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artscope magazine: March/April 2009
Welcome Statement: Brian Goslow, managing editor
Letters to the Editor
Master of Reality: Kanishka Raja, Angela Dufresne, Chie Fueki, Francesca DiMattio and Matthew Day Jackson
BEBE BEARD: WITH OR WITHOUT YOU
LAURA SCHIFF BEAN: JOURNEY
ARTIST BIO: KATHY HALAMAKA AND GARY DUEHR
SIDNEY HURWITZ: FIVE DECADES
BÉATRICE DAUGE KAUFMANN
SHELTER: UNIQUE VISIONS OF A UNIVERSAL SUBJECT THROUGH ARTIST'S BOOKS
MASKS: THE MAGIC OF TRANSFORMATION
KAYROCK & WOLFY: WHEN ART IMITATES LIFE IMITATION ART
SHEPARD FAIREY: SUPPLY AND DEMAND
AZ FINE ARTS
PULL OF GRAVITY: PHOTOGRAPHS BY ELIJAH GOWIN AND EMMET GOWIN
JUDITH SOWA: VERMEER REVISITED
DEREK HARDING AND JASON GREEN
NEW/NOW THE AMALGAMATE: NICOLE DUENNEBIER
RENEWAL: PRINTMAKERS FROM THE NEW NORTHERN IRELAND
MORE THAN BILINGUAL: WILLIAM CORDOVA AND MAJOR JACKSON
GLASS MASTERS
LUX PERPETUA: PHOTOGRAPHS BY JOSEPHINE SACABO
PEARLS OF COTUIT: A COMMUNITY CELEBRATES ITS ARTISTS
WHAT CAN A WOMAN DO? WOMEN, WORK, AND WARDROBE 1865 - 1940
CAT ON A HOT TIN ROOF
CASA DE LA CULTURA/CENTER FOR LATINO ARTS
REDISCOVERING ART WITH KRISTINA BIRD
SURVIVING IN A DOWNTURN
DEREK HARDING AND JASON GREEN
Meredith Cutler


Bannister Gallery

Rhode Island College

600 Mount Pleasant Avenue

Providence, Rhode Island;/br>
April 2 through 28

Ceramic artists Derek Harding and Jason Green share a friendship, a medium and a common vocation; they are both Massachusetts high school art instructors. This exhibition, curated by RIC Associate Professor of Art Bryan Steinberg, positions these two artists, working in such parallel realms, at the fork of a seemingly common path diverging in the results of their labor.



Both artists employ creative moldmaking techniques derived from historical industrial practices. Harding’s modular “Saddle” was created while in residency at Kohler Co., the nation’s leading manufacturer of plumbingware. Green discovered an affinity for brickmaking while in residence at Maine’s Watershed Ceramics Center, the site of a former brick factory.



While the word “clay” evokes images of messy handprints and the warm mud of wheelwork, Harding prefers things smooth — his medium of choice is slip cast porcelain. The casting process enables Harding to create pristine forms devoid of fingerprints, in a fine balance of precious vs. industrial. To achieve this finish, however, he employs many hand intensive




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