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
A found review by Narciso Philostratus looks at Kenny Cole’s show at BUOY, outlining a history of mimetic complexity in works we often don’t (or can’t) read in their totalities. by Jeffrey Ackerman
“List Projects: Lina Viste Grønli” at the MIT List Visual Arts Center moves through philosophy, art, linguistics, and poetry, connecting us to the 20th century’s greatest thinkers. by Skye Priestley
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
A pair of shows at the Bowdoin College Museum of Art trace our understanding of night from the mid-19th century to the present day. by Skye Priestley
Engine blends disciplines in Ode to Letters. by Ian Carlsen