Boston Sunday Globe, July 23, 2000 (continued) Art's the Big Idea in North Adams
  …Some [artists], like Anderson, use [the city] as a backdrop, leaving the implications her images make about the place to fuel our imagination. Others, like Danny O and Sarah Walker, connect with the residents and coax the sense of place from them. All the work vibrantly mirrors the community. All towns should fund projects like this. [Cate McQuaid]
 
Boston Globe, June 23, 2000 Disparate Solo Shows Strong at DeCordova
  [In the DeCordova Annual Exhibition] Curators Rachel Rosenfield Lafo, Nick Capasso, George Fifield, and Gillian Nagler aim only to find exceptional work by New England artists in a variety of media. Ther result is a strong series of small solo exhibitions….
  Ri Anderson takes a page from Cindy Sherman’s photography book, shooting herself in character. For Anderson, the character is always, tragically, the same: a slain woman in a cocktail dress. The photos are crisp, enigmatic, and disturbing, often hinting at the trace of another presence that might be the murderer’s….
  Murderous photos, ants, and clay mutants may have nothing in common, but it doesn’t matter. As usual, the DeCordova Annual shows off what fine artists we have in New England. [Cate McQuaid]
 
Boston Herald, May 26, 2000 Babies and Beehives Create Buzz at DeCordova Show
  Ri Anderson’s black and white photographs lend the heightened drama of film stills to events custom made for her art. All involve the artist posing as a dead body with a black cocktail dress (usually still being worn). In locations ranging from a swimming pool in Tucson to a New York rooftop, Anderson’s settings are littered with information and mystery. The mirrors that often appear hint at the viewer’s complicity in the whole sordid affair. [Joanne Silver]
 
Art Papers, September/October 1997 Revealing Regionalism
  Meant to be a documentary statement about regional roots, ‘Revealing Regionalism’ has the appearance of being about the texture of ordinary lives. Documentary photographs infuse with strong storytelling-like elements of personal and cultural narratives.
  Curated by James Hull and exhibited in the divided space of a commercial building complex, the well-mounted photographic works by Collen Maria Casey, Ri Anderson, and Christopher Verene press the mundane limits usually placed upon corporate art. Office workers who would not necessarily walk the short block to The High Museum of Art have found themselves drawn to this thought-provoking exhibition with universal stories about marginality, adolescence, aging, familial ties, and memory….
  Another representation of marginality in modern life is found in Ri Anderson’s body of work, ‘An Uncertain Adolescence. Erin: The Life of a Foster Girl.’ Based in Boston, Anderson has continued her interest in examining life’s transitional phases, and, specifically in this work, the experience of growing up female, with the desired goal of providing a deeper understanding of this time. The result of a six month’s documentary study in early 1996, the ten black and white silver gelatin photographs reflect the life of one nine-year-old after the disruption of her family unit, which began with the heroin-induced death of her mother the year before. Questions about identity arise. Separated from her half brother and sisters, Erin has moments of mixed emotions and contemplation in her (cont.)
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