I will be adding my resume here shortly, (I'm updating it). Please check back. In the meantime, here are three links to reviews and a link to a blog entry about a piece in "The Carter Excavations":

http://www.cleveland.com/arts/index.ssf/2010/01/rock_n_roll_inspires_sculptor.html

http://www.clevescene.com/cleveland/answer-only-with-your-eyes/Content?oid=1817053

http://www.collinwoodobserver.com/read/2/1/south-collinwood-resident-at-north-collinwood-gallery

Kathy Ewing author of Missing: Coming to Terms with a Borderline Mother
kathyewing.com (click on blog if the post doesn't come up - this site was created for a book she is trying to get published).

And, following are some excerpts from older reviews. Thanks.

EXCERPTS FROM PRESS MATERIAL

Durst, thankfully, has given the final Dead Horse show some visual sizzle and a sense of light-heartedness. His installation, titled Splooge, consists of a series of colorful assemblages made from screwed-together scraps of plastic toys and household implements such as garden hoses and vacuum cleaners.

Each clump of objects is suspended from the gallery ceiling on lengths of black rubber tubing, which frees the artist from having to create structures that would have to stand on their own. Instead, they seem to float, like chunks of a postindustrial reef set adrift in space.

Steven Litt, Friday! Magazine, The Cleveland Plain Dealer, March 5, 2004, pgs. 41, 42

The FCC probably wouldnt be thrilled with Splooge, the provocative installation by Durst. The title piece in this assemblage of hung sculptures is a blue hose, protruding upward from a circular red-and-black object, surrounded by pieces of garden hose and various other tubular phallic shapes, each dangling at about eye level. Three rooms feature eight colorful creations hung from the ceiling, a collection of playful pieces that alternately hint at and ooze sexuality. Other works by Durst include a paint-by-numbers picture of a cat, framed in purple plastic and augmented with gold lame and a Barbie-doll leg, and a whimsical toy car that is steered with a red baseball bat. The Tri-C professor, best known for his carved-wood wall hangings, here has successfully reshaped found objects into fascinating curiosities.

Nadia Michel, The Cleveland Scene, March 3, 2004, pg. 25

Terry Durst, who adroitly combines common items to create sculptural objects and installations, has pushed his technique and aesthetic to new heights with a series of wonderfully vibrant hanging sculptures. The pieces in the series, titled Splooge, are so well assembled it is as if they were shipped to Durst in pieces, and came with instruction manuals. In Cancan, the melded collection of disparate objects part of a toy canoe, a floor tile with the outline of a human form on it, sections of PVC pipe lose their distinct forms and meanings, and are subsumed by the perfectly ordered composition. The sculptures are part machine, part tableau, and all visually satisfying. Because they hang from the ceiling, the Splooge pieces can be viewed from all angles, even from below. Few artists could have accomplished visual harmony at every angle, but Durst has managed the feat. He has labored as an artist for nearly 20 years, and has now perfected his process.

Lyz Bly, The Cleveland Free Times, March 3, 2004, pg. 44

Terry Durst, one of the first artists to colonize Tremont in the 1980s, is also one of the citys most prolific artists. His work sculpture and installation made of found and altered materials is closely connected with his neighborhood and his home, which overlooks the former LTV Steel plant.

Lyz Bly, The Cleveland Free Times, Oct. 8, 2003, pg. 56

Flushed and concerned with fluid in its own way is Terry Dursts floor installation of thirty cakes. Easily Beauty Marks most colorful and in-your-face (or at-your-feet) moment, Cake Night is a cake sleep-over; each rests on its own little pillow, surrounded by a nimbus of grease and frosting stain: paintings oozing gradually across the bright fabrics.

Douglas Max Utter, Angle Magazine, May Issue 03, 2003, pg. 7

Terry Durst, a sculptor and bad boy of this years warm and fuzzy show for spelling out super-cali-fag-alistic-sex-pia-li-do-cious in pink foam letters, says he started noticing galleries censoring his own work in the early 90s.

Laura Putre, The Cleveland Scene, Dec. 4, 2002, pg. 12

Durst uses rough and scarred found objects, recombining them in new, mostly formalistic relationships. Sculptural wall hangings, they hold power by the sum of their parts. There is a lovingness about these objects - castoffs that find new homes via Durst's shepherding. While Thurmer's work is art because he says so, Durst's is art because he makes it so.

Amy Sparks, The Cleveland Free Times, Jan. 16, 2002, pg. 19

Terry Durst's piece "The Parakeet Always C