Articles and Reviews
John D'Addario, Provincetown Independent, August 31, 2022.
Art in Flux at Alden Gallery
Art in Flux at Alden Gallery
The Independent, Denison and Paridise at Alden Gallery, September 1, 2021
Cate McQuaid, Galleries, Boston Globe 1 September 2017
In Provincetown, Two Views of Painting
". . .Denison, meanwhile, gets so close to her vases that they become hallucinatory terrains of layered pattern. In “Pieces 1,” incandescent purple and blue smears of blossoms and ivy gather over the white and yellow flowers beneath.
The artist has embossed and then sanded down yet another floral design in “Pieces 5.” It comes across in breaths of gold and shadows over a looping blue-on-white design. The two patterns harmonize — one nearly invisible, whispering over and through the one our eyes lock upon. As the ethereal entwines with the concrete, Denison at once pulls reality away and infuses it with flavor — and there, remarkably, in the layering of patterns on porcelain, we have a picture of longing."
In Provincetown, Two Views of Painting
". . .Denison, meanwhile, gets so close to her vases that they become hallucinatory terrains of layered pattern. In “Pieces 1,” incandescent purple and blue smears of blossoms and ivy gather over the white and yellow flowers beneath.
The artist has embossed and then sanded down yet another floral design in “Pieces 5.” It comes across in breaths of gold and shadows over a looping blue-on-white design. The two patterns harmonize — one nearly invisible, whispering over and through the one our eyes lock upon. As the ethereal entwines with the concrete, Denison at once pulls reality away and infuses it with flavor — and there, remarkably, in the layering of patterns on porcelain, we have a picture of longing."
Cate McQuaid, Critics Pick, Galleries
The Boston Globe, 12 February 2015
ALICE DENISON: METAFLOR "Still life and pattern intertwine in Denison’s new paintings. She complicates the relationship between figure and ground — an urn, say, and its backdrop — with layered floral patterns. Edges are broken; the urn has less heft, and more mystery. Through Feb. 28. Gallery NAGA, 67 Newbury St. 617-267-9060, www.gallerynaga.com"
The Boston Globe, 12 February 2015
ALICE DENISON: METAFLOR "Still life and pattern intertwine in Denison’s new paintings. She complicates the relationship between figure and ground — an urn, say, and its backdrop — with layered floral patterns. Edges are broken; the urn has less heft, and more mystery. Through Feb. 28. Gallery NAGA, 67 Newbury St. 617-267-9060, www.gallerynaga.com"
Cate McQuaid, Critics Pick, Galleries
Boston Globe, May 10 2012
ALICE DENISON: MAY DAY, "Denison has removed any background from her flower paintings, investigating space with her pendulous petals. Through May 26. Gallery NAGA, 67 Newbury St. 617-267-9060, www.gallerynaga.com"
Boston Globe, May 10 2012
ALICE DENISON: MAY DAY, "Denison has removed any background from her flower paintings, investigating space with her pendulous petals. Through May 26. Gallery NAGA, 67 Newbury St. 617-267-9060, www.gallerynaga.com"
June Wulff, Pick of the Day
Boston Globe, 2 September 2011 and
Cate McQuaid, Critic's Pick
Boston Globe, 1 September 2011
ALICE DENISON: FLOTSAM and KEVIN CYR: NEW WORK "Denison's floral paintings have delicate detailing and translucent depth; here, she presents works inspired by Cape Cod. Sept. 2-22. Alden Gallery, 423 Commercial St., Provincetown. 508-487-4230, www.aldengallery.com"
Boston Globe, 2 September 2011 and
Cate McQuaid, Critic's Pick
Boston Globe, 1 September 2011
ALICE DENISON: FLOTSAM and KEVIN CYR: NEW WORK "Denison's floral paintings have delicate detailing and translucent depth; here, she presents works inspired by Cape Cod. Sept. 2-22. Alden Gallery, 423 Commercial St., Provincetown. 508-487-4230, www.aldengallery.com"
Cate McQuaid, Playing with Forms, Faces and Figures.
The Boston Globe, 20 January 2010.
" . . . There are no stems in Alice Denison's ghostly flower paintings, also at NAGA. The flowers seem to stir to life out of oppressive darkness, yet they also appear on the brink of death, plucked and spent. One of the largest works, "Prospero", features an old bouquet of yellow roses in an eerie, gray-blue atmosphere. The flowers tumble downward. The scene brings to mind Miss Havisham of Charles Dicken's "Great Expectations," who, left at the atlar, stopped all the clocks in her mansion and lived out her days in her wedding dress. This would be her bouquet. The flowers, while wilting, capture the light and have an unsettling, demanding presence."
The Boston Globe, 20 January 2010.
" . . . There are no stems in Alice Denison's ghostly flower paintings, also at NAGA. The flowers seem to stir to life out of oppressive darkness, yet they also appear on the brink of death, plucked and spent. One of the largest works, "Prospero", features an old bouquet of yellow roses in an eerie, gray-blue atmosphere. The flowers tumble downward. The scene brings to mind Miss Havisham of Charles Dicken's "Great Expectations," who, left at the atlar, stopped all the clocks in her mansion and lived out her days in her wedding dress. This would be her bouquet. The flowers, while wilting, capture the light and have an unsettling, demanding presence."
James Foritano. An Embarassment of Riches, Artscope Magazine. May/June 2008.
"Alice Denison’s painting represents another journey of discovery. At first, she resisted painting flowers because they seemed to her “too pretty.” After all, “gilding the lily” is a staple of folk wisdom for leaving well enough alone. Fortunately, Denison’s painterly urges kept worrying at this challenge until they provoked a solution. Now she paints flowers that seem to be as much blooms of the psyche as of earth, as much symbol as representation."
"Alice Denison’s painting represents another journey of discovery. At first, she resisted painting flowers because they seemed to her “too pretty.” After all, “gilding the lily” is a staple of folk wisdom for leaving well enough alone. Fortunately, Denison’s painterly urges kept worrying at this challenge until they provoked a solution. Now she paints flowers that seem to be as much blooms of the psyche as of earth, as much symbol as representation."
Taylor E. Polities, "Space to Discover: MassArt/FAWC Low Residency MFA," Artscope Magazine,January/February 2010, P 52-53
Rena Lindstrom, "Our Favorite Shows of 2007," Artscope Magazine, November/December 2007.
Mary Sherman. Visual Arts. The Boston Herald, August 5, 2001.
"Further north, the Arlington Center for the Arts is showcasing the paintings of sisters Alice Denison and Kate Ledogar, through Friday. What unites their work, aside from their blood ties, is a high-key color sense and confident, broad brush work, although their subjects could not be more diverse. Denison paints lush views of nature so close up as to be nearly abstract; whereas Ledogar focuses on the human face, examining both others and her own in various expressive states. The combination creates a lively counterpoint as vibrant as it is intense."
"Further north, the Arlington Center for the Arts is showcasing the paintings of sisters Alice Denison and Kate Ledogar, through Friday. What unites their work, aside from their blood ties, is a high-key color sense and confident, broad brush work, although their subjects could not be more diverse. Denison paints lush views of nature so close up as to be nearly abstract; whereas Ledogar focuses on the human face, examining both others and her own in various expressive states. The combination creates a lively counterpoint as vibrant as it is intense."
David Wildman, Artistic Sister Act
The Boston Globe, City Weekly
10/20/2000
The Boston Globe, City Weekly
10/20/2000
Selected Website Listings
Provincetown Independent Arts Briefs for September 2 through 8, 2021
