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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

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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

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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

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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

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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

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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



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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

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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

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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

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Abstraction built on emptiness

David Raymond draws worlds with a minute vocabulary
David Raymond can make substantive art with very little actual substance.
By: BRITTA KONAU  |  August 22, 2014

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Built to last

Nadal and Buckwalter fly the flags at Mayo
Just like kids’ forts, the room is a forum for the constant bending of logic.
By: NICK SCHROEDER  |  August 07, 2014



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What the light reveals

Maasch's room of dark statues, fresh flowers
Their latest duo at Susan Maasch Fine Art, Brenton Hamilton and Kiki Gaffney, is worth a stop, its works adventurous enough to satiate the art-educated while sufficiently wall-mountable to please strict collectors.
By: NICK SCHROEDER  |  July 31, 2014

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Inquiry under pressure

Richard Tuttle's experiments in printmaking
That said, “Richard Tuttle: A Print Retrospective” affords a fascinating opportunity to get a more complete picture of the artist, who, apparently, thinks like a sculptor engaging space even when paying his respects to the medium of printmaking, its practitioners, and its history.
By: BRITTA KONAU  |  July 23, 2014

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Inclinations & otherwise

Three artists break out at Corey Daniels'
In an assembly that is at once challenging, aesthetically diffracted, and oddly comforting, the Maine artists Peter Bennett, Heather Chontos, and J.T. Gibson unite their work at the breathtaking Corey Daniels Gallery, the Wells art house built on a plot half in the world of regional antique culture, and the other firmly in a modernist fantasia.  
By: NICK SCHROEDER  |  July 18, 2014

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Man is the sum of his arts

Marc Swanson sets stage for Rehearsal Space
Rehearsal Space has an atmosphere of sneaking into an abandoned house, a domestic arrangement of personal effects that contains nothing more, nothing less, than prescribed.
By: MARIAH BERGERON  |  July 14, 2014

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Midcentury maestros

 Pollack collection dances with modernism
As Maine’s art tourists gobble up the area’s major summer exhibits—Richards Estes and Brown Lethem, Andrea Sulzer, and the inexhaustible Alex Katz—they’d be smart not to overlook the fine arts enclave on Forest Ave., where collector Edward Pollack has operated for much of the past decade.
By: NICK SCHROEDER  |  July 10, 2014



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Gouge, break, and hammer

Katie Bell paints with building materials
The show is comprised of two sculptures and two site-specific installations. Collectively, they afford the excitement of seeing a young artist develop.
By: BRITTA KONAU  |  June 25, 2014

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Pull up the anchor

Highlights of Maine’s summer art offerings
If they know where to look, the Maine art summer should satisfy many of the interests of our culturally voracious populace.
By: NICK SCHROEDER  |  June 18, 2014

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The existential artist

Self-portraiture at the height of selfie culture
Oneself is often the most ready model, but subjectively the most complicated muse.
By: MARIAH BERGERON  |  June 11, 2014

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Upon further reflection

Richard Estes’ photorealism at the PMA
Richard Estes’ photorealism at the PMA
By: NICK SCHROEDER  |  June 06, 2014
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