artscope magazine: November/December 2008 Welcome Statement: Brian Goslow, managing editor Letters to the Editor Tara Donovan Juan Angel Chavez: Speaker Project JULIA FEATHERINGILL: INDELIBLE ANNE HARRIS: SELECTED WORKS Adel Abdessemed: Situation and Practice ENTANGLED: JANE HESSER, DOROTHEA VAN CAMP AND MARC VAN CAUWENBERGH RYAN WALKER: THE RECYCLER THOREAU RECONSIDERED "LATER THAT NIGHT..." NOCTURNAL IMAGES BY CHRISTIAN WAEBER LOSSLESS: A VIDEO INSTALLATION BY REBECCA BARON AND DOUGLAS GOODWIN THE WINNER'S CIRCLE: ANNA ISAAK-ROSS, YANICK LAPUH, GREGORY WRIGHT Luis Villanueva and Colo Colo Gallery RISD'S NEW CHACE CENTER BRIDGES THE DIVIDE Industry Focus: THE EXPOSURE PROJECT KAREN DOLMANISTH PAUL CLANCY BALAM SOTO THREE TO WATCH IN 2009: MASSART/FINE ARTS WORK CENTER OF PROVINCETOWN GRADS NANCY WINSHIP MILLIKEN, LOUIS THEODORE OLLIER AND KATIE JURKIEWICZ CENTERFOLD CONTEST OUTTAKES ANDY WARHOL:POP POLITICS CHIHULY AT RISD BESSIE POTTER VONNOH: SCULPTOR OF WOMEN BUSHWACHKED: KELLY JO SHOWS SAYS GOOD-BYE TO BUSH IN SEVERAL MEDIUMS Jules Olitski: An Inside View THE ALLURE OF ITALY: PHOTOGRAPHY, FASION DESIGN SINCE 1945 ELIZABETH KING: THE SIZES OF THINGS IN THE MIND'S EYE WORKS BY DOZIER BELL, LAUREN FENSTERSTOCK AND ALICE SPENSER TWISTED lONGWOOD SYMPHONY ORCHESTRA The Music Hall Capsule Previews: November/ December 2008

ANDY WARHOL:POP POLITICS Rick Agran Currier Museum of Art 150 Ash Street Manchester, New Hampshire Through January 4, 2009 “Pop Politics” represents an amazing slice of Andy Warhol’s artistic legacy: his political and personal portraiture. The show offers an intriguing look at celebrity and personal power, either as simple gloss or through myriad interpretations. Much is left up to the beholder. To the casual viewer, it is a galleryful of brightly-colored headshots, aptly curated, and for those willing to immerse themselves in American art and history, a study in pop culture’s image appropriation for artmaking, a cultural collage of the powerful. Warhol used found images produced by the same culture they commented upon. He lifted from newspapers, foreign propaganda, Time and Life magazines, advertisements and political PR. He blew up stock images into large prints he could manipulate using commercial silk-screening processes, tools and print sizes. He monochromed or multiplied colors, modified palettes, hand painted with flourishes, and added lines and doodles. He introduced text into images to invert meaning. Warhol even impregnated painted surfaces with diamond dust at the other extreme of subtlety. “Pop Politics” is a rich study in mark making, layering and color use. We see Warhol use color’s power to transform images and their meaning in the campy-kitschy “Red Jackie” (1964), which renders her as a sexy, chirpy cartoon. “Pop Politics” is super bright. The sad are made happy with color; evil is laid bare with color; the “commies” become real Read the entire article in our magazine pages...