Beth Finch, Lunder Curator of American Art at the Colby College Museum of Art, speaks about what Marsden Hartley’s Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art world.
Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow.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
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.
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.
Jacob Fall and Virginia Rose investigate revelations in Elise Ansel’s Distant Mirrors at Bowdoin College Museum of Art.
SPACE Gallery announces the 2016 Kindling Fund Grantees
Benjamin Spalding talks with Justin Levesque about ICELANDx207, a project investigating economic, geographic, and cultural spaces between Maine and Iceland.
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
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.
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.
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