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Maine

Walking Portland: A Reflection on “ecologies of the local”

A view of a bend in the Presumpscot River just after dawn. Sunlight is just beginning to light up the trees that frame the rocky riverbanks, and there is a layer of white mist that sits on top of the dark water, which reflects the stones along the bank, the trees, and some sky above.
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Julie Poitras Santos’ PLATFORM PROJECTS/WALKS: ecologies of the local offered artist-led walks for the public to get closer to the ecologies of which they are a part. Elyse Grams reflects on six of the walks she attended and what she learned about the land, its history, and herself.

Elyse Grams November 20, 2020 Essays, Vol. 5, No. 4: Fall 2020

Scholarship, Power, & the Agency of Place: Beth Finch on Marsden Hartley’s Maine

Hall of the Mountain King, ca. 1908-9, Oil on canvas, 30 x 30 in. (76.2 x 76.2 cm). Crystal Bridges Museum of American Art, Bentonville, Arkansas 2010.94
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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.

Jenna Crowder August 25, 2017 Interviews, Vol. 2, No. 4: Summer 2017

Where Critical Tides Meet: The Inaugural Show at Grant Wahlquist Gallery

Tad Beck. Blind Spot 37, 2016. Framed archival pigment print. 34.75 x 31.85 inches. Edition 1/1. Courtesy of the artist and Grant Wahlquist Gallery.
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Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin

Julien Langevin June 20, 2017 Reviews, Vol. 2, No. 3: Spring 2017

Temp to Perm proves a need for a shared language of public art

John Sundling, Ghost Fence, 2017. Installed in the median of Franklin Arterial in Portland, ME, as the first of three temporary art projects facilitated by TEMPOart this summer.
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Creating public art — and public art conferences — requires deep, internal work as much as it does communication, planning, passion, and dedication. by Jenna Crowder

Jenna Crowder June 15, 2017 Initiatives, Reviews, Vol. 2, No. 3: Spring 2017

Greetings from the Jungle: Elizabeth Kleene invites you to Tadow Island

Elizabeth Kleene, “LAYER BOSS”, acrylic, oil, and duralar on aluminum mounted on panel, 13" x 12", 2013. Image courtesy of Gallery 49.
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Lustfully saturated with lucid color and lively tricks of the eye, Elizabeth Kleene’s Tadow Island at Gallery 49 allows viewers to experience an external oasis. by Julien Langevin

Julien Langevin June 2, 2017 Reviews, Vol. 2, No. 3: Spring 2017

A Long Wait for Justice: dance at the end of the world

Performance still from S P E C T A C U L A R B L A C K D E A T H, 2016. Photo by Erin Colleen Johnson.
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Lia Wilson reviews the site-specificity and flattening of time of S P E C T A C U L A R B L A C K D E A T H as part of the series A Long Wait.

Lia Wilson July 28, 2016 Initiatives, Reviews, Vol. 1, No. 8: June/July 2016

Introducing Able Baker Contemporary, Portland’s Newest Artist-Run Gallery

Able Baker Contemporary
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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.

The Chart April 1, 2016 Initiatives, Press Releases, Vol. 1, No. 7: April/May 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

SPACE Gallery Announces 2016 Kindling Fund Grantees

The Kindling Fund
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SPACE Gallery announces the 2016 Kindling Fund Grantees

The Chart January 28, 2016 Press Releases, Vol. 1, No. 5: February 2016

Towing the Green Line: Justin Levesque’s ICELANDx207

Justin Levesque, Bridge: Ship Motions, archival pigment print, 18” x 18”, 2015.
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Benjamin Spalding talks with Justin Levesque about ICELANDx207, a project investigating economic, geographic, and cultural spaces between Maine and Iceland.

Benjamin Spalding January 28, 2016 Initiatives, Interviews, Vol. 1, No. 5: February 2016

Interview: Robin Peckham on the contemporary Chinese art scene

“Art Post-Internet” at the Ullens Center for Contemporary Art (UCCA), Beijing. Image courtesy of UCCA.
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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

Clare Tyrrell-Morin December 4, 2015 Interviews, Vol. 1, No. 4: December 2015/January 2016

The New Intellectual Zeitgeist: Speculative Realism & Maine

Image courtesy of the author.
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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.

Skye Priestley December 4, 2015 Essays, Theory, Vol. 1, No. 4: December 2015/January 2016

Contextualizing “Maine” Artists: the regional identity double standard

Anna Hepler, Double Hung (2013-2015), steel wire and rope, dimensions variable, as installed at University of Maine Museum of Art. Photo by the author.
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Jacob Fall questions how and why the term “Maine artist” is applied — and what that means for an artist’s identity and career.

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

All Art is Outsider Art, Part 2: a quick guide to the making of an art epicenter

A step-by-step guide to constructing the new art epicenter. Above, a model of the Guggenheim New York by Little Building Co.
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Mariah Bergeron continues her serial on the New York art epicenter with a guide to using political, economic — and yes — artistic tools for taking over the (art) world.

Mariah Bergeron September 29, 2015 Essays, Theory, Vol. 1, No. 2: October 2015

All Art is Outsider Art: deconstruction of the art epicenter

NY in ME: a map of New York having sex with Portland. Image by the author.
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An intro to a serial involving Maine art and: New York art world centrism, geopolitical economy, regional identity, gentrification, and the (d)evolution of the scene. by Mariah Bergeron

Mariah Bergeron August 24, 2015 Essays, Vol. 1, No. 1: September 2015
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