On the occasion of Elizabeth Atterbury’s solo exhibition at DOCUMENT, Atterbury speaks with Gordon Hall about the connections between object-making and death, arrangements and memorials.
sculpture
Hilary Irons finds a major theme of empathy and connection in the work of seven graduates from Maine College of Art’s MFA program, highlighting how artists are responding to the precarity and isolation of the world and setting out to change it.
Julie Poitras Santos reflects on monument, labor, and silence in Daniela Rivera’s recent exhibition at the Fitchburg Art Museum.
Bianca Beck and Sascha Braunig’s two-person show at SPACE explores the political and feminist power of difference.
Artists Alison Hildreth and Juliet Karelsen discuss the twin concepts of darkness and nature on the occasion of their consecutive exhibitions at Speedwell projects this winter.
Hilary Irons speaks with Anna Hepler and Jon Calame on their forthcoming artist book, “Trespasses,” in an interview that plays with the “danger and slippage” of both written and visual languages.
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.
Before Projection: Video Sculpture 1974–1995 at MIT’s List Center defines video sculpture, asking viewers to grapple with the spatial and social realities of video.
Gordon Hall, a New York-based artist, on ideas that surfaced around the creation of The Number of Inches Between Them, a sculpture and performance in multiple locations in mid-coast Maine.
Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.
The intangibility of memory, the diversity of grief, and the anguish of remembrance are laid bare for the public in “Anguish: The Misgivings of Remembrance” at the ICA at MECA. by Veronica A. Perez
Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.
Skye Priestley investigates ambiguity in form and process throughout Duncan Hewitt’s retrospective at the Portland Museum of Art.
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
Toni Jo Coppa’s strange menagerie of unnatural history is at home in Hinckley’s LC Bates Museum. by Jacob Fall.