Volume 6: 2021

Vol. 6, No. 1: Winter 2021

Letters and Souvenirs: Elizabeth Atterbury in conversation with Gordon Hall

Volume 5: 2019–2020

Vol. 5, No. 4: Fall 2020

Walking Portland: A Reflection on ecologies of the local, by Elyse Grams
Presence, Performance, and Pregnancy, by Jacquelyn Gleisner

Vol. 5, No. 3: Spring 2020

Regarding the Relevance of Art, by Grant Wahlquist
What the Pandemic Reveals About Future Opportunities for Accessibility in Craft, by Bukola Koiki
A New World World, by dayday
What revelations or rebirths are underway?, by Eli Nixon
On Refusal & Better Questions, by Shaun Leonardo
In This Time of Survival and Into the Future, by Theresa Secord
Five Days in Spring, by Gelare Khoshgozaran
Critical Communion: an introduction & call for submissions, by Jenna Crowder

Vol. 5, No. 2: Spring 2020

The Empaths, by Hilary Irons

Vol. 5, No. 1: Winter 2019/2020

Daniela Rivera’s Labored Landscapes, by Julie Poitras Santos
The Affidamento of Bianca Beck and Sascha Braunig, by Jenna Crowder
Attending to Attention: Michael Figueroa’s This is why we can’t have nice things at SPACE, by Grant Wahlquist

Volume 4: 2018–2019

Volume 3: 2017–2018

Vol. 3, No. 3: Summer 2018

Making an Appearance: Jocelyn Lee at the Center for Maine Contemporary Art, by Dylan Hausthor
Tending to the Haints of Malaga Island, by Jessica Lynne

Vol. 3, No. 2: Spring 2018

“These Works Will Haunt You”: a conversation on the 2018 Portland Museum of Art Biennial, by Myron Beasley, Meghan Brady, Edwige Charlot, Justin Levesque, and Veronica A. Peréz
Looking at Ourselves Through the Eyes of Others: Second Sight + privilege at Bowdoin College Museum of Art, by Vivian Ewing
Questioning Oracle: Yoshua Okón at Colby College Museum of Art, by Julie Poitras Santos
Being Present in the Space of Video, by Joshua Reiman
Announcing The Chart‘s 2018 Visiting Critic, by The Chart

Vol. 3, No. 1: Fall 2017/Winter 2018

Unearthing Optimism: the visual and sociopolitical weight of Dave Eassa’s Roses, by Julien Langevin
FutureSex/LoveSounds: an analysis of gender and artificial intelligence in film (ft. Justin Timberlake), by Nyanen Deng
Airing Out Ambivalence: on cultural care and the allure of judgment, by Ellen Tani
In Conversation: Jenna Crowder and Julien Langevin on Nan Goldin at the PMA, by Graeme Kennedy

Volume 2: 2016–2017

Vol. 2, No. 4: Summer 2017

Putting It In Ink: Sarah Baldwin’s Self-Alteration, by Clare Tyrell-Morin
Scholarship, Power, & the Agency of Place: Beth Finch on Marsden Hartley’s Maine, by Jenna Crowder
On Vulnerability & Heavy Objects: a reflection by Gordon Hall
Emilie Stark-Menneg & the Sweet Cool of Material Nostalgia, by Julien Langevin
Keijaun Thomas: a Black Femme Goddess Punk, Nude and In Charge, by Julien Langevin
BLOODLINES: assembling the power of the collective to challenge the heteropatriarchy, by Andy Johnson
Art, Performativity, & Gender as a Tool of Capitalism in Emily Mae Smith’s The Studio, by Frances Barker
Book Review: Donna Haraway’s Staying with the Trouble, by Julie Poitras Santos

Vol. 2, No. 3: Spring 2017

Where Critical Tides Meet: The Inaugural Show at Grant Wahlquist Gallery, by Julien Langevin
Temp to Perm proves a need for a shared language of public art, by Jenna Crowder
Greetings from the Jungle: Elizabeth Kleene invites you to Tadow Island, by Julien Langevin
“Waves need to move to be”: Terry Winters & Mark Melnicove collaborate at Able Baker, by Megan Grumbling
Presence + Polarization: Natalie Bookchin’s Portraits of America, by Eden Osucha
Tender, Stoic, & Funny: Men’s Work at the CMCA, by Chris Stiegler

Vol. 2, No. 2: Winter 2017

Nat May Named Curator for the 2018 Portland Museum of Art Biennial, by The Chart
TEMPOart Announces 3 Temporary Art Projects in Portland for Summer 2017, by The Chart
Mourning as a Public Act, by Veronica A. Perez
The Arts Agency Report Card: RESULTS!, by Jenna Crowder & Nat May

Vol. 2, No. 1: Fall 2016

The Arts Agency Report Card, by Jenna Crowder & Nat May
Opening Up at the Center for Maine Contemporary Art, by Jenna Crowder
Collecting Water: the work of Katarina Weslien, by Julie Poitras Santos

Volume 1: 2015–2016

Vol. 1, No. 9: August 2016

It’s Our One-Year Anniversary!, by The Chart
Sociopolitical Printmaking: In Conversation with Tim Fite, by Meg Hahn
On Our Radar: Aimee Goguen, by Meg Hahn
Ann Hirsch, IRL, by Jenna Crowder
The Ambling Aesthetics of Platform Projects/Walks, by Jenna Crowder

Vol. 1, No. 8: June/July 2016

A Long Wait for Justice: dance at the end of the world, by Lia Wilson
Rewriting an Unrealized History of War: Fortress Brass on Fort Gorges, by Jenna Crowder
The ABCs of Consumer Culture: American Optimism at Able Baker Contemporary, by Meg Hahn
How Are Artists Supporting Black Lives Matter? a brief reading + resource list, by The Chart
Predicting Future Weather: an interview with Anna Wolfe-Pauly and Erin Colleen Johnson, by Jenna Crowder
Nicole Eisenman: Intimacy with an Audience, by Meg Hahn

Vol. 1, No. 7: April/May 2016

Institutional Invisibility: Jessica Hankey’s Women’s Clubs, by Erin Colleen Johnson
Drawing Parallels: DeCordova’s “Drawing Redefined”, by Jaime Gaiti
On Our Radar: Mark Price, by The Chart
Listen! Do You See That? Episode 3: The Art of Exchange, by npilar
Walid Raad at the ICA/Boston: a critical walkthrough, by David Martinez
Introducing Able Baker Contemporary, Portland’s Newest Artist-Run Gallery, by The Chart
If You’re Reading This…, by The Chart

Vol. 1, No. 6: March 2016

Matthew Barney’s Gold Standard: Sex, Violence, & Fundament, by Douglas W. Milliken & Jenna Crowder
Poetic + Public: the correspondences of Erased by Us, by Alana Dao
Listen! Do You See That? Episode 2: Because of Ruski’s, by npilar
Elise Ansel’s Painterly Revelations, by Jacob Fall and Virginia Rose

Vol. 1, No. 5: February 2016

Rejecting the Classical: Duncan Hewitt at the Portland Museum of Art, by Skye Priestley
Listen! Do You See That? Episode 1, by npilar
SPACE Gallery Announces 2016 Kindling Fund Grantees, by The Chart
Cashmere Zombies: talking sci-fi and morality with Greta Bank, by Maia Snow
Seeking the Spark: a tinderbox at the Institute for Contemporary Art, by Veronica A. Perez
Charting Biddeford’s Creative Rise, by Clare Tyrrell-Morin
Towing the Green Line: Justin Levesque’s ICELANDx207, by Benjamin Spalding

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

Interview: Robin Peckham on the contemporary Chinese art scene, by Clare Tyrrell-Morin
Leap Before You Look: Black Mountain College 1933–1957 at the ICA/Boston, by Julie Poitras Santos
On Ecstatic Milk Enjoyment, Discomfort, and Not Pumping Gas in the Presence of Douglas W. Milliken’s Corpse., by Emily Jane Young
Cheshire Girls: Veronica Cross’ Complicated Feminism, by Kathy Weinberg
The New Intellectual Zeitgeist: Speculative Realism & Maine, by Skye Priestley
Contextualizing “Maine” Artists: the regional identity double standard, by Jacob Fall
Colophon: Mark Jamra’s Phoreus Cherokee, by The Chart

Vol. 1, No. 3: November 2015

Craft Fair, Flea Market, Biennial: What the 2015 PMA Biennial gets right (and wrong), by Helen Greenbriar
Better Luck Next Time: Julie K. Gray’s supernatural failures, by Benjamin Spalding
The dream-like spirituality of Elizabeth Fox’s paintings, by Jeffrey Ackerman
“Maine” Artists? Beginning to unpack regionalism, by Jacob Fall
Deciphering Erratic Murmurs: Freddy LaFage at Perimeter Gallery, by Kathy Weinberg
Maine’s Plain Jane Problem: Critiquing the Portland Museum of Art 2015 Biennial, by Ashleigh Burskey and Catnip James

Vol. 1, No. 2: October 2015

Lines of Flight: Jimmy Riordan’s Translations, by Julie Poitras Santos
Studio Visit: Timothy Wilson’s Pentimento, by Jenn Corey
Meta-Review: Kenny Cole at BUOY, by Jeffrey Ackerman
Art as Index: Lina Viste Grønli at MIT, by Skye Priestley
In Conversation with Richard & Alexis Iammarino, by Douglas W. Milliken
All Art is Outsider Art, Part 2: a quick guide to the making of an art epicenter, by Mariah Bergeron
What is our Common Field? notes from Hand in Glove 2015, by Jenna Crowder
Kevin Clancy’s Portable Utopias, by Irina Skornyakova

Vol. 1, No. 1: September 2015

Maisie Broome: Ingenious Caretaker, by Annika Earley
Creative Parenting: Supporting Artistic Motherhood, by Alana Dao
Finding Community in Kezar, by Marques Bostic
Where is the art world? cultural mapping at the Institute for American Art, by Chris Stiegler
Shedding Light on Darkness, by Skye Priestley
All Art is Outsider Art, Part 1: destruction of art epicenter, by Mariah Bergeron
Why The Chart?, by Ashleigh Burskey
Personal Graphemics, by Ian Carlsen
The Interlopers: Toni Jo Coppa at the LC Bates Museum, by Jacob Fall
Drifting + Sharing at The Royal Open, by Jenna Crowder