (detail)
Engine 1
Engine 2.1
Engine 5
Engine 2.2
Engine 2.2 (detail)
Darkest Matter
Darkest Matter (detail)
Darkest Matter (detail)
Darkest Matter (detail)
Post Human
Urban Mechanism
Driven
Temporary Cities

Installations

At Work

At Work

BIO Dana MelamedBorn in Israel, 1972Lives in New Jersey, works in New YorkSolo Exhibitions2012 - TBA, Durst Organization, Conde` Nast Building, New York, NY2011 - Transforming Voids, Lesley Heller Workspace, LES, New York, NY2010 - Black Tide, Priska C. Juschka Fine Art, New York, NY2008 - Rhetoric of Violence and Trauma, Durst Organization, New York, NY2007 - Into the Vortex, Priska C. Juschka Fine Art, New York, NY2006 - When Dawn Breaks, Priska C. Juschka Fine Art, New York, NYSelected Group Exhibitions2010 Fire Works, curated by Mary Birmingham, Hunterdon Art Museum, Clinton, NJOne Thousand and One Nights: the narrative tradition in contemporary Middle Eastern art, curated by Nancy Einreinhofer, William Paterson University, University Art Galleries, Wayne, NJSkeptical Landscapes, Herter Gallery, University of Massachusetts, Amherst, MA2009Sustainable? Chen Gallery, Central Connecticut State University, New Britain, CT2008183rd Annual Exhibition of contemporary Art, National Academy Museum, New York, NYRemarks on Color, Galerie Baer, Dresden, GermanyFuture Tense: Contemporary Views/Post-Utopian Landscape, Neuberger Museum of Art, Westchester, NYLost Horizon, curated by David Gibson, Herter Gallery, University of Massachusetts, Amherst, MA2006Go North, New Yorker!, Peekskill Project 2006, Hudson Valley Center for Contemporary Art, Peekskill, NYFrames of Mind, The Bernnan Gallery at the Justice William Bernnan Court House, Jersey City, NJ2005New Foundland: an Inagural group show ,Priska Juschka Fine Art, New York, NYSmall Matters of Great Importance, Edward Hopper House, Nyack, NYThe Reasonably Straight Digital Photography show, Old Church Art Center, Demarest, NJCooper Union Residency show, Cooper Union, New York, NY
News

News

Upcoming Exhibitions:201203/01 - 04/01: Solo show at the Durst Organization, Conde` Nast Building, Times Square, New York, NYPress:New York Time (05/31/08)Todays Landscapes, Tomorrows DystopiaBy BENJAMIN GENOCCHIOThere are a lot of ways to depict the landscape. You can faithfully reproduce what you see; you can improvise, painting in an impromptu manner without prior preparation or thought; or you can imagine a fictional space. All of these options are sampled in Future Tense: Reshaping the Landscape, the Neuberger Museum of Arts behemoth of a summer painting show....... The theme of Mr. Cvijanovics painting the vulnerability of the planet to climate change is echoed throughout the show, though most obviously in paintings by Dana Melamed"New York Times (05/30/08)Where have all the paintings gone? To the National Academy"Original, boundary-breaking concepts are scarce, but interesting and varied techniques abound. Sungmi Lee tints clear plexiglass with incense smoke, producing a black plume that seems to dissolve into the wall. Dana Melamed creates three-dimensional cityscapes on paper by dipping film-printing waste into acrylic and glue, melting it with a torch and incising it with a razor".Westchester.com (04/21/08)Dana Melamed has always been fascinated with the development of the city from an architectural, historical, social and political point of view. "Indeed, some pieces are built out of numerous cells that grow into an organic form, which symbolize an ever-developing metropolis, she explains. The urban experience serves as a trigger and a framework for the emotional turmoil that she sets forth with her fierce and impulsive practice. Melamed uses a blowtorch to scar and shred the surface of her dense drawings. A post-human world in which fires, earthquakes, floods, hurricanes or acts of human aggression are evident create a tension between calamitous episodes and the need to rewrite our structural pattern". Art Review Magazine issue #19 (02/01/08)"With her new series of heavily worked drawings at Priska Juschka, which incorporates the leftover trailings of letraset stancils or transperancy film and printing waste to create urban scenes taht echo Piranesi's Carceri (1745). Melamed's gesture is not quite as clean or conceptually driven as Guyton's, but the experimentation is genuine and the thought fully developed". Jonathan T.D. NeilBeautiful Decay (11/08/07)By Yaelle AmirThe black and white collages on view in Dana Melamed's solo exhibition "Into the Vortex," display various manifestations of powerful emotions that tug at the surface, sprawl out onto the wall, and jut out towards the viewer--charging the gallery space with a violent and tumultuous atmosphereChelsea Now review (11/23/2007)By JEFFREY CYPHERS WRIGHT "Always in style, black and white conjures the domains of memory and morality. Dotted here and there throughout the warrens and causeways of Chelsea, some examples stand out this month... The places Dana Melamed depicts are urban labyrinths where nothing remains but the evidence of humans and smoky, roiling skies. Post-Human is the title of one ruinscape. Yet a Victorian charm remains as if they are spooky illustrations for a childrens book, teasing us with the hope of turning back the page.These collages are composed of three items: transparency film printing waste, acrylic ink and charcoal on paper. Theyre a little bit of a cross between a Durer etching and a Piranesi architectural drawing of an imagined space with a delightful flurry of expressionism thrown in. The use of transparencies, a blowtorch and a razor, melds the materials together in a way that uncomfortably suggests decay and deterioration. A city perches on a rise in When the Sky Turns Gray. White lattices dissect the rhythmic rows of structures. Clumped together and rising above the surface, these shreds read as abandoned conduits or arteries that once serviced the high-rises and factories. Telephone wires, wheels, valves, barrels, crates, pipes, train tracks, trestles and catwalks clutter a chaotically orchestrated view. Using the rectangles of windows and corners beside the circles of smokestacks and vats, Melamed stirs up a cauldron of receding passages. A geometric lexicon gives way to a brew of bilious, unsettling clouds that presses down overall.In Passages, the most lyrical piece, buildings squat on a shoreline polluted with shades of brown. Above it, vaults lead back into a Dickensian space that beckons and yet warns. Its as if history is on top of us, tempting us to make different choices, yet it is too late. Or is it? The quaint shapes offset the wasteland. And more so, the expanse of animated cumulous forms spills romantically across the whole top half.Melameds intriguing technique serves up a range of evocative textures and emotional responses. Glossy blackness is permeated with tiny bubbles and dots. Scratchy ink marks cascade over a cartoon bleakness. Where is Batman?Melameds tone can alternate between perfidy, nostalgia and foreboding, but regardless, she always offers a compelling, narrative sweep."
Links

LINKS

Lesley Heller Workspace54 Orchard st, New York, NY "Darkest Matter" art piece video tourArtists at Work BlogVisual journal of artists at their studiosShaq Photography, Commercial Photography ServicesProfessional photography services geared towards artists, galleries and museums. From art reproductions and artists' headshots to event coverage, such as show openings and award presentations. Special prices for art schools and students.
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