What The Critics say...
"C. J. Lori, a talented painter of dream worlds..."
Alicia Faxon, Art History Professor Emerita, Simmons College, writing for Art New England, October/November, 1997
REVIEWS and ARTICLES
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The Brookline TAB, July 6, 2000 State of the Arts, by Kelly Field Photograph of C. J. Lori, caption: "Brookline Artist C. J. Lori puts the finishing touches on a recent painting Sunday." |
| The Boston Globe, May 21, 2000 Exhibit's jurors choose talent over theme, by David Wildman "C. J. Lori, who has shown previously at the Revolving Museum, offers a painting typical of her unusual and distinctive style: A mysterious, dark, subterranean vista lurks beneath a placid landscape." |
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The New York Times, February 6, 2000 Drama in Nature: Burning Oil Fields, Cascading Water, by William Zimmer "The best representatives of earth in the exhibition are paintings with a fair amount of creepiness. 'Last Chance Archaeology,' by C. J. Lori, is ostensibly a pastoral landscape, but this is cut off in the foreground by a depiction of strata and the existence of other civilizations." |
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Arlington Advocate, January 6, 2000 Center for the Arts exhibit reviews time, looks toward future, by Chris Richards "Brookline native C. J. Lori accomplishes this feat through her work entitled 'The Family Plot.' Accumulating personal artifacts from her nuclear family, Lori glues together all sorts of relics, including her grandfather’s dentures and her grandmother’s beads. By locking these pieces together in time, Lori has created a powerful image which yearns to escape from it’s past." |
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| ArtsMedia, January/February, 2000 Artifact: Past, Present, Future, by Mary Sherman The Brookline TAB, April 15, 1999 |
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The Boston Globe, February 27, 1997 Cate McQuaid, from the review of Travels Near and Far at Cragin Fife Gallery "C. J. Lori’s painting 'Still Thinking' wedges its fantastic imagery between two textured stretches of pink, like a cracked-open sandstone—or a cracked-open skull, as the image inside implies. "It’s a meticulously painted marshy landscape, with every single blade of grass defined. Knotty gray pines twist upward. Nestled on the ground in the crook of a few tree roots are empty-eyed human heads. One, at the foot of a dead tree, has lost its skull cap. It’s circular imagery; Lori has us peering into the dream of a character in the dream itself." |
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| Art New England, October/November, 1997 BOOKS, by Alicia Faxon The Weekly TAB, February 6-12, 1996 The Harvard Gazette, October 23, 1992 Big Beans, September, 1991 The Boston Phoenix, July 16, 1985 |
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