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"Linda can't be described in one canvas, or in one set of remarks," she said.

Author: By Joyce K. Mcintyre, CRIMSON STAFF WRITER | Title: Radcliffe Unveils Wilson Portrait | 4/17/2000 | See Source »

For Annette Lemieux's audience, the wall reappears, in pieces. "Crossing the Rubicon," her newest piece, was featured last month at the Mario Diacono gallery in Boston. In Diacono's presentation, the two canvas panels (with pencil, gesso, pumice and acrylic on the left-hand panel and water-based ink...

Author: By Amanda Gill, CONTRIBUTING WRITER | Title: Deconstruction Site: On the Job with Annette Lemieux | 4/14/2000 | See Source »

Unshapely splotches of white interrupt the swathes of life and limb like technographic stretchmarks, dead spaces bound up by the body's jagged fringe. These white areas are bothersome in the way unpainted canvas is bothersome. And although it is aesthetically flummoxing that two generally pleasing things to look at...

Author: By John Dewis, CONTRIBUTING WRITER | Title: Longitudinal: LoCurto and Outcault Imagine Themselves in Mercator | 2/25/2000 | See Source »

One of the show's finest pieces is by Annette Lemieux, this year a visiting lecturer in Harvard's Visual and Environmental Studies department. "Decline," 1989, is a monumental, sepia-toned print of a pastoral scene. Recalling vintage travel posters, a snow-capped mountain ascends in the background, while the...

Author: By Kirstin Butler, CRIMSON STAFF WRITER | Title: Fresh Produce: Art from Boston | 2/18/2000 | See Source »

A beautifully rich minimalism is found in Maria Lewis's "The Dyad," 1990-92, a golden diptych. Within each square canvas a burnished circle gives a sense of geometric completion to the doubling. Though the two materials Lewis uses are of a nearly identical color, the dryly stippled acrylic of...

Author: By Kirstin Butler, CRIMSON STAFF WRITER | Title: Fresh Produce: Art from Boston | 2/18/2000 | See Source »

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