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

ANNE HARRIS: SELECTED WORKS Sarah E. Fagan Nelson Gallery 179 Newbury Street Boston Through November 29 "BEYONG LIKENESS." "WITHOUT LIKENESS." PORTRAITS; MORE THAN SKIN AND BONES." The titles of some of the shows Anne Harris has exhibited in provide clues as to the artists intensive an internationalized approach to portraiture. Select portraits: old and new, drawings and paintings, are the feature of Harris’ November show at Newbury Street’s Nielsen Gallery. The artist has a special connection with Nielsen; it was the gallery that first asked Harris if they could represent her back in 1993, shortly after she had participated in a summer show. Harris has a strong presence in the northeast today. Though she grew up in the Midwest, the artist gained an MFA from Yale University in 1988 before relocating to Maine, where she lived and taught for seven years. “Most of my career developed in New England,” said Harris, now a professor at the Art Institute of Chicago who dreams of moving back to the northeast in the future. Wherever she calls home, Harris has always been devoted to a unique and at times mysterious brand of portraiture. When I look at “Blonde,” or “Black Dress,” I wonder: would I recognize these people if I passed them on the train? Are they abstracted beyond recognition, or is this exaggeration the very element that makes them realistic? I am reminded of an old riddle: you are stuck in a labyrinth with two guards blocking your path. One can tell only the truth, the other only lies. How do you figure out which is which? Are Harris’ portraits brutally honest, or crafty compositions? “The word ‘realistic’ is tricky,” Harris told me. Though she uses a mirror for selfportraits and faces of acquaintances as inspiration for her work, she questions how well any of us can really know a face – even our own. “I’m more concerned with the person in the drawing or painting being emotionally real,” the artist claimed. If that means relaxing complete control and allowing the face in the painting to take on a life of its own, so be it. Harris’ portraits are a mix of observation and invitation. One part of the artist studies the reference hard. The other lets intuition take over and listens to the artwork on matters such as where hands, hair and gaze “belong.” Read the entire article in our magazine pages...