Read about “Metamemesis”: Metamemesis

Read about the event by Trivu.org: trivu.org/water

Read about Space + Displace:  SPACE and DISPLACE

“Now witness this year’s vibrant iteration of the much-gabbed-about extravaganza, featuring artists from around the world who’ve come together to create four days of dynamic programming, eye candy, and brain fodder, right here in the ATX. Note: The price of admission varies; but, if you can afford it, those fancy VIP tickets are a worthwhile option. Addendum: Terri Thomas is part of this whole shebang, and that alone is reason enough to attend and celebrate.” – The Austin Chronicle

Read about the event in the Austin Chronicle: www.austinchronicle.com/calendar/visual-arts/pop-austin-international-art-show-2020749/

Featured Artist by PopAustin: popaustin.com/2017/11/03/featured-artist-terri-thomas/

Read about the event by Culture Map: austin.culturemap.com/news/arts/10-25-17-pop-austin-returns-and-gives-locals-a-chance-to-collect-international-art/

Artist’s work on Artnet: www.artnet.com/galleries/pop-austin/artist-terri-thomas/

See the installation on IG: instagram.com/p/BbU0qWVFluU/ 

Read about the event by the Austin Chronicle: https://www.austinchronicle.com/calendar/visual-arts/bravadoa-2105209/

Read about Bravadoa, expanded cinema project: Bravadoa

 “The Return: Seed of Life” – painting, sculpture installation. For a Museum of Human Achievement fundraiser, 6 artists were given a 77”L x 24”W x 13.5”H green / bio-degradable casket from the organization, Distinctive Life, to be finished in any fashion and donated back to promote ‘green burials.’ Thomas created two 10 x 12 ft. acrylic, moss and diamond dust paintings for the floor and backdrop of the casket. The two inverse paintings depict perfect geometry of two overlapping circles that symbolize the ‘seed of life.’ The inner and outer casket complete with pillow are covered in the same live moss and diamond dust, with seeds of the same flowers in the displayed white-flowered casket spray, generously dispersed into the mossy bed. The rest of the exhibition floor was lined with a green grass turf. 

Read about the event by Now Playing Austin: www.nowplayingaustin.com/event/good-mourning-tis-of-thee/

“She” fetal skull made of cremation ash and bone.

“Shell (self-portrait) Life/death mask made of plaster, skin, eyelashes.

Read the John Paul Rosenberg press release: John Paul Rosenberg_ press release

Read the review by Glasstire: John Paul Rosenberg Review by Glasstire

Read the Essay for JPR’s catalog: Rosenberg Essay

“Art in the City Presents: A Curated View of Art City Austin 2017… Mixed media assemblages by John Paul Rosenberg at Co-Lab Projects”

Read about the event by HiConcept Magazine: hiconceptmag.com/austinart-cityart/

Read about the event by Austin Way Magazine: austinway.com/POP-Austins-SXSW-Art-Hang

See Tweet by Umlauf Curator: twitter.com/UMLAUFCurator/status/800115166373285888

See published images by Rich Meritt for the Austin Art Alliance

https://www.facebook.com/ArtAllianceAustin/photos/a.1370919636254312.1073741838.169091703103784/1370925409587068/?type=3&theater

https://www.facebook.com/ArtAllianceAustin/photos/a.1370919636254312.1073741838.169091703103784/1370920202920922/?type=3&theater

See published images by the Austin Statesman, Ricardo B. Brazziell

Solo Exhibition

read the review by Rad Austin Magazine
“As the fantasy continued throughout the venue, viewers were taken from surrealism to a more erotic state with Terri Thomas’ work. Front and center featured a embossed panther titled, Ebony (Big Black Powerful Pussy) with over 54, 720 Swarovski crystal covering the creature. The erotic theme hit a climax with one of the most talked about installations, The Shane & Sia Room. Decked out with an old, hand-me-down recliner, sexy calendar, a dirty ashtray and boobie lamp the additional props, such as an open jar of Vaseline and tissue referred to Thomas’ investigation into beauty, femininity, sexuality, and mortality. Building upon clever references to art, Thomas draws upon her extensive experience in the fashion industry as point of departure and questions the commodification of desire and industry set standards of beauty.” – Rad Austin Magazine

Read the Review in interview with Field’s Magazine – “I had so much fun at ARTBASH partying with exhibiting artists like Terri Thomas, Sarah Stevens, Rebecca Marino, Alyssa Taylor Wendt and … Elizabeth McDonald, my face still hurts from smiling so much—and I feel like I have just as much cerebral art to think about than if I’d been through a formal museum space.” – curator Seth Orion Schwaiger  http://www.fieldsmagazine.com/blog/highlights-from-the-first-annual-artbash/

Read the Review by interview with AM/FM Magazine with Austin Art Alliance – “The exhibition is loosely based around dreams as a point-of-departure for artists and curators. The theme allows artists the freedom to explore a variety of themes, some darker, others erotic, and still others surreal…. We’re excited to present established Austin artists like Terri Thomas and Bob Schneider alongside emerging Texas artists….”  http://www.amfm-magazine.com/art-alliance-austin-annouces-participating-artists-for-first-inaugural-artbash-nov-7/

Read about the event by Glasstire: glasstire.com/events/2015/11/12/just-some-me-time/

view the e-book “the giving bunny” on youtube

listen to album samples ”Bunn Bunn’s Greatest Hits” on youtube

“…the parody is an attempt to create a very accessible example of  how there are many faces in the life of an object. The parody keeps the original story intact, thereby redirecting the focus from the parody back to its original… to invite the reader to re-evaluate any artistic/ literary object or film in our current context of social movements, social change and social relations” – the author.

read the interview Detroit Metro Times, “Terri Thomas makes her hometown Detroit Debut”

read the review The Austin Chronicle

“After regrouping in the studio of sensationalist artist Terri Thomas, whose space they filled to the brim, Pesanti led a brief Q&A with Thomas, in which she explained the conceptual foundations of her sexually charged paintings, sculpture, and video, and how her professional history in the fashion industry and her life as an identical twin anchors her work to ideas of perfection and duality. After a few questions from her audience, Thomas took the group to the psuedo-secret Museum of Human Achievement, whose mock IKEA exhibition showcases hundreds of works from a large selection of artists. Thomas created a “dinning room set” for the show, complete with a life-sized, jewel-covered panther sculpture lounging atop the table…” – Austin Chronicle

AHOM Collaboration: Dining Room by Terri Thomas. Mural by Daniel Hipolito. Caustic Chandelier by Clay Odom, Sean ONeil, Zac Traegar and Terri Thomas.

Museum of Human Achievement wins the Austin Critic’s Table Award for Best Work of Art/Independent Public Project for the collaborative project titled, “AHOM.”

press release for “Tap the Glass” by the Museum of Human Achievement

Solo Exhibition

read the review by Art & Arnold

“There was a sudden gasp from someone in the audience that punctuated the tentative air that enveloped us. -And then, all hell broke loose- Instead of standing there like one o’clock half struck with the occasional murmurings of nervous laughter, the crowd erupted into an art-grab orgy as people moshed their way towards the paintings, grabbing and tearing at what they could. But there was not one shred of hostility, or negativity between us.” – Art & Arnold

read the interview with the Austin Chronicle’s Andy Campbell

“Collaboration is a gift for this provocative artist. In “The Gift: Imagination and the Erotic Life of Property” Lewis Hyde ruminates on his local drugstore’s ever-rotating display of dime-a-dozen romance novels, asking: “Why do we suspect that Silhouette Romances will not be enduring works of art?” He answers that romance novels are bought and sold in the market economy, and art, in contrast, belongs to the gift economy. If this seems Pollyanna-ish (because, aren’t works of art bought and sold all the time? Sure.), Hyde’s thesis is evident in the art of Terri Thomas. For her current Canopy exhibition, Thomas riffs off the form of the pillow book – originally an 11th century Japanese literary conceit – drawing out its pornotopic dimensions. Titled “Pillow Book as Inheritance,” the installation is a culmination of years of work, which will, upon closing, become part of Hyde’s preferred economic system. We talked in Thomas’ studio, a few doors down from the Canopy gallery….” – interview with Andy Campbell

read the interview with the Austin Chronicle and the Arts Daily

“While the work in this current series may be laden with less important autobiographical narratives, my use of my own image is purely reference material. It is not meant to communicate my personal identity or be about me. In my art talk, I mentioned that my recent work heavily relies on strategies, such as artifice, digital inversion, the mask, masquerade (painting in wigs, props, childlike sexual codes of dress, tapestries, that signify “this is a stage”) or a hybridization (combining a likeness of my face with appropriated images of porn or consumer imagery), etc. This pretense or concealment is intended to convey that these representations are not about personal identity or my being at the center of attention, but rather the performance of identity, gender, or pleasure, etc. in order to make commentary, inquiry, or act as a mirror within this loaded representational structure….” -the artist

read the review by Joseph Bravo

“Thomas’ work challenges harsh distinctions in aesthetic dogmas. Her artwork defies easy categorization. It is neither modern nor traditional; it is both figurative and conceptual. The artist refers to historicism but eschews any sense of anachronism. Her artwork is aware of pinup illustration but challenges its conventions. Thomas’ imagery and use of materials both invokes pop culture’s glamor but simultaneously mocks its fatuousness. The artwork can at once be viscerally pornographic yet militantly feminist. Through her artwork, Thomas questions the sufficiency of the culture’s social mechanisms of information transmission including how the ideas of taboo, political correctness, shame, rhetorical obfuscation and masculine heteronormative pornography complicate, corrupt and confound the inter-generational transmission of sexual knowledge. In order to explore these issues, her work strides painting, sculpture and performance.” – Joseph Bravo

read the review by Art & Arnold

“From the outset, I was not quite sure how to engage this show. A combination of found glass objects, paintings, sequin suit wearing cats on the prowl, and the bust of a large peacock greet the viewer in a glittering menagerie with overt symbols of feminine sexuality. Beyond the painted imagery of partially erotic female nudes, and an open labia, dildos are hiding the crystal sandbox, and some of the glass objects are clearly intimating more than just an aesthetically pleasing thing to look at. But this is not another one of those post-feminist shows that overtly praise the vagina and castrate the penis. Instead, the artist claims that the work meditates from a personal vantage on concerns of duality, subject-hood and object-hood, coupled with societal ambivalences and contradictions regarding feminine sexuality….” – Art & Arnold

read the review “Portraits of Desire” by Chicago’s South Side Weekly

read the press release by NY ART BEAT
read the interview with FlagArt Foundation founder, Glenn Fuhrman – “Buy What You Love”
“Austin-based artist Terri Thomas is also someone whose art is in our collection”

Read the Review by the New York Daily News : www.nydailynews.com

Solo Exhibition

read the review by Chelsea’s ‘Rambling Rose’

read the review by Artlifenyc

Additional GROUP exhibits with Lyons Wier Gallery in Chelsea, New York,  include:

Press release for the “Here and Now – Inaugural Exhibition”

Press release for “Beast” group sculpture exhibition

Press release for “Endless Summer” exhibition

Press release for “24/7” group exhibition

re-title announcement Torrance Art Museum

“I think it’s a really good thing that you paint yourself” – in conversation with artist, Chuck Close

“AC: Where there any reoccurring themes?
MD: Oh yes! Artists positioning themselves against the world, such as Terri Thomas’ outrageous paintings of herself nude with gigantic glittered peacocks…” – Michael Duncan

 

Solo Exhibition

read the review by Joseph Bravo
“Thomas’ artworks are immediate and attainable, they are rich in iconography but not so esoteric as to be obtuse. Thomas’ paintings and sculptures are indeed simultaneously appealing and appalling and mesmerize viewers who feel a little embarrassed for looking so closely at images similar to those more conventionally viewed in private. But Thomas is not embarrassed and frankly reveals herself and, in so doing, unveils things about the society in which we live and the secret life of the individual in the context of the cognitive dissonance produced by normative expectations….” – Joseph Bravo

Solo Exhibition

read the review with Cantanker Magazine’s Debra Broz

Solo Exhibition

read the press release for Fete Bucolique

“This show has caused quite a buzz. Are the paintings too crude? Maybe they’re just in bad taste? You decide!” – Glasstire

Solo Exhibition

JMH: Your exhibition is conceived on multiple levels. The individual works stand alone, but there are permutations in series. And then there is an overall installation strategy of different positions relating to similar themes. In that sense, the exhibition itself might be viewed as an installation work. It’s a lot to take in! What clues can you give for finding meaning in the whole? And is this important? ….

Solo Exhibition

Solo Exhibition

read the review by MrMichaelMe
“She seems to have chosen the varied media to fit a different goal in each series. Be it the digital manipulations that transformed the artist’s face into Barbie, Gwen Stefani or Angelina Jolie a la airbrushed magazine covers, or the deteriorating feel of the work in the smaller space in which Thomas used ground up water-based medium on oil. The perfect compliment to the later was the mini video piece which was a close up of maggots. Within the context of the whole show it was maybe the most beautiful if not disgusting piece in Volitant. I was quite fond of the untitled found object installation of refurbished chairs and photos of said chairs. Thomas refers to the them in this show’s literature as being “objects with an erased history” tying it into the show’s theme….” -Michael Anthony Garcia

Solo Exhibition

read the review by Yazmine Fazelina and Bijal Mehta
“Survival of the Prettiest” opened the gallery very well. It was easy to see what direction she was going with the “barbie-esque” images… but further into the gallery her works became more abstract, giving me as the viewer a lot of room for interpretation. In the end I was very amazed not just at the works but how thematically everything fit together. The gallery provoked not just thought but also self-reflection, which I really enjoyed….”

Press Release ConnerSmith Gallery

read the review by DC Artnews “Thinking About Art”
“Terri Thomas offers a garnish but technically accomplished variation on the famous Annie Leibovitz photograph of John and Yoko.  Limned in eye-popping, solarized green, pink and blue.” – Louis Jacobson with the Washington City Paper