Benjamin Spalding talks with Justin Levesque about ICELANDx207, a project investigating economic, geographic, and cultural spaces between Maine and Iceland.
A look back at our first handful of issues with our top three posts of 2015.
Beijing-based Robin Peckham discusses his Maine roots, his journey to Beijing’s 798 arts district as a student, and his reflections on Chinese art now. by Clare Tyrrell-Morin
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 philosophical movement that has garnered the greatest attention and engaged most thoroughly with the present culture is speculative realism. Skye Priestley explores the components of speculative realist thought and ties them to the logos of current cultural production in Maine.
Jacob Fall questions how and why the term “Maine artist” is applied — and what that means for an artist’s identity and career.
Mark Jamra’s Phoreus Cherokee — used throughout The Chart — updates and modernizes the Cherokee language in an effort to preserve it in the digital age.
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 survey of curators, critics, and artists reveals what we think of as “Maine” art. Jacob Fall investigates in this introduction to a series.
Julie Poitras Santos’ essay takes the act/ion of translation as its territory and looks at Jimmy Riordan’s translation of Francis Jammes “Le Roman de Lièvre” into English, as well as into various representations and reflections of the work in visual form.
Jenn Corey visits Timothy Wilson in his studio, discussing life and work between Maine and New York, pay-to-play gallery models, and painting the overwhelming beauty of weather and nature.
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
Rockland artists Richard Iammarino (painter & sculptor) and Alexis Iammarino (painter & dancer) discuss their father-daughter influences, spontaneity, mastery, and compulsion. by Douglas W. Milliken
Mariah Bergeron continues her serial on the New York art epicenter with a guide to using political, economic — and yes — artistic tools for taking over the (art) world.
“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
Kevin Clancy sat down for a meandering conversation on a sunny day in Maine before heading back to his home in Pittsburgh, Pennsylvania, to discuss his nomadic art practice, portable utopias, dreaming spaces and his recent residency on the Deer Isle Archipelago with Cabin Time. by Irina Skornyakova
So, what’s The Chart really about? The story of the birth of The Chart. by Ashleigh Burskey
An intro to a serial involving Maine art and: New York art world centrism, geopolitical economy, regional identity, gentrification, and the (d)evolution of the scene. by Mariah Bergeron