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

CHIHULY AT RISD Meredith Cutler BALANCING THE ACADEMIC INSTITUTION'S "ART STAR" ROSTER WITH PUBLIC APPEAL, DATE CHIHULY WAS A SAVY CHOICE FOR THE INAUGURAL EXHIBITION IN THE RISD MUSEUM'S EXPANDED SPECIAL EXHIBITION SPACE. AS A PIVOT POINT FOR THE $43 MILLION DOLLAR CHACE CENTER'S GRAND OPENING, "CHIHULY AT RISD" BRINGS THE EXPRESSIONIST GLASS-ART INNOVATOR AND RHODE ISLAND SCHOOL OF DESIGN GLASS DEPARTMENT FOUNDER HOME TO THE FOLD WITH GALLERY INSTALLATIONS REDUX, AND PROVIDES A SEGWAY TO SPOTLIGHT THE CAREERS OF SOME OF CHIHULY'S BRIGHTEST STUDENTS DATING BACK TO HIS TENURE ON RISD'S FACULTY. Entering the 4,007 square foot special exhibitions space, the visitor is immediately confronted with a billboard-sized view of the artist’s signature, emblazoned in acid-green vinyl directly on the custom painted, neutral gray wall. This particular shade of gray does not flatter “Persian Ceiling,” a modestly scaled version of the glass-bottomed, sculptural ceiling riots he has installed at the Victoria & Albert Museum in London and other notable institutions. While the delicate auras emitted by the marine-life inspired glass platters and vessels clustered overhead are truly lovely, the potential impact of light’s play through transparent color is diminished by the absorbent properties of the wall treatment. This same hushed hue, applied to the custom-built, S-curve wall bisecting the gallery, plays far better with the following works. Nestled on an obsidian platform, “Mille Fiori” evokes a subterranean organic ballroom, balancing the implied movement of black fronds struck through with shocking chartreuse against the crackling surfaces of frozen spheres. Presiding with icy emotion over this eerie landscape, a smoke-gray pendant chandelier absorbs as much light as it reflects. Tripping down memory lane, the revisited installations “Neodymium Reeds” and “Glass Forest #4” play the syrupy medium of glass off of its material earthly opposites – in this case, solid, felled birch trees and electrified neon gas. It wouldn’t be a Chihuly show without excesses of beauty and scale, and these pieces Read the entire article in our magazine pages...