Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow.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
On announcing Nat May as the curator for the 2018 PMA Biennial, PMA Deputy Director and Chief Curator Jessica May says, “His research is meticulous, his eye is keen, and his curiosity is unbounded.”
TEMPOart aims to understand the concept of the American dream through a summer lineup of temporary public art installations.
The intangibility of memory, the diversity of grief, and the anguish of remembrance are laid bare for the public in “Anguish: The Misgivings of Remembrance” at the ICA at MECA. by Veronica A. Perez
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.
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.
“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.
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.
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.
Skye Priestley investigates ambiguity in form and process throughout Duncan Hewitt’s retrospective at the Portland Museum of Art.
Maia Snow spends some time with Greta Bank to discuss the humanity of Bank’s work on the heels of being awarded a major grant.
Veronica A. Perez sits down with Kyle Patnaude to discuss his curation of “tinderbox” at the ICA at MECA and the role of the curator and artist in sparking tangible social change.
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.
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.
Ashleigh Burskey and Catnip James examine the state of Maine’s art through the lens of the Portland Museum of Art’s 2015 Biennial.
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.
So, what’s The Chart really about? The story of the birth of The Chart. by Ashleigh Burskey
Participant-made maps at the Institute for American Art in Portland, Maine, start to reveal different cultural understandings. by Chris Stiegler