Julie Poitras Santos reflects on monument, labor, and silence in Daniela Rivera’s recent exhibition at the Fitchburg Art Museum.
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Bianca Beck and Sascha Braunig’s two-person show at SPACE explores the political and feminist power of difference.
Mimicking the collaborative nature of the Biennial’s curation, five cultural producers in Maine gather in conversation to model the critical potential in slow looking, multiple reads, and shared dialogue.
Vivian Ewing reviews Second Sight: The Paradox of Vision in Contemporary Art, an exhibition that addresses what it’s like to possess qualities that so much of the world is not built to serve: blindness and blackness.
A rose is a rose is a precious symbol of optimism in these often dark times. by Julien Langevin.
Clare Tyrell-Morin speaks with Sarah Baldwin about her work in ink in advance of her new collaborative installation, Influx, in Biddeford.
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.
In American Popsicle, Emilie Stark-Menneg evinces a tenderness for the digital: its connection to both the physicality of paint and illusory intangibility. by Julien Langevin
Bloodlines counters heteropatriarchic narratives of fluid and the body with work meditating on the reproductive body, emotional labor, and power. by Andy Johnson
Emily Mae Smith’s art historical and illustrative paintings summon Marxist interpretations of the performativity of gender. by Frances Barker
Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
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
Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.
Meg Hahn talks with Able Baker Contemporary’s co-owners Stephen Benenson and Hilary Irons about the space and its current exhibition, American Optimism.
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.
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.
Jacob Fall and Virginia Rose investigate revelations in Elise Ansel’s Distant Mirrors at Bowdoin College Museum of Art.
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.
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.
Jacob Fall questions how and why the term “Maine artist” is applied — and what that means for an artist’s identity and career.
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
Jenn Corey visits Timothy Wilson in his studio, discussing life and work between Maine and New York, pay-to-play gallery models, and painting the overwhelming beauty of weather and nature.