Graeme Kennedy, in a series of community discussions, speaks with The Chart Editor Jenna Crowder and Julien Langevin about the complexities of Nan Goldin at the Portland Museum of Art.
Ellen Tani reminds us that one’s intellectual world participates in hegemonic systems, even as we forge the tools to reckon with its entanglement.
Clare Tyrell-Morin speaks with Sarah Baldwin about her work in ink in advance of her new collaborative installation, Influx, in Biddeford.
Beth Finch, Lunder Curator of American Art at the Colby College Museum of Art, speaks about what Marsden Hartley’s Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art world.
Gordon Hall, a New York-based artist, on ideas that surfaced around the creation of The Number of Inches Between Them, a sculpture and performance in multiple locations in mid-coast Maine.
In American Popsicle, Emilie Stark-Menneg evinces a tenderness for the digital: its connection to both the physicality of paint and illusory intangibility. by Julien Langevin
Performance artist Keijaun Thomas discusses notions of blackness, femininity, and materiality in her in-progress piece My Last American Dollar. by Julien Langevin
Bloodlines counters heteropatriarchic narratives of fluid and the body with work meditating on the reproductive body, emotional labor, and power. by Andy Johnson
Emily Mae Smith’s art historical and illustrative paintings summon Marxist interpretations of the performativity of gender. by Frances Barker
Donna Haraway shows us we need new ideas and new ways of thinking, new kinds of stories to think with, because the old ones are failing us. by Julie Poitras Santos
Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
Creating public art — and public art conferences — requires deep, internal work as much as it does communication, planning, passion, and dedication. by Jenna Crowder
Lustfully saturated with lucid color and lively tricks of the eye, Elizabeth Kleene’s Tadow Island at Gallery 49 allows viewers to experience an external oasis. by Julien Langevin
Terry Winters and Mark Melnicove collaborate on a suite of prints exploring the relationships between image and word in the physics of space and time. by Megan Grumbling
Eden Osucha speaks with filmmaker Natalie Bookchin about the phenomenon of video self-portraiture in the internet age, and what it means for resistance and identity.
Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.
On announcing Nat May as the curator for the 2018 PMA Biennial, PMA Deputy Director and Chief Curator Jessica May says, “His research is meticulous, his eye is keen, and his curiosity is unbounded.”
TEMPOart aims to understand the concept of the American dream through a summer lineup of temporary public art installations.
The intangibility of memory, the diversity of grief, and the anguish of remembrance are laid bare for the public in “Anguish: The Misgivings of Remembrance” at the ICA at MECA. by Veronica A. Perez
The results are in — here are 51 state arts agency logos as ranked by our readers.
We’re looking at 51 arts agency logos for design quality, sense of place, and je ne sais quoi. Take the survey and tell us what you think.
Center for Maine Contemporary Art’s Executive Director and Chief Curator Suzette McAvoy reflects on CMCA’s new presence in Rockland, opening the space to new and wider audiences, and how she envisions CMCA’s role in defining the contexts of Maine art.
Julie Poitras Santos visits Katarina Weslien’s studio to discover new ways of seeing — if you can look below, and through, the water’s surface.
The Chart celebrates its anniversary with the most popular posts of 2016 so far and a readership survey to help us plan for our future.
Tim Fite is a musician and printmaker in residence this summer at SPACE Studios and Pickwick Independent Press. Meg Hahn talks with him about the the idea of foundational printmaking as process, performative drawing, and his relationship to rap and visual art.