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.