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Inspired by Max Ernst’s collage novels, Wood began making photocollages in high school. He continues to do so today. He held his first one-man show in Cleveland in 1966 where he also showed in traveling exhibitions of the Cleveland Museum of Art. During the 1970s and 1980s he exhibited with some regularity, in the North Carolina Museum of Art, Wake County annuals, and local Raleigh galleries. In 1985, in conjunction with a show at the College of Design at NCSU, he explained his practice in a lecture, Ce n’est pas la colle qui fait le collage.



Beginning in college and continuing through graduate school, Wood was variously a laborer, oiler, and larry car operator on the Upper Docks of what in the 1960s and 1970s was Republic Steel's sprawling Cleveland plant. Wood was romanced by the work and seduced by the 1000-ton hulett that unloaded the Great Lakes ore boats. Wood began making oil collages, later watercolors, and, inspired this time by Max Ernst’s frottage work, rubbings. Mounted at the College of Design in 1983, Wood’s The Upper Dock was a three-channel synchronized narrated slide show of photographs, watercolors, and oil collages. In 2004 he produced The Upper Dock in which the text to which the 1983 slide show had been synchronized was accompanied by selected watercolors and rubbings. It was xerographically reproduced in an edition limited to 35 copies. He continues to paint watercolors of the dock and make rubbings.

 

Click on the images below to enter the galleries.
You can enlarge any image in the following galleries by
clicking on it.

     
One man shows
 
  Malmquist and Wood Galleries, Cleveland Ohio, 1966
  Clark University, Worcester, Massachusetts, 1971
  Hager, Smith and Huffman, Raleigh, North Carolina, 1984
  Brooks Hall Gallery, North Carolina State University, Raleigh, 1985
  Municipal Building Art Exhibitions, Raleigh, 1986
     
Group exhibitions
 
  39th Traveling Exhibition of Works by Artists of the Western Reserve, Cleveland Museum of Art, 1966-67
  40th Traveling Exhibition of Works by Artists of the Western Reserve, Cleveland Museum of Art, 1967-68
  Park Synagogue Art Festival, Cleveland Heights, 1971
  Worcester Art Museum Sales and Rental Gallery, 1972
  41st North Carolina Artists Exhibition, North Carolina Museum of Art, 1979
  North Carolina Artists Traveling Exhibition, North Carolina Museum of Art, 1979-80
  Annual Wake County Artists Exhibition, Raleigh, North Carolina, 1981
  Annual Wake County Artists Exhibition, Raleigh, North Carolina, 1982
  Seventh Annual Wake County Artists Exhibition, Raleigh, North Carolina, 1985
  TROUBLE SHOOTING gun violence, Hodges Taylor Gallery, Charlotte, North Carolina, 2000 (photograph)
  The World According to the Newest and Most Exact Observations: Mapping Art and Science, Tang Teaching Museum, Skidmore College, Saratoga Springs, NY, 2001 (portfolio of maps from the Boylan Heights Atlas Project)
  Mapquest, PS 122 Gallery, New York, 2006 (issue of Cartographic Perspectives that I edited and in which I had an article and a catalogue of map artists)
       
As performer
 
  un/Acceptable, Lump Gallery, Raleigh, North Carolina, 1999
   
Bibliography
 
  “New Shows,” The Plain Dealer, May 22, 1966
  “New Shows Feature Local Artists,” Cleveland Press, May 22, 1966 (reproduces the collage "Diana in Siberia")
  Merkle, Katherine, "The Brothers Wood,” Fine Arts, May 29, 1966 (reproduces the collage “Loose Gravel”)
  “Adja on the Unknown Shore,” reproduced to illustrate Adja Yunkers, Utah Museum of Fine Arts, 1968
  “John Wayne in Heaven,” reproduced in Worcester Telegram, May 19, 1971
  “What Are the Wild Waves Saying, Baby?” reproduced in The Windhover, 1983
  Romero, Rubel, “Magic Realities,” The Spectator, February 21, 1985
  Toler, L. J., “Out of the Ordinary,” Raleigh Times, July 12, 1986 (reproduces, cover, Act II, “By Family a Rose, a Birch by Ancient Rumor,” and illustrating text, “Pommes de Mer”)
  Halperen, Max, “Stigma and Enigma: Lump gallery displays contemporary works that tease our notion of the deviant vs. The acceptable,” The News and Observer, December 10, 1999
  Bender, Susan and Ian Berry et al., The World According to the Newest and Most Exact Observations: Mapping Art and Science, Tang Teaching Museum, Skidmore College, Saratoga Springs, NY, 2001, pp. 80-81 et passim (discusses and reproduces four maps from the Boylan Heights atlas project)
  Two Lines, a journal of translation: Power, 2004 (uses an image from the Boylan Heights atlas project on its cover)
  Harmon, Katherine, ed., You Are Here: Personal Geographies and Other Maps of the Imagination, Princeton Architectural Press, New York, 2004, with a brief essay by me called “Two Maps of Boylan Heights,” pp. 104-107, illustrated by three maps by me from the Boylan Heights atlas project, correctly oriented in the second and third printings
  Robertson, Jean, and Craig McDaniel, Themes of Contemporary Art: Visual Art after 1980, Oxford University Press, New York, 2005, pp. 79-80 (discusses and reproduces a map from the Boylan Heights atlas project); Second Edition, 2009
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© Denis Wood 2010 - 2013