artscope magazine: May/June 2009 Welcome Statement: Brian Goslow, managing editor Letters to the Editor ARTSWorcester's BIENNIAL 2009 GRIDWORK: Further explorations into the urban landscape featuring new work by Robert Maloney and Sean Thomas BEN ARONSON - LIGHT AND GEOMETRY: The Urban Signature RADKA DONNELL: THE WORK OF TOUCH DOROTHY SIMPSON KRAUSE: LOSING GROUND NATURAL WORLD: A BRICKBOTTOM ARTISTS' ASSOCIATION MEMBERS' EXHIBITION JOE FIG: IN THE PAINTER'S STUDIO POINT OF VIEW: OUTDOOR SCULPTURE GALLERY-BY-THE-FALLS THE SIXTH SENSE: CONTEMPORARY JEWELRY FROM KOREA Featured Artist: Dominique Boutaud FéLIX DE LA CONCHA: PRIVATE PORTRAITS/PUBLIC CONVERSATIONS 2009 PORTLAND MUSEUM OF ART BIENNIAL SCULPTURES IN LOVE WITH ARCHITECTURE JESSICA GONACHA at YES Gallery and Studio THE BRIGHT & SHINING LIGHT OF IRREVERENCE: RICHARD SAJA AND THE HISTORICALLY INACCURATE SCHOOL WHERE HISTORY AND CONTEMPORARY MEET BRATTLEBORO-WEST ARTS PREMIER GROUP EXHIBITION SCOTT PRIOR (ongoing) and LARRY PRESTON / GREG GILLESPIE and LEONEL GóNGORA ANDIAMO! Art on the Hill Destination: Federal Hill, Providence’s Little Italy THIRD ANNUAL CONFERENCE OF ENCAUSTIC PAINTING AXIOM CENTER FOR NEW AND EXPERIMENTAL MEDIA CAPSULE PREVIEWS

FéLIX DE LA CONCHA: PRIVATE PORTRAITS/PUBLIC CONVERSATIONS Rick Agran Hood Museum of Art Dartmouth College Hanover, New Hampshire Through September 27 Painter Félix de la Concha has explored territory full of tensions in his career: post-Franco Spain, the Dominican Republic and myriad places Holocaust survivors have landed. The 51 portraits in this exhibition offer personal histories of Dartmouth campus and area community members. De la Concha plays multiple roles as documentarian, portraitist, audience/ interviewer and collaborator. The process is part cultural documentary, part portrait sitting, part “This I Believe,” part Story Corps. He paints his subjects in two-hour sessions with audio and video recorders rolling. The painting/cinéma-vérité splitscreen POV captures his subject on the left; foregrounded right are his fistful of brushes, his dancing right hand and emerging portrait. The end product is a public revelation of self. His subjects are dual purpose, both content and experiment. Their process begins privately, with an individual conversation and portrait sitting, and then goes public with the show’s presentation. Subjects are asked to share personal stories — life challenges and revelations that relate to conflict and reconciliation — while being painted. They come from varied walks of life. With this show’s debut, they become pieces of a more complex whole, which no one has seen in genesis except de la Concha. “This is public,” de la Concha said, “which is hard to imagine when we are here alone.” Read the entire article in our magazine pages...