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.
Category Archive: Issues
Jenn Corey visits Timothy Wilson in his studio, discussing life and work between Maine and New York, pay-to-play gallery models, and painting the overwhelming beauty of weather and nature.
A found review by Narciso Philostratus looks at Kenny Cole’s show at BUOY, outlining a history of mimetic complexity in works we often don’t (or can’t) read in their totalities. by Jeffrey Ackerman
Rockland artists Richard Iammarino (painter & sculptor) and Alexis Iammarino (painter & dancer) discuss their father-daughter influences, spontaneity, mastery, and compulsion. by Douglas W. Milliken
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.
“List Projects: Lina Viste Grønli” at the MIT List Visual Arts Center moves through philosophy, art, linguistics, and poetry, connecting us to the 20th century’s greatest thinkers. by Skye Priestley
One attendee’s perspective from the Hand in Glove 2015 conference in Minneapolis: what is our common field and how do we define our practices inclusively? by Jenna Crowder
Kevin Clancy sat down for a meandering conversation on a sunny day in Maine before heading back to his home in Pittsburgh, Pennsylvania, to discuss his nomadic art practice, portable utopias, dreaming spaces and his recent residency on the Deer Isle Archipelago with Cabin Time. by Irina Skornyakova
So, what’s The Chart really about? The story of the birth of The Chart. by Ashleigh Burskey
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
Annika Earley talks to MYFAWNWY’s Maisie Broome about camouflage, ritual, and creating a body of work completely off the grid.
The creative community doesn’t just exist in bigger cities — and in a small village, the work might even have a bigger impact. by Marques Bostic
Participant-made maps at the Institute for American Art in Portland, Maine, start to reveal different cultural understandings. by Chris Stiegler
As the subject of children and parenting becomes more prevalent in global contemporary discourse and in academia, is Maine’s creative economy prepared to encourage and support women artists with families? by Alana Dao
A pair of shows at the Bowdoin College Museum of Art trace our understanding of night from the mid-19th century to the present day. by Skye Priestley
Engine blends disciplines in Ode to Letters. by Ian Carlsen
Toni Jo Coppa’s strange menagerie of unnatural history is at home in Hinckley’s LC Bates Museum. by Jacob Fall.
Genevieve Johnson + Douglas W. Milliken’s The Royal Open. documented by Jenna Crowder