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.
Aimee Goguen is a video artist and experimental animator working and living in Los Angeles. Meg Hahn asks her five quick questions about her work.
Ann Hirsch will probably defy most expectations of a feminist artist thinking about gender, social media, and the implications of shame and display.
PLATFORM PROJECTS/WALKS positions Julie Poitras Santos as artist-as-curator, who has included fifteen artists and practitioners who’ll be leading walks, giving lectures, discussing readings, and presenting video works through August 14.
Lia Wilson reviews the site-specificity and flattening of time of S P E C T A C U L A R B L A C K D E A T H as part of the series A Long Wait.
Ken Ueno’s Fortress Brass employs the musical and architectural languages of wartime to imagine a friendlier, more beautiful alternative.