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A saturated plot of Lauren Fensterstock's obsidian growth is planted in the Sculpture Gallery of the Ogunquit Museum of Art, an uncharacteristically heavy installation in the otherwise light space.
Confronting and denying conventional aesthetics and modes of exhibition, Iain Kerr: artist, writer, educator, and founding member of spurse, an international peripatetic collective and experimental consultation service, intimately reinvents the project space at Gallery 37-A.
August Ventimiglia isolates simple gestures and records their impact and reverberations, magnifying the grace of the adjusting and settling physical world, and implying larger social and philosophical commentary.
The Book of Genesis seems like inherently good fodder for R. Crumb's satirical debasement.
Codes of play
Last Tuesday the crowd at the Portland Pirates game against Worcester sipped soda and munched on pretzels and popcorn as Canadian artist Graeme Patterson's two-minute video "Ten Point Game" was announced.
Ode on Grecian carrion
"Cashmere Roadkill" stretches its flaccid bloat of a body over about 10 feet of bookshelf on the seventh-floor reading room at USM's Glickman Family Library.
What happens when you dedicate time every day for a month to one creative endeavor?
Targeting ‘To Go’
The Dixie cup is the first object investigated in aa//ee's inaugural issue of Broadsheet , a quarterly newsletter exploring the historical narratives behind mundane objects of industrial design.
Variations on a theme
There is unlikely any subject more explored in the art-history continuum than the female form.
The truck stops here
The gripe I hear most regularly about the Portland art scene laments the lack of alternative or DIY art spaces that really invite experimentation.
"Was he a cynic, an enthusiast, or merely an aesthete of rough seas?" Rhetoric scratched across a cresting wave sets the dissonant tone of "Repeater Pencil," Raymond Pettibon's 14-minute single-screen animation, which wavers between a decorated apathy and dire fatalism.
Form + function
Richard Prince's 2008 "Nurse Hat Chair" sits next to a gothic French "Joined Chair" in the first gallery of the extensive "Sit Down!" — book-ending the six centuries of chairs represented in the exhibit.
Matthew Barney's seven-hour Cremaster Cycle descends in the Portland Museum of Art
Eight years after its completion, The Cremaster Cycle , Matthew Barney's interminable multi-media opus, continues to befuddle and intrigue audiences.
In the art of deception lies the potential to destabilize perceptions of reality, if only momentarily.
Adriane Herman recategorizes our most ephemeral and disposable documents as relevant cultural artifacts.
Jorge Luis Borges wrote, "Time is the substance from which I am made. Time is a river which carries me along, but I am the river; it is a tiger that devours me, but I am the tiger; it is a fire that consumes me, but I am the fire."
The largely performance-based offerings in "Mind-bending with the Mundane" inspect the confusing grayscale of modern relationships and family structures, addressing what contemporary domesticity looks like in a society of convenience and prerogative with diluted and outmoded institutions.
Museums, galleries, and artists ready for fall shows
Last weekend’s Block Party was a charming and invigorating celebration of Portland’s art community. The interactive evening, spearheaded by SPACE Gallery, set an ambitious standard for what’s to come on the art front rounding out this year.
Two recent groups of Karen Gelardi's studies of nature (she calls it "botanical propaganda") harness a bold and painterly craft aesthetic among the rough wood benches and baskets of lush melons and gourds in the open industrial space that also serves as a popular restaurant and farmers' market in downtown Belfast.
Examining Jeffrey Clancy's craft theories
Jeffrey Clancy plays with craft theory through the lens of a metalsmith working with traditional techniques and decorative motifs.
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