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.
Meg Hahn talks with Able Baker Contemporary’s co-owners Stephen Benenson and Hilary Irons about the space and its current exhibition, American Optimism.
How are artists responding to police brutality, system injustice, and the Black Lives Matter movement?
“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.
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.
Jessica Hankey’s photographic and video work on non-profits, community centers, clubs, and museums, investigates institutions and the relationships that constitute them. Using documentary and narrative filmmaking strategies, she investigates the unstable relationship between location, image, and perception. by Erin Colleen Johnson
Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.
Mark Price is an artist living and working in Portland, Maine. Here’s what he’s been working on lately, and four quick questions about what he’s also looking at.
In this episode, Anne interviews Pilar about the Maine-Aomori Printmaking Society, and we learn about the concepts of wabi-sabi, sashiko, and boro.
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.
Able Baker Contemporary, a new artist-run space co-founded by Stephen Benenson and Hilary Irons, is set to officially open its doors on April 8 in downtown Portland.
Jenna Crowder recaps some of her recent favorite pieces from other journals, including Pelican Bomb, BURNAWAY, Cairobserver, arts.black, and Temporary Art Review.
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.
Alana Dao talks with artist Irina Skornyakova and writer meg willing about their collaborative correspondence project, Erased By Us.
In this episode, npilar interview Ruski’s Tavern owner Monica about the art on the walls of our favorite neighborhood bar. They discuss holograms, autographs, a toe calendar, and Bob Saget.
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.
npilar’s brand-new, first-ever podcast, Listen! Do You See That? is here and taking a look at apartment art.
SPACE Gallery announces the 2016 Kindling Fund Grantees
Clare Tyrrell-Morin explores the city of Biddeford and what’s behind its recent creative surge.