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Pulp fixation

A distant culture of comic art at the PPL
The largest assemblage of original pulp illustrations in the world, this showcase of over 20 pulp artists comes sweating, scantily clad, and guns blazing.
By: MARIAH BERGERON  |  November 03, 2014


Literally LGBT

A community-compiled list of important GBLTQ works
A community-compiled list of important GBLTQ works through the years.  
By: PHOENIX STAFF  |  October 31, 2014


How to dress a wound

Rajiv Joseph’s Gruesome Playground Injuries
Kayleen and Doug first meet when they’re both eight years old and in the school nurse’s office: She has a stomachache, and he has “broken his face” whilst riding his bike off the school roof. Their bond, though awkward and cantankerous, is thus immediately grounded in the grisly intimacy of trauma.
By: MEGAN GRUMBLING  |  October 24, 2014


Ask your dealer

We Build Excitement at SPACE Gallery
The automobile is a thing of great ambivalence. On one hand, it’s contributed to catastrophic and virtually irreversible climate change, enabled the limitless profiteering of the oil industry, and served as symbolic fuel for a lot of dumb notions of masculinity. On the other, if you’re an American between the ages of 16 and 99, life’s most pivotal moments would have been impossible without them, whether they provided transport, escape, or a soft, cushiony interior.
By: NICK SCHROEDER  |  October 27, 2014


Whoever said painting was dead?

Tom Hall and Joshua Ferry provide powerful counterarguments
What makes painting so special? In Maine this seems a superfluous question.
By: BRITTA KONAU  |  October 16, 2014


Traumatic irony

Michael Kimball's Ghosts of Ocean House
A creaky old oceanfront Victorian. Three adult siblings who don’t like each other, plus a couple of spouses. A codicil to their father’s will that requires them to spend an excruciating week together in the house. And, of course, various ghosts.
By: MEGAN GRUMBLING  |  October 15, 2014


Overextended family

Mad Horse's stirring A View from the Bridge
“I’m inclined to notice the ruins in things,” ponders Alfieri (Brent Askari). He’s recalling the downfall of a longshoreman who won’t give up a misplaced, misshapen love, a story that receives a superbly harrowing production at Mad Horse, under the direction of Christopher Price.   
By: MEGAN GRUMBLING  |  October 11, 2014


Something's gotta fall

Love, tension, masculinity in The Rainmaker 
While it hasn’t rained on the Curry family’s 1920’s-era ranch in far too long, the drought is more than literal in The Rainmaker .
By: MEGAN GRUMBLING  |  October 11, 2014


Any old town

Amy Stacey Curtis makes it Matter in rural Maine
It’s a long, ruminative drive from Portland to Parsonsfield, the site of a bizarre, unclassifiable, and oddly intimate sort of production by the renowned Maine artist Amy Stacey Curtis.  
By: NICK SCHROEDER  |  October 11, 2014


Surpassed menagerie

Neil Simon’s Brighton Beach Memoirs at PSC
Do Buggeln and Vasta make a Glass Menagerie out of Brighton Beach Memoirs? Well, not exactly.
By: MEGAN GRUMBLING  |  October 03, 2014


Critique the hand that feeds you

Aaron T Stephan plays with the space of the PMA
The problem of the art museum and how it adapts with the progress of art has been an issue since before the Conceptualist movement, before Dada brought the weird and Situationists took to the streets.
By: MARIAH BERGERON  |  October 06, 2014


When life hands you fabric

Lyric's Avenue Q portrays the fuzzy years
One of the risks of being raised on PBS children’s programming, apparently, is the realization that one is not as special or as destined for greatness, in the grown-up world, as Big Bird seemed to let on.
By: MEGAN GRUMBLING  |  October 01, 2014


Forms and solutions

Wriggling out of the lockbox at the ICA
How do we think about art when the artists’ identities are removed?  
By: NICK SCHROEDER  |  October 01, 2014


It's good to be witch

Puritanism at stake in Ogunquit's Eastwick
Trapped, suppressed, and unsatisfied with the small-mindedness of their small New England town, what are three divorcées of scandalous creative powers to do?
By: MEGAN GRUMBLING  |  September 19, 2014


Two artists at crossroads

New bodies of work at Susan Maasch Fine Art
Susan Maasch Fine Art is showing solos of two widely different artists: abstract painter Jessica Gandolf and photographer Jack Montgomery.
By: BRITTA KONAU  |  September 19, 2014


17 books you should read in college

(Whether your professors tell you to or not)
Challenge yourself to read something you wouldn’t. Read obvious books like Hamlet, One Hundred Years of Solitude, Sense and Sensibility, and Man’s Search for Meaning. And if you find yourself hating any one of them, throw the book across the room and pick up something else.
By: EMILY YOUNG  |  September 18, 2014


Prepare for the fall

Looking ahead at the season's dramatic arts
The season of theater at USM, Good Theater, Mad Horse, Portland Stage Company, and many more.
By: MEGAN GRUMBLING  |  September 18, 2014


Summer was stolen

A look at artists who prepared for the fall
From here, the strongest pull of the art season comes—surprise, surprise—from the Portland Museum of Art, where a mostly sculptural assembly of works by Aaron T. Stephan should throw a wrench at the syntax of institutional aesthetics.
By: NICK SCHROEDER  |  September 12, 2014


The pull of the earth

The arc of Bernard Langlais at Colby's Museum of Art
Langlais found an authenticity of life on the Maine coast, as well as a lumber yard full of raw material.
By: MARIAH BERGERON  |  September 04, 2014


Taking center stage

Acorn bounces from Westbrook to Portland
“I’ve always loved hidden treasures,” says Michael Levine, founding artistic director of Acorn Productions, as he climbs the stairs to the third-floor ballroom of Mechanics Hall, a gem of a historic space concealed in plain sight right on Congress Street.
By: MEGAN GRUMBLING  |  September 03, 2014
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