Dario Robleto: D'amelio Terras

By Richard, Frances | Artforum International, November 2006 | Go to article overview

Dario Robleto: D'amelio Terras


Richard, Frances, Artforum International


Dario Robleto's sculptures are reliquaries, totems whose power derives from the authenticity of the stuff of which they are made. He has, for example, cast a male rib from female-rib dust, and presented a pair of interlocking pelvises formed from melted-down rock-'n'-roll albums that belonged to his father and mother. His recent show "Fear and Tenderness in Men" was the artist's first solo exhibition in New York. Coming as a coda to an ongoing project begun in 2003, it dealt with soldiers' relics and survivors' mourning rituals. Installed against walls the color of dried blood, the seventeen small assemblages telegraphed an elegiac, faux-nineteenth-century mood. They had obviously been molded from found bits and pieces and looked like skillfully made but macabre craft projects. But the works did not testify overtly to their material sources; it took a perusal of the checklist--in effect a work in its own right--to connect the homespun sculptures to the dreamlike realness Robleto investigates.

Gathered from specialist collectors, the seventeen works center on American Civil War and First World War memorabilia. Robleto combines these with mineral, botanical, and occasionally artificial additives, which are then melted, ground, macerated, stitched, carved, and otherwise transmogrified. The gorgeously suggestive checklist comprises what Robleto calls his "liner notes." As in any conceptual practice, language here stands in for operations and values that the viewer cannot see. Robleto reports, in fact, that before he envisions an object or image, he settles on the words--not only catalogues of ingredients, but titles and backstories--that will frame it. He also consistently situates his work in the context of turntablists' sampling and alchemists' transformations. Robleto believes in the transmigration of elemental energies; what if matter really can soak up touch and intention, retaining it regardless of outward form? It's an appealing if fantastical proposition. The problem is that the reconstituted objects--in this show, at least--are ultimately less compelling than the mysterious, labor-intensive processes that reportedly went into making them. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Dario Robleto: D'amelio Terras
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.