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

BÉATRICE DAUGE KAUFMANN Linda K. Pilgrim Consulate of Switzerland/ Swissnex Boston 420 Broadway Cambridge, Massachusetts Through May 31 When I first saw the work of Béatrice Dauge Kaufmann at the Swiss Consulate in 2006, I was immediately and viscerally taken in by her luscious abstract paintings and challenged myself to articulate her visual work in words. Her palette — and my reaction to it — struck me: I almost wanted to eat it. I felt like a kid staring at cartons of creamy colors at an ice cream stand, trying to decide which delicious ones to taste. Subsequently, I learned that she perceives the colors of her adopted home of New England through gorgeously tinted lenses. Maybe it’s a Swiss thing — like their ability to make chocolate — but she doesn’t see the gray that dominates my view and that of painters of the New England seascapes and landscapes throughout history. This new body of work is equally tantalizing to the eye as that 2006 show, but her development as a painter and as a special “perceiver of color” stands out, quite literally, in space. Dauge Kaufmann, I’ve discovered, has pushed through the boundaries of her previously abstracted landscapes and captured the planes of space itself — in colorful compositions that articulate a “slice” of space. Like receivers of invisible radio waves, I can imagine her canvases as “receivers” and illuminators of the particles that make up the space they inhabit. This new body of work is equally tantalizing to the eye as that 2006 show, but her development as a painter and as a special “perceiver of color” stands out, quite literally, in space. Dauge Kaufmann, I’ve discovered, has pushed through the boundaries of her previously abstracted landscapes and captured the planes of space itself — in colorful compositions that articulate a “slice” of space. Like receivers of invisible radio waves, I can imagine her canvases as “receivers” and illuminators of the particles that make up the space they inhabit. They examine what we would normally ignore as the “space between” us and the wall it hangs on; Kaufmann has translated the air into lusciously visible planes articulated by color. Her compositions capture the place where conversations, reverberations and sensations take place, always with the possibility of a connection being made. It is as if, when picking up her palette knife covered with pigmented oil medium, she begins a non-verbal conversation Read the entire article in our magazine pages...