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Category Archive: Vol. 2, No. 3: Spring 2017

Where Critical Tides Meet: The Inaugural Show at Grant Wahlquist Gallery

Tad Beck. Blind Spot 37, 2016. Framed archival pigment print. 34.75 x 31.85 inches. Edition 1/1. Courtesy of the artist and Grant Wahlquist Gallery.
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Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin

Julien Langevin June 20, 2017 Reviews, Vol. 2, No. 3: Spring 2017

Temp to Perm proves a need for a shared language of public art

John Sundling, Ghost Fence, 2017. Installed in the median of Franklin Arterial in Portland, ME, as the first of three temporary art projects facilitated by TEMPOart this summer.
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Creating public art — and public art conferences — requires deep, internal work as much as it does communication, planning, passion, and dedication. by Jenna Crowder

Jenna Crowder June 15, 2017 Initiatives, Reviews, Vol. 2, No. 3: Spring 2017

Greetings from the Jungle: Elizabeth Kleene invites you to Tadow Island

Elizabeth Kleene, “LAYER BOSS”, acrylic, oil, and duralar on aluminum mounted on panel, 13" x 12", 2013. Image courtesy of Gallery 49.
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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

Julien Langevin June 2, 2017 Reviews, Vol. 2, No. 3: Spring 2017

“Waves need to move to be”: Terry Winters & Mark Melnicove collaborate at Able Baker

Terry Winters and Mark Melnicove, "07 Upward, downward, in space time", screenprint on paper, 2017, courtesy Two Palms New York. Image courtesy Able Baker Contemporary.
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Terry Winters and Mark Melnicove collaborate on a suite of prints exploring the relationships between image and word in the physics of space and time. by Megan Grumbling

Megan Grumbling May 30, 2017 Reviews, Vol. 2, No. 3: Spring 2017

Presence + Polarization: Natalie Bookchin’s Portraits of America

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Eden Osucha speaks with filmmaker Natalie Bookchin about the phenomenon of video self-portraiture in the internet age, and what it means for resistance and identity.

Eden Osucha May 4, 2017 Interviews, Vol. 2, No. 3: Spring 2017

Tender, Stoic, & Funny: Men’s Work at the CMCA

David Driskell, from left to right: The Cook I, AP 17/21, linocut/serigraph, 7.25 x 6”, 2016. The Cook II, AP 1/1, woodcut/serigraph, 7.25 x 6”, 2016. The Cook III, AP 24/33, woodcut/serigraph, 7.25 x 6”, 2016. Photos courtesy of CMCA.
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Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.

Christopher Stiegler March 29, 2017 Reviews, Vol. 2, No. 3: Spring 2017
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