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.
Category Archive: Reviews
Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.
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.
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.
Jacob Fall and Virginia Rose investigate revelations in Elise Ansel’s Distant Mirrors at Bowdoin College Museum of Art.
Skye Priestley investigates ambiguity in form and process throughout Duncan Hewitt’s retrospective at the Portland Museum of Art.
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.
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.
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.
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.
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
Narciso Philostratus’ review of Elizabeth Fox’s latest paintings reveals unabashed religiosity, technical sophistication, and a fresh sense of humor. by Jeffrey Ackerman
Ashleigh Burskey and Catnip James examine the state of Maine’s art through the lens of the Portland Museum of Art’s 2015 Biennial.
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
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
“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
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.