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.
Creating public art — and public art conferences — requires deep, internal work as much as it does communication, planning, passion, and dedication. by Jenna Crowder
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.
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.
Ken Ueno’s Fortress Brass employs the musical and architectural languages of wartime to imagine a friendlier, more beautiful alternative.
“You can’t push it away. You can’t go under. You have to be in it.” Anna Wolfe-Pauly and Erin Colleen Johnson talk about Wolfe-Pauly’s project for the series A Long Wait happening on Fort Gorges this summer.
Jenna Crowder recaps some of her recent favorite pieces from other journals, including Pelican Bomb, BURNAWAY, Cairobserver, arts.black, and Temporary Art Review.
One attendee’s perspective from the Hand in Glove 2015 conference in Minneapolis: what is our common field and how do we define our practices inclusively? by Jenna Crowder
Genevieve Johnson + Douglas W. Milliken’s The Royal Open. documented by Jenna Crowder