Reviews

"...One has to walk into a room where the wedding dress sculpture created by Ms. N. Giulini visually dominates the space where it stands in order to experience the full, very profound and disturbing effect of its impact; to truly comprehend the magnitude of this achievement...There is meaning in this sculpture that says all of our ideas about relationships must be reviewed if they are to ever succeed. What we bring to each other is not some fairy tale filled with freshly scrubbed chastity but, rather, our true humanity, vulnerable, tender, often soiled, occasionally discarded and refound, but always filled with our own material...See this piece if it is anywhere near you..."
......from Year of Dog, 21: 4: 97


"...In another work, titled Artist's Statement, Giulini has push-pinned dozens of rubber bands to the wall. Arranged in the form of a text block, the five rows of sagging ellipses take on the quality of coded writing in a greeked alphabet, which gives us the form of language but not its content. It is indeed an artist's statement. A delicate balance between concept and materials. An elegant recitation of the artist's classic admonition about the inadequacy of language to yield full meaning. With syllables comprised of only form and color, it spells out the mantra of no content--Let The Work Stand For Itself..."
......Jake Seniuk in "On Center," publication of the Port Angeles Fine Arts Center, vol 1X, No. 5, 1997


"
...the most extraordinary work is by Giulini, who fabricates giant brown carnival figures like medieval mummers or Miro's Ubu Roi characters from layers of fungal skin. She cultivates this in her backyard, shapes, dries and varnishes it before stitching it together..."
......Japan Times, April 13, 1997


"...Cross the threshold of Gallery One and you encounter Nöle Giulini's Wedding Dress, a gender-neutral sculpture constructed from recycled men's and women's undergarments. Hardly a patchwork that conjures up the traditional lace-curtain circus, these off-white undies have been through the wringer (they're hand-me-downs appropriated from friends and thrift shops)...And while it may be OK for us to air--or even wear--our dirty laundry in Madonna-or-Oprah-land, Giulini's figure takes you under (literally) to deeper, less free-spirited, less--for most of the world's women--free territory..."
......San Francisco Bay Guardian, March 9, 1994

"...I do admire Nöle Giulini's sculpture. Along one wall, she has a row of untitled puppets made of discarded underwear on wire armatures. A kind of sexual joke winks in the idea of underwear rising to perform on its own. These ungendered little figures are like friendly ghosts of the social unconscious..."
......Datebook, San Francisco Chronicle, 'Bad Girls in N.Y., '(Dis)Order' in S.F., February,27, 1994


"...
As she has in the past, Nöle Giulini steals the show...Following the classic surrealist precept to make it strange, Giulini has succeeded in astonishing the viewer with a simple insight executed to perfection...Other work of hers, such as slippers and a jacket sewn from banana peels, address survival issues and the nature of skin as a barrier between the hostile world and the inner being..."
......San Francisco Examiner, February 18, 1994

"...Also noteworthy are Giulini's puppetlike figures made of underwear on wire armatures. These are truly silly things, yet they possess a sense of erotic ventriloquism--and of underwear's weird mix of anonymity and privacy--that I have not seen elsewhere in contemporary art..."
......Datebook, San Francisco Chronicle, March 14, 1993


"...As she has in past group shows, Nöle Giulini walks off with the honors; here she is accompanied by worthy colleagues... Tied, knotted, pulled this way and that, jockey shorts, camisoles, tank tops and brassieres form a delightful menagerie that also hints at the terror inherent in metamorphosis..."
......San Francisco Examiner, March 12, 1993


"...At Paula Anglim, four artists shared the space. The most compelling work in the gallery was indisputably Nöle Giulini's installation of a suite of dried banana skins, each with its own meticulously constructed, bandage like shroud-cumcarrying case. Horrifyingly attractive, these withered fetish-like lumps suggest voodoo, or maybe the pious preservation of some peculiar portion of saintly anatomy..."
......Artspace Magazine: On the Scene: San Francisco, Sept/Oct 1992


"...Magical procedures happen to be a theme in this show, too. There is a quality of the fairy-tale grotesque about Giulini's "Untitled (Bananashoes)." Here pairs of shoes made from stitched-up banana peels sit atop a row of glass shoe boxes. The paradox in making shoes from stuff that symbolizes a pratfall turns to pity for our efforts to dress up our mortality the better to bear it...The desperation of the ego's doomed battle with time is Giulini's theme..."
......San Francisco Chronicle, Three Women At New Langston, August, 15, 1991


"...Nöle Giulini's notion of metaphor is subversive. Her most striking work, golden pellets heaped on the floor and spotlit, plays with the medieval tradition of alchemy that sought to transform dross into gold...Alchemy has re-emerged as a powerful metaphor for the artistic endeavor in the work of people such as the German Joseph Beuys and the Italian arte povera artists...In her work, Giulini questions society's values, where surface flash is confused with depth of meaning..."
......San Francisco Examiner, August 9, 1991

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