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Category Archive: Reviews

Nicole Eisenman: Intimacy With An Audience

Nicole Eisenman, It Is So, oil on canvas, 65 × 82 in, 2014. Courtesy of the artist, Anton Kern Gallery, New York; Galerie Barbara Weiss, Berlin; and Susanne Vielmetter, Los Angeles. Photo by John Berens.
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The variances in Nicole Eisenman’s techniques, both nuanced and bold, portray her strong ability, knowledge, and integrity to the discipline of painting. Meg Hahn explains the intimacy between the viewer’s interaction with the work, and Eisenman’s authorship in what she divulges.

Meg Hahn June 28, 2016 Reviews, Vol. 1, No. 8: June/July 2016

Drawing Parallels: deCordova’s “Drawing Redefined”

Richard Tuttle, Flower, painted plywood, pink (4 parts), 23 × 23 × 1 in, 1965. © Richard Tuttle, courtesy Pace Gallery.
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Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.

Jaime Gaiti April 1, 2016 Reviews, Vol. 1, No. 7: April/May 2016

Walid Raad at the ICA/Boston: A Critical Walkthrough

Installation view, Walid Raad, Index XXXVI: Red, Institute of Contemporary Art, Boston, 2016. Photo by John Kennard.
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David Martinez takes a look at Walid Raad at the ICA/Boston and examines whether audio tours enhance or detract from a viewer’s experience.

David Martinez April 1, 2016 Reviews, Vol. 1, No. 7: April/May 2016

Matthew Barney’s Gold Standard: Sex, Violence, & Fundament

Matthew Barney and Jonathan Bepler, RIVER OF FUNDAMENT: REN, 2014, Production Still Photo: Chris Winge © Matthew Barney, Courtesy Gladstone Gallery, New York and Brussels.
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Douglas W. Milliken and Jenna Crowder preview the agony and the ecstasy of Matthew Barney and Jonathan Bepler’s epic cinematic opera, River of Fundament.

Douglas Milliken March 3, 2016 Reviews, Vol. 1, No. 6: March 2016

Elise Ansel’s Painterly Revelations

Elise Ansel, Revelations IX, oil on linen, 16 x 12 in, 2015. Image courtesy Bowdoin College Museum of Art.
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Jacob Fall and Virginia Rose investigate revelations in Elise Ansel’s Distant Mirrors at Bowdoin College Museum of Art.

Jacob Fall March 3, 2016 Reviews, Vol. 1, No. 6: March 2016

Rejecting the Classical: Duncan Hewitt at the Portland Museum of Art

Duncan Hewitt, Tacks, carved and painted wood in five parts, approximately 14 x 60 x 48 in, 2008–09
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Skye Priestley investigates ambiguity in form and process throughout Duncan Hewitt’s retrospective at the Portland Museum of Art.

Skye Priestley January 28, 2016 Reviews, Vol. 1, No. 5: February 2016

LEAP BEFORE YOU LOOK: Black Mountain College 1933–1957 at the ICA/Boston

Photography class in a cabbage class, n.d. photo by Barbara Morgan
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Julie Poitras Santos on a “multi-faceted, interdisciplinary, many-years-in-the-making, pedagogical exhibition about a radical pedagogical endeavor” — the legendary and massively influential Black Mountain College at the ICA/Boston.

Julie Poitras Santos December 4, 2015 Reviews, Vol. 1, No. 4: December 2015/January 2016

On Ecstatic Milk Enjoyment, Discomfort, and Not Pumping Gas in the Presence of Douglas W. Milliken’s Corpse.

The cover to Cream River, by Douglas W. Milliken. Designed and published by Publication Studio/Downeaster Editions.
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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.

Emily Young December 4, 2015 Reviews, Vol. 1, No. 4: December 2015/January 2016

Cheshire Girls: Veronica Cross’ Complicated Feminism

Veronica Cross, Headbangers, scraped oil on wood, 30 x 40 in, 2015.
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Kathy Weinberg navigates Veronica Cross’ exploration of the female figure in the complex contexts of punk aesthetics, pop culture, and the baggage of hijacking the vintage.

Kathy Weinberg December 4, 2015 Reviews, Vol. 1, No. 4: December 2015/January 2016

Craft Fair, Flea Market, Biennial: What the 2015 PMA Biennial gets right (and wrong)

Stacy Howe, Profane Maine, ink, charcoal, acrylic, and graphite on paper, 48" x 60", 2015. Image courtesy of the artist and the Portland Museum of Art.
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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.

Helen Greenbriar November 5, 2015 Reviews, Vol. 1, No. 3: November 2015

BETTER LUCK NEXT TIME: Julie K. Gray’s supernatural failures

Still from Levitation, photo courtesy of Julie K. Gray
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In her solo show BETTER LUCK NEXT TIME, Julie K. Gray maps her failures in attempting to “to explore the unknown through paranormal and spiritual means.” by Benjamin Spalding

Benjamin Spalding November 5, 2015 Reviews, Vol. 1, No. 3: November 2015

The dream-like spirituality of Elizabeth Fox’s paintings

Elizabeth Fox, "Out the Woods", oil on panel, 11-1/2” x 24-1/8”. Image courtesy of Dowling Walsh.
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Narciso Philostratus’ review of Elizabeth Fox’s latest paintings reveals unabashed religiosity, technical sophistication, and a fresh sense of humor. by Jeffrey Ackerman

Jeffrey Ackerman November 5, 2015 Essays, Reviews, Vol. 1, No. 3: November 2015

Maine’s Plain Jane Problem: Critiquing the Portland Museum of Art 2015 Biennial

Sarah Sockbeson, Basket, brown ash, sweetgrass, and antler, 4" x 3.5", 2011. Hudson Museum, University of Maine, HM8622. © Sarah Sockbeson
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Ashleigh Burskey and Catnip James examine the state of Maine’s art through the lens of the Portland Museum of Art’s 2015 Biennial.

Ashleigh Burskey November 5, 2015 Reviews, Vol. 1, No. 3: November 2015

Deciphering Erratic Murmurs: Freddy LaFage at Perimeter Gallery

Freddy LaFage, Murmur.
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Freddy LaFage’s new body of work at Perimeter Gallery in Belfast, Maine, explores the struggle of time and the process of letting ideas emerge. by Kathy Weinberg

Kathy Weinberg November 5, 2015 Reviews, Vol. 1, No. 3: November 2015

Meta-Review: Kenny Cole at BUOY

Installation view of Kenny Cole's Flood: From Noah to Babel and Beyond at BUOY in Kittery, ME.
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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

Jeffrey Ackerman September 29, 2015 Reviews, Vol. 1, No. 2: October 2015

Art as Index: Lina Viste Grønli at MIT

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“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

Skye Priestley September 29, 2015 Issues, Reviews, Vol. 1, No. 2: October 2015

What is our Common Field? notes from Hand in Glove 2015

Lunch on Day 2 of Hand in Glove: an artist meal introduced by Mona Smith, of Healing Place Collaborative, and artist Seitu Jones. Photo by the author.
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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

Jenna Crowder September 29, 2015 Essays, Reviews, Vol. 1, No. 2: October 2015

Shedding Light on Darkness

Michel Auder, still from "Untitled (I Was Looking Back To See If You Were Looking Back At Me To See Me Looking Back At You)", (2014), three-channel video installation. Image courtesy Bowdoin College Museum of Art.
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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

Skye Priestley August 20, 2015 Reviews, Vol. 1, No. 1: September 2015

Personal Graphemics

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Engine blends disciplines in Ode to Letters. by Ian Carlsen

Ian Carlsen August 20, 2015 Reviews, Vol. 1, No. 1: September 2015

The Interlopers: Toni Jo Coppa at the LC Bates Museum

Toni Jo Coppa, "The Monk" (left) and "Watching" (right), 2012, plastic doll eyes, sewing pins, cheesecloth and paint on altered taxidermy forms. Image courtesy L.C. Bates Museum.
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Toni Jo Coppa’s strange menagerie of unnatural history is at home in Hinckley’s LC Bates Museum. by Jacob Fall.

Jacob Fall August 15, 2015 Reviews, Vol. 1, No. 1: September 2015

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