In American Popsicle, Emilie Stark-Menneg evinces a tenderness for the digital: its connection to both the physicality of paint and illusory intangibility. by Julien Langevin
Bloodlines counters heteropatriarchic narratives of fluid and the body with work meditating on the reproductive body, emotional labor, and power. by Andy Johnson
Emily Mae Smith’s art historical and illustrative paintings summon Marxist interpretations of the performativity of gender. by Frances Barker
Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
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
Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.
Meg Hahn talks with Able Baker Contemporary’s co-owners Stephen Benenson and Hilary Irons about the space and its current exhibition, American Optimism.
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.
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.