Able Baker Contemporary, a new artist-run space co-founded by Stephen Benenson and Hilary Irons, is set to officially open its doors on April 8 in downtown Portland.
Jenna Crowder recaps some of her recent favorite pieces from other journals, including Pelican Bomb, BURNAWAY, Cairobserver, arts.black, and Temporary Art Review.
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.
Alana Dao talks with artist Irina Skornyakova and writer meg willing about their collaborative correspondence project, Erased By Us.
In this episode, npilar interview Ruski’s Tavern owner Monica about the art on the walls of our favorite neighborhood bar. They discuss holograms, autographs, a toe calendar, and Bob Saget.
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.
npilar’s brand-new, first-ever podcast, Listen! Do You See That? is here and taking a look at apartment art.
SPACE Gallery announces the 2016 Kindling Fund Grantees
Clare Tyrrell-Morin explores the city of Biddeford and what’s behind its recent creative surge.
Maia Snow spends some time with Greta Bank to discuss the humanity of Bank’s work on the heels of being awarded a major grant.
Veronica A. Perez sits down with Kyle Patnaude to discuss his curation of “tinderbox” at the ICA at MECA and the role of the curator and artist in sparking tangible social change.
Benjamin Spalding talks with Justin Levesque about ICELANDx207, a project investigating economic, geographic, and cultural spaces between Maine and Iceland.
A look back at our first handful of issues with our top three posts of 2015.
Beijing-based Robin Peckham discusses his Maine roots, his journey to Beijing’s 798 arts district as a student, and his reflections on Chinese art now. by Clare Tyrrell-Morin
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 philosophical movement that has garnered the greatest attention and engaged most thoroughly with the present culture is speculative realism. Skye Priestley explores the components of speculative realist thought and ties them to the logos of current cultural production in Maine.
Jacob Fall questions how and why the term “Maine artist” is applied — and what that means for an artist’s identity and career.
Colophon: Mark Jamra’s Phoreus Cherokee
Mark Jamra’s Phoreus Cherokee — used throughout The Chart — updates and modernizes the Cherokee language in an effort to preserve it in the digital age.
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.