LAINA TERPSTRA

Education

Graduated from Sarah Lawrence College, Bronxville, NY May 2013.

Coursework in Painting at Sarah Lawrence College, UC Berkely, SF Art Institute, and the Glasgow School of Art, Scotland

Exhibitions

  • 2010 Barbara Walters Gallery, Sarah Lawrence College, Bronxville, NY
  • 2011 Tic Tac Toe. AMO Studios, Brooklyn, NY
  • 2012 Anexact Geometries. AMO Studios, Brooklyn, NY
  • 2012 Grace + Clark Fyfe Gallery, Glasgow School of Art, Glasgow, Scotland
  • 2013 Distraction. Gallery 60SIX, San Francisco, CA
  • 2014 Chromoscope. Holographic Center for the Arts, Queens, NY
  • 2014 99cent Plus Gallery. Brooklyn, NY
  • 2014 Laina Terpstra and Rebecca Manson. 99cent Plus Gallery. Brooklyn, NY
  • 2015 Younger Than George. George Lawson Gallery. San Francisco, CA
  • 2015 Art Olympia 2015 Finalist Exhibition. Tokyo, Japan
  • 2017 George Lawson Gallery. Laina Terpstra: Departures. SF, CA ( 1st Solo with George Lawson: Sept 23rd through Oct 28th)
  • 2018 The East Cut Art Fair. SF, CA (Jan 12th - 14th)

Awards

Finalist in the Art Olympia 2015 International Art Competition. 'Jan Steen Interior' was exhibited at the final exhibition in Tokyo, June 13th 2015.

Press

  • Sarah Lawrence Visual Art Review, 2012
  • 7x7SF, "Four Exceptional Gallery Exhibitions to Visit," 2013     View Here
  • Sarah Lawrence Visual Art Review, 2013
  • "Arts in Bushwick, BOS Studio Visit: Laina Terpstra" 2013     View Here
  • "List of Young Painters: 200 artists of unusual promise, b. 1987 or younger" 2016     View Review Here
  • "Laina Terpstra and Tama Hochbaum" by DeWitt Cheng. 2017     View Review Here
 

Writing for The Drawing Center

 

Excerpt from DeWitt Cheng's review of "Departures" at George Lawson Gallery...

Two artists look at the great mystery, time, through painting and photography in this provocative curatorial matchup. Laina Terpstra’s small to mid-sized oils on canvas at first appear to be elegant., curvilinear abstractions in muted palettes of brown, ocher, black and white. But it soon becomes clear that they represent the motions of absent actors, like the blurs in long-exposure photographs. Motion became a subject for artistic interpretation at the dawn of modernism with the influence of film. The most famous example would be Duchamp’s 1912 “Nude Descending a Staircase,” but also in the running would be the lesser-known but equally memorable contemporaneous oil by the Futurist Giacomo Balla, “Dynamism of a Dog on a Leash,” with lady and pet dachshund endowed with a panoply of rotating legs, as if photographed under strobe lighting.

Terpstra joins this witty tradition by making works — all visually satisfying by themselves — as variants or homages to Old Master paintings by Pieter de Hooch, Jan Steen, Jacques Louis David, and, the master of tenebrism, Caravaggio. If the monochromatic “Room of Resistance” suggests, with its ectoplasmic white veils floating in darkness, Max Ernst’s grattages set into an Odilon Redon noir, “From Caravaggio’s Seven Acts of Mercy” seems to depict the swirling Baroque draperies of that painting minus the actors of the sacred drama. Raptured to a better place? Don’t miss the small and large versions of “From Pieter de Hooch’s Man With Dead Birds and Other Figures in a Stable,” compelling mashups of Old-Master gravitas and modernist abstraction: postmodernism worth its salt — and, wonderful to relate that such contrapuntal pairings can be done! — worth hanging with the originals.

     

Contact: lainaterpstra@gmail.com
Instagram: @l_terpstra