On the occasion of Elizabeth Atterbury’s solo exhibition at DOCUMENT, Atterbury speaks with Gordon Hall about the connections between object-making and death, arrangements and memorials.
Interdisciplinary artist Asata Radcliffe looks to futurisms, science fiction, land ethics, and dharma in her work and writing. Hilary Irons visits Asata in her studio to delve into her detective-like approach.
Julie Poitras Santos’ PLATFORM PROJECTS/WALKS: ecologies of the local offered artist-led walks for the public to get closer to the ecologies of which they are a part. Elyse Grams reflects on six of the walks she attended and what she learned about the land, its history, and herself.
Jacquelyn Gleisner, The Chart’s 2019 Critic in Residence, considers a history of performance art and its request for “noble attention” throughout her pregnancy.
“Art is relevant because it is human.”
“Times had changed. We had to adapt and so did Craft.”
“Will you join me in a new world?”
“An unexpected benefit of giving up.”
“Who have we not been paying attention to?”
Critical Communion gathers critical responses toward ideating the future based upon mutual participation, sharing, and intimacy.
“As Indigenous artists, our ancestors possessed remarkable resilience to overcome pandemics, extermination policies, and staggering land losses due to broken treaties.”
“How does one prepare for mourning?”
Hilary Irons finds a major theme of empathy and connection in the work of seven graduates from Maine College of Art’s MFA program, highlighting how artists are responding to the precarity and isolation of the world and setting out to change it.
Julie Poitras Santos reflects on monument, labor, and silence in Daniela Rivera’s recent exhibition at the Fitchburg Art Museum.
Bianca Beck and Sascha Braunig’s two-person show at SPACE explores the political and feminist power of difference.
Grant Wahlquist reflects on Michael Figueroa’s commissioned dance work for SPACE and Portland Dance Month and asks, when is too much too much?
Megan Grumbling previews two short films by Mariangela Ciccarello and Philip Cartelli that trace geologic and migratory histories in the Mediterranean.
Writer and curator Ikram Lakhdhar looks at a selection of artworks in “Poetry is Not a Luxury,” an exhibition at the Center for Book Arts, to find her own histories emerge from the works on view.
Katie Vida suggests a multidisciplinary way of understanding photographer Tad Beck’s three series of work in Technique/Support at Grant Wahlquist Gallery.
In Somnyama Ngonyama, Zanele Muholi uses the performativity of photography to rewrite a Black queer and trans visual history of South Africa.
The Chart will bring five visiting critics to Maine this summer, including the 2019 Critic-in-Residence.
Flavor Profile eschews the romanticization and elitism of foodie culture to explore more tender, humanist relationships of food.
Artists Alison Hildreth and Juliet Karelsen discuss the twin concepts of darkness and nature on the occasion of their consecutive exhibitions at Speedwell projects this winter.
“I am a fourth-generation quilt maker”: artist Gina Adams talks with critical ethnographer Myron M. Beasley on archaeology, archive, and the arts.
Cecilia Cornejo Sotelo speaks with Carolina González Valencia about her new publication, How to Clean a House: A Family Album, a 20-page book of postcards that combines instructions on how to clean someone’s house as a domestic worker with milestones from the migration experience of the artist’s family.