Clare Tyrell-Morin speaks with Sarah Baldwin about her work in ink in advance of her new collaborative installation, Influx, in Biddeford.
Category Archive: Vol. 2, No. 4: Summer 2017
Beth Finch, Lunder Curator of American Art at the Colby College Museum of Art, speaks about what Marsden Hartley’s Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art world.
Gordon Hall, a New York-based artist, on ideas that surfaced around the creation of The Number of Inches Between Them, a sculpture and performance in multiple locations in mid-coast Maine.
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
Performance artist Keijaun Thomas discusses notions of blackness, femininity, and materiality in her in-progress piece My Last American Dollar. 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
Donna Haraway shows us we need new ideas and new ways of thinking, new kinds of stories to think with, because the old ones are failing us. by Julie Poitras Santos