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
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Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow.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
Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.
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
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.
The variances in Nicole Eisenman’s techniques, both nuanced and bold, portray her strong ability, knowledge, and integrity to the discipline of painting. Meg Hahn explains the intimacy between the viewer’s interaction with the work, and Eisenman’s authorship in what she divulges.
Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.
David Martinez takes a look at Walid Raad at the ICA/Boston and examines whether audio tours enhance or detract from a viewer’s experience.
Douglas W. Milliken and Jenna Crowder preview the agony and the ecstasy of Matthew Barney and Jonathan Bepler’s epic cinematic opera, River of Fundament.
Jacob Fall and Virginia Rose investigate revelations in Elise Ansel’s Distant Mirrors at Bowdoin College Museum of Art.
Skye Priestley investigates ambiguity in form and process throughout Duncan Hewitt’s retrospective at the Portland Museum of Art.
Julie Poitras Santos on a “multi-faceted, interdisciplinary, many-years-in-the-making, pedagogical exhibition about a radical pedagogical endeavor” — the legendary and massively influential Black Mountain College at the ICA/Boston.
Emily Jane Young discusses discomfort, feminism, and masculinity at Douglas W. Milliken’s multi-disciplinary launch event of Cream River, a book of short stories, and its musical twin, the record Whiskey Dick, by Blind Pelican.
Kathy Weinberg navigates Veronica Cross’ exploration of the female figure in the complex contexts of punk aesthetics, pop culture, and the baggage of hijacking the vintage.
The 2015 Portland Museum of Art Biennial proves to be a tangle of work from talented artists. Helen Greenbriar examines Alison Ferris’ curatorial choices in this already-controversial show.
In her solo show BETTER LUCK NEXT TIME, Julie K. Gray maps her failures in attempting to “to explore the unknown through paranormal and spiritual means.” by Benjamin Spalding
Narciso Philostratus’ review of Elizabeth Fox’s latest paintings reveals unabashed religiosity, technical sophistication, and a fresh sense of humor. by Jeffrey Ackerman
Ashleigh Burskey and Catnip James examine the state of Maine’s art through the lens of the Portland Museum of Art’s 2015 Biennial.
Freddy LaFage’s new body of work at Perimeter Gallery in Belfast, Maine, explores the struggle of time and the process of letting ideas emerge. by Kathy Weinberg