The Gallery at Somes Sound invites the public to an opening reception 4- 6:30 p.m. Sunday, October 12 for “The Pierson Family Treasures: Generations of Artistic Talent.” The opening reception and show feature the creative works of art by the children of Author Ann Rockefeller Roberts; Mary Louise Pierson, Clare Pierson, Joseph Pierson, and Rachel Pierson Gumina. For more information visit www.galleryatsomessound.com
“Conservatory II” By Jay Hoagland
Mars Hall Gallery will wrap up its 2014 Season on Columbus Day weekend with a celebration of handmade items as well as Art and Antiques. New to the gallery are handmade soaps and honey products by Stone House Road Apiary. Other works made by hand are jewelry by Kathleen Kiley, turned & carved wood vessels by Dick Kelly, carved bird decoys by Stephen Hill, decoupage boxes by Davene Fahy, cement & bronze cast sculpture by Priscilla Cross, assemblage by Bill Cook, driftwood fish by Claire Perry, mixed media metal sculpture by Jay Hoagland and Brian Read as well as stained glass, pottery and mosaics by Dona Bergen. Artist Diane Green Hebert, who is currently in the show “Poetry Bleeds Rust” at the National Association of Women Artists Gallery in NYC will have her kozo and encaustic masks on display.
On Saturday, Oct. 11th, painter Nancy Baker and her dog Mo will be demonstrating plein air oil painting from 11 – 2 at the gallery, with a rain date of Sunday, Oct. 12th.
“Hermes” by Antonia Small
The “Outside the Box” Show, featuring pinhole photography by Antonia Small and 2-D & 3-D art by Elaine Niemi, and the “ELEVEN” Show will end on Monday, Oct. 13th. As a thank you to the public for their continued support a 10% discount will be offered on any remaining 11″x11″ paintings or photographs. All participating artists in the “ELEVEN” Show should pick up their work by 5 p.m. on Monday, Columbus Day. The gallery is located at 621 Port Clyde Road, Martinsville and is open by appt. from Columbus Day thru Thanksgiving. For more info or to make an appt. call (207) 372-9996 or (207) 372-8194 or visit marshallgallery.net.
Greenhut Galleries in Portland presents new work by J Thomas R Higgins and Glenn Renell.
“Regenerating Slope #13″ by J Thomas R Higgins
A plein air painter of the first degree, Tom Higgins balances both art and nature – the act of painting and the subject of his painting – in equal measure at the tip of his brush. His enthusiasm for his subject – usually a respectful view of a solitary Maine prospect – and his interest in technique, applying paint quickly before the moment passes, has propelled him to the front ranks of contemporary Maine landscape painters.
“Agua Prieta” by Glenn Renell
Having taught for twenty-two years at the Maine College of Art, Glenn Renell now spends his days painting full time, moving comfortably back and forth from colorful, high-keyed paintings to high contrast (black-and-white) landscapes of Maine and the southwest. The color complexion of his highly sensitive landscapes are infused with his experience of painting in the American Southwest.
Greenhut Galleries is located at 146 Middle St in Portland. For more information visit greenhutgalleries.com or call (207) 772-2693.
The Holocaust and Human Rights Center of Maine, located on the campus of the University of Maine at Augusta, presents an exhibit of sculpture, photography, prints, paintings, and poetry exploring themes and aspects of the Holocaust. The exhibit, featuring Maine artists and writers, runs from October 3 through December 3. An opening reception on October 17, 4-7 p.m., will feature the exhibit’s poets reading from their works and Maria Wagner playing “Soliloquy for Solo Clarinet” by Elliot Schwartz.
Exhibit organizer, artist Leonard Meiselman, has been planning and working on this exhibition for over a year. “I am continually amazed and fascinated by the ongoing outpouring of memoirs, documentaries, paintings, and poems – and now an opera and a new major film – 69 years after the Holocaust ended. Artists, writers, and filmmakers are still finding some essential energy in Holocaust themes,” he says. “Why does the Holocaust draw this amount of obsessive attention?”
Meiselman, a life-long artist, thought he had left New York City three years ago to live in Wiscasset and paint the trees in Maine, but found himself painting Holocaust images instead. “In this world of suffering and political turmoil in which we find ourselves today, it is meaningful to dwell on this chapter of the last century – to remember what happened and how it happened by gradual degrees and incremental infringements on human rights. I suspect that for my generation of artists and poets, it is about coming to terms with our history, our heritage, and our identity.”
As an organizer of The Dilemma of Memory, along with David Greenham, Program Director, Holocaust and Human Rights Center, and poet Lee Sharkey, Meiselman said he was deeply gratified with how the artists and poets came together to create this exhibition. This is a group of mature artists, he explained, grappling with similar ghosts and shadows: “I’ve experienced a wonderful sense of fellow-feeling, of finding other artists struggling with some of the same issues that haunt my work as an artist.” Meiselman asserts that the artists taking part in The Dilemma of Memory intend to make a statement: “It is both beautiful and terrible to live with the presence of a history of human suffering and to feel, somehow, that one can redeem the victims from anonymity.”
Participants in the exhibit include photographer Judy Glickman; sculptor Robert Katz; painters George Mason, Leonard Meiselman, and Bob Moskowitz; printmaker Dorothy Schwartz; and poets Tony Brinkley, Mark Melnicove, Lee Sharkey, Martin Steringesser, and Anna Wrobel.
The Dilemma of Memory: Maine Artists and the Holocaust is supported by Bath Savings Trust, UMA Senior College, Dr. Julius Ciembroniewicz, and J.S. McCarthy Printers. For directions and more information about the exhibit, visit hhrcmaine.org.
The Cynthia Winings Gallery is pleased to announce the Closing Day for the group exhibition, HIGHLIGHTS, on Sunday, October 12, from 12 – 4:00 p.m. Everyone is warmly invited to celebrate the end of our Second season, and the Fifth and Final show!
The Cynthia Winings Gallery is an artist-owned gallery located at the site of the former Leighton Gallery at 24 Parker Point Road in Blue Hill.
The new group exhibition, HIGHLIGHTS, features contemporary artists whose work includes painting, drawing, collage and sculpture. We are fortunate to feature the artwork of Tim Christensen, Roberta Amina Greany, and Buzz Masters, and include work by Louise Bourne, Avy Claire, Tom Curry, Brita Holmquist, Eugene Koch, Heather Lyon, Bill Mayher, Libby Mitchell, Ben Potter, Jerry Rose, Goody-B. Wiseman, and John Wilkinson.
Please contact Cynthia Winings for more information at firstname.lastname@example.org or (917) 204-4001.
The Pink Runway Project charity event will be held on October 18, 2014 at the Cross Insurance Center in Bangor. This inaugural event will feature a New York fashion week style show with original pieces created by Maine fashion designers, including Michael Shyka, modeled by breast cancer survivors that have undergone breast reconstruction. This formal gala will also feature live music and performances, a silent auction, open bar, and hors d’oeuvres from local chefs. Above all, the night will illuminate touching and inspiring tales of breast cancer survival and regrowth.
The Pink Runway Project is a new and exciting approach to provide awareness about breast reconstruction options in order to empower women to make informed choices. Proceeds from this informative and glamorous event will be donated to the Maine Breast Cancer Coalition and the BRA organization. Breast Reconstruction Awareness Day, or BRA Day, occurs annually in October and is an initiative designed to promote education, awareness and access regarding breast cancer reconstruction. The third annual BRA Day will take place on October 15, 2014. BRA Day USA is a collaborative effort between the American Society of Plastic Surgeons, The Plastic Surgery Foundation, plastic surgeons, breast centers, nurse navigators, corporate sponsors and breast cancer support groups.
Maine Breast Cancer Coalition’s Support Service Fund provides financial assistance for breast health or breast cancer related needs to qualified Maine residents. The Fund assists low-income, uninsured and underinsured people, including those newly diagnosed with breast cancer, whose particular needs are not covered by other assistance programs. Since the fund was established in 2000, MBCC has awarded grants totaling nearly $1,400,000 to more than 2,900 Maine residents.
The Pink Runway Project is Maine’s first and only charity event to bring awareness to the breast reconstruction options available to women diagnosed with breast cancer. Many women, who are bravely battling breast cancer and are facing life-saving surgery, must also grapple with the reality of losing their female identity. And, unfortunately, research reveals that 70 percent of women diagnosed with breast cancer are not being informed of their breast reconstruction options. The goal of the Pink Runway Project is to ensure that all breast cancer patients are fully informed of and given access to all of their reconstructive options.
This event coincides with Breast Cancer Awareness Day (BRA) and will feature a keynote presentation by Barbara Musser, a leading voice on reclaiming female self image after breast cancer. Barbara is the founder and CEO of Sexy After Cancer and is the author of Sexy After Cancer: Meeting Your Inner Aphrodite on the Breast Cancer Journey. A 25-year breast cancer survivor, speaker and educator, she teaches classes and holds retreats for women and couples about cancer, love and intimacy.
Tickets will go on sale September 1, 2014. For more information please visit the PinkRunwayProject.com.
If you’d like more information on this topic, or to schedule an interview with Dr. Heidi Harrington, please call Sharon Anderson at (207) 947-1894 or email Sharon at email@example.com.
The Sohns Gallery in Bangor will have Artist Reception for the Miniature Print Show this Friday at 6:30 p.m. This show features thirteen artists from the Circling the Square Fine Art Press and other area printmakers. The artists were presented with the challenge of creating a fully realized print within the size constraint of four square inches.
The Deer Isle Artists’ Association announces a new three-person show “Phases of Matter” featuring the work of Sam Jones, Heather Lyon, and Anya Antonovych Metcalf. The show will run from October 8 through October 26.
The three women work in a variety of mediums, including painting, glass, and photography. For example, in an ongoing series of photographs titled “Simulacra vs. the Weather”, Anya Antonovych Metcalf explores light as a metaphor for knowledge. She is interested in natural and artificial light as they might denote ways of knowing, but she is especially interested in cases where the light source is ambiguous or where nature and culture/technology are engaged in complex relationships.
An opening reception will be held on October 8, from 3-6 p.m. This is also Deer Isle’s Wednesday and a Half, and potter David McBeth will be holding a demonstration at the gallery during this time. Additionally, a closing reception will be held on Saturday, October 25, from 5-7 p.m.
The DIAA gallery is open Fridays through Sundays, from 11:00 AM– 5:00 PM, and is located at 15 Main Street in Deer Isle Village. For more information, call (207) 348-2330.
The University of Maine Museum of Art, located at 40 Harlow Street in downtown Bangor, opens four new exhibitions in October. UMMA, which is open Monday-Saturday from 10 am-5 pm, brings innovative contemporary art exhibitions to the region and presents approximately 12 original exhibitions each year. UMMA’s summer exhibitions will open to the public on October 3 and run through January 3, 2015. Admission to the Museum of Art is free in 2014 thanks to the generosity of Penobscot Financial Advisors.
OUT OF NOWHERE: JOHN GALLAGHER PAINTINGS 1996-2014
“Standing Moment” by John Gallagher
Maine-based painter John Gallagher exhibits a number of recent abstract paintings, as well as several early pieces. The artist’s acrylic on paper compositions possess an unharnessed, gestural energy that can be associated with the Abstract Expressionists —specifically Willem de Kooning canvases and Jackson Pollock’s early paintings. Gallagher’s paintings are rooted in process; the spontaneity of his mark-making and subsequent revisions unite with an unbridled exploration of the material quality of paint. The surface of each work combines transparent paint washes with areas that contain a dense buildup of manipulated paint. The changing environmental conditions viewed in and around the artist’s studio, situated along Maine’s coast, provide a boundless source of inspiration for these compositions. Gallagher states, “The constant, unrelenting surround of woods and ocean, of rocks and fields, suggests a continuum, a pulse that runs through everything and seems to imbue objects and forms with a sense of mystery and meaning.”
THE LITTLE FOOLS: ROZ LEIBOWITZ
“Paul Turned” by Roz Leibowitz
A collection of vintage dolls is the subject of New York City-based artist Roz Leibowitz’s black and white photographs. Instead of a variety of sweet and frilly dolls, the cast of characters that inhabit these images are a strange bunch—some have cracked heads, while others are sadly misshapen. Leibowitz’s idiosyncratic lot of weathered and often broken dolls is found in flea markets, thrift stores and online auctions; others are the artist’s hand-made creations. While some photographs are absurd and humorous, they more often evoke dark, eerie associations. Leibowitz’s images lead us into unfamiliar territory—as if in the darkness of night these dolls awaken to live out their own eccentric tales. These sensations are heightened by the artist’s use of selective focus, peculiar settings, camera angles, and the contorted poses of the dolls. The unsettling feeling evoked by some of Leibowitz’s images brings to mind Hans Bellmer (1902-1975) and Morton Bartlett’s (1909-1992) disconcerting photographs of dolls. A focal point of the exhibition is an installation of over 80 gelatin silver prints presented in eclectic vintage frames and arranged randomly over two walls.
STARING AT THE SUN WITH A PENNY IN MY POCKET: MATT PHILLIPS
“Yundler” by Matt Phillips
At first glance, Brooklyn-based Matt Phillips’ paintings may appear to be rooted solely in rigid formal abstraction. But in reality the works are deceptively complex, each containing varied and richly worked surfaces. For example, in “Last Love Song” an imprecisely drawn X divides the composition into four quadrants. A gestural slashing X further sub-divides each section. Within these shapes are subtle shifts of thinly applied color achieved through intimate brushwork. Rather than by pre-determined formula, the paintings emerge through improvisation and revision. While Phillips acknowledges an obvious connection to geometric abstraction, other influences are evident such as pattern, textiles, folk art, still life painting, and quilts. “I was affected by seeing the quilts of Gee’s Bend.” says the artist. Phillips’ paintings, like the Gee’s Bend quilts, possess a beauty, rhythm and soul because their construction does not conform to unbending rules—every detail isn’t carefully measured. “A quiet humanity permeates the surfaces of my paintings and is contained within images that initially appear rational, calculated and resolved.” says Phillips. Through color relationships and arrangement of simple shapes, he has produced paintings that are at times quirky and playful, and in other instances tranquil and ordered.
TALES FROM THE TURNPIKE: SUZANNE LAURA KAMMIN
“A Northern Zone” by Suzanne Laura Kammin
In Suzanne Laura Kammin’s abstract oil on panel paintings, hard-edged forms unite with transparent gestural brushwork. In the works featured at UMMA, the artist has employed a dynamic pallette ranging from vibrant reds and saturated yellows to an assortment of cool blues. Kammin states that she contrasts “smooth, minimal shapes of pure color against distressed and improvisatory passages to create a sense of expansiveness, magic and mystery.”
The layered lines that wind through the artist’s compositions are an essential unifying device and invite multiple associations. The lines may reference a maze of bent conduit containing essential utilities to keep us illuminated and connected or, as alluded to in the exhibition title, a system of concrete roadways and raised exit ramps that crisscross the urban landscape. For Kammin, the works “serve as a metaphor for a spiritual and psychological journey of growth and transformation.”
“Poetry Bleeds Rust” Diane Green Hebert has been selected to exhibit her encaustic mask, “Tarquin the Proud”, in the IEA Members Show in NYC. The mixed media piece combines her expertise in handmade kozo paper, ceramic masks and encaustic. The show is sponsored by the International Encaustic Artists and was juried by Jean Dierdorf. “Tarquin the Proud” “Poetry Bleeds Rust” Oct. 1st thru Oct. 29th, 2014 Reception Oct. 2nd, 5-7 p.m. National Association of Women Artists Gallery 80 Fifth Ave., Suite 1405 NY, NY Curated by IEA Exhibitions Director Lola Battzell.
Join the Maine Crafts Association at Engine in Biddeford, Maine for a free night of film, October 9th, 6pm, doors at 5:45! Seating is limited, first come first serve, or RSVP to secure a seat: email firstname.lastname@example.org.
Craft in America, the Peabody Award-wining series, continues to explore America’s creative spirit through the language and traditions of the handmade. The newest episode, “Service”, part of the PBS veterans initiative Stories of Service, is the story of craft and the military and premieres on PBS in November, but the MCA has obtained an advance copy and wants to share it with YOU! From the origins of the Army Arts & Crafts Program and the G.I Bill to contemporary soldiers and veterans, “Service” documents the power of the handmade to inspire, motivate and heal.
Pottery by Simon van der Ven and Mark Bell
CRAFT Gallery opens its October show “A Collaboration: van der Ven and Bell” on Friday, October 3rd with work by Simon van der Ven and Mark Bell, two respected Maine potters who blend their skills of throwing clay forms, applying texture, surface design and expert glazing to create each work of art. Van der Ven compares the collaboration to a musical form called “trading fours”, a jazz music term referring to two solo instruments alternately playing four measures each. This is how the potters proceed: Bell throws the porcelain form and allows it to dry leather- hard. Van der Ven then draws, carves and/or pierces the piece in response to what the form suggests to him, bisque-fires it and hands it back to Bell for glazing and final firing in response to what van der Ven has done. They have been collaborating for three years and have achieved exquisite and fine porcelain pieces with mutual respect, sensitivity to the aesthetics of the other and, above all, trust.
Simon van der Ven’s background is printmaking. teaching and studying both here and in France. He works in his Lincolnville studio, primarily in porcelain and high-fired stoneware. The porcelain pieces in this show are carved and pierced using exacto knives, metal ribs and drill bits. His work will be shown at the Philadelphia Museum of Art Craft Show this November. Mark Bell, from Blue Hill, has an established reputation for creating rich, shimmering glazes on very fine, perfectly formed porcelain. His work is in constant demand by collectors here and abroad. He has close ties with Haystack Mountain School of Craft’s Mentoring Programs and workshops.
The October exhibition will also include current work by CRAFT artists Susan Dewsnap, Jan Owen, Daphne Taylor and Sharon Townshend, all of whom work in various craft mediums. The gallery congratulates them for being selected for the 2014 Biennial Exhibition at the Center for Maine Contemporary Art. The show will continue until early November when the gallery will close for the winter. CRAFT Gallery is located in the courtyard at 12 Elm Street, Rockland. For more information call (207) 594 0167 and visit craftonelm.com.
“Bearly There” by Philippe Guillerm
Philippe Guillerm Gallery is pleased to present “Fall in Love” a collection of Paintings and Sculptures by Philippe Guillerm, at a reception on Saturday, October 11, from 5 to 7pm.
This group of paintings and sculptures represents the artist’s view on colors and movements from nature and human actions. Philippe has worked on his paintings and sculptures during the summer and has finished an extensive multi-themed art collection ranging from bicycle moves to bear squished piano player. The “Fall in Love” collection is a wonderful burst of Autumn colors. The exhibit will be up until mid October as the artist prepare his travel toward the South of the Carebbean Islands to prepare his next year’s collection.
October 11 marks Waldoboro’s first four-gallery art evening in the village, with paintings by Anne Heywood at “The Governor’s Mansion,” photography by Claire Murphy at Old Number 9, sculpture and paintings at Philippe Guillerm Gallery. All are within easy walking distance. A short drive to Maine Coast Artists Gallery in Friendship brings the total to five for the peninsula.
“Landward” by Sally Loughridge
This group of paintings represents the the artist’s well-developed skill in representing her ideas related to the actual horizons we see in Maine, whether sharply defined as in the meeting of ocean and sky on a clear day, or hidden by woods, atmosphere or the uneven lay of the land. As metaphor, the horizon beckons. It calls for a stretch beyond the self and the present, to something greater and filled with possibility.
October 11 marks Waldoboro’s first four-gallery art evening in the village, with paintings by Anne Heywood at “The Governor’s Mansion,” photography by Claire Murphy at Old Number 9, sculpture and paintings at Philippe Guillerm Gallery. All are within easy walking distance. A short drive to Maine Coast Artists Gallery in Friendship brings the total to five for the peninsula.
What makes a farm a farm? Is it the fences, the animals, the farmer out on the land? In times past, the iconic grandeur of the big barn alone was enough to convey agricultural activity. While that may not necessarily be true today, barns remain an emblem of farm life. Whether a barn continues to exist as a home for animals or hay, a place for tractors or tools, or has found a second life as an art studio, the barn holds an important place in Maine’s history, as well as in many of our hearts.
That Ole’ Barn, the next exhibit at Maine Farmland Trust Gallery, is dedicated to Maine’s barns in all their variety and splendor. Through the eyes of sixteen different artists the barn is portrayed for its architectural significance in the landscape, its central role on the farm, as a testament to Maine’s rural heritage, and as a vessel holding childhood memories or future visions.
“Lincoln” by Sheep Jones
With That Ole’ Barn, several new artists join the ranks of Maine Farmland Trust Gallery: sisters Sheep Jones and Julie Cyr, formerly represented by High Street Gallery, Belfast, as well as oil painters Ingunn Milla Jørgensen and Walter Smalling, watercolorist Margaret La Farge and ceramic sculptor Randy Fein.
“Thorndike” by Julie Cyr
Returning favorites include Vincent Abaldo (found object assemblages), the late Joseph Fiore (oils), Elizabeth Fraser (oils), Terry Hire (photography), Elizabeth Ostrander (sculpture), Kathleen Perelka (pastels), Michael Reid (photography), Willy Reddick (white-line woodblock prints), Robin Rier (oils), and Margaret Rizzio (mixed media collage).
Each artist seems to have a personal connection to a particular barn, or to barns in general.
Margaret La Farge from Machias grew up on an old farmstead where she and her siblings played in an old post and beam barn. For sculptor Elizabeth Ostrander, Eastport, there’s a sense of comfort and belonging when she thinks back to her own “ole’ barn” from long ago, remembering the sweet smells of hay and molasses-fortified grain, together with the reassuring sounds of low belly rumblings and chewing from two horses, three goats, and a pony.
“She Came to Say Goodbye” by Margaret La Farge
Robin Rier remembers jumping off a hayloft as a kid. Elizabeth Fraser recalls the sense of mystery and magic whilst poking around in her grandfather’s old, two-story barn filled with antiques. Terry Hire is drawn to the texture of old barn doors, the lines and patterns. Vincent Abaldo hopes to still restore his late-1700’s post and beam barn. All of his submissions to the exhibit have been made from old parts of that very structure.
That Ole’ Barn opens with a public reception on Friday October 3rd, from 5:30-8pm. The show will be on display until November 14. Maine Farmland Trust Gallery is located at 97 Main Street, Belfast and is open M-F from 9-4. For more information visit mainefarmlandtrustgallery.org.
The gallery is open for extra hours on the weekend of October 11 & 12, for Cultivate: Belfast Area Farm & Arts Trail.
On Friday evening October 17th, MFT Gallery will be hosting local poets Toussaint St. Negritude and Josh Kauppila as part of Belfast’s Annual Poetry Festival. Being not only poets but also partners on a small goat farm in Swanville, the duo will be reading poems which speak to their deep connection with the land. Check the home page of mainefarmlandtrustgallery.org for exact time of the reading.
Author Don Perkins will be giving a free talk about the history of barns in Maine, on Thursday November 13th at 6:30pm, at the Belfast Free Library. His book, The Barns of Maine, will be available for purchase at Maine Farmland Trust Gallery for the duration of the exhibit, as well as at the presentation. Visit ourbarns.com for more information on the book and the author.
The Museums of Old York is presenting “Unraveled – Contemporary New England Fiber Art,” September 20 – December 6. The exhibition brings together the work of 18 regional artists who investigate and experiment with various forms of fiber in their artistic practice. While often paying homage to textile traditions, these contemporary fiber artists take advantage of a wide range of materials and techniques to create works that present their ideas, provoke commentary and pique visual enjoyment.
There have been a number of other museum exhibitions featuring contemporary fiber art, most recently at the Fuller Craft Museum in Brockton, MA, the American Textile Museum in Lowell, MA, and the Boston Institute of Contemporary Art. York’s “Unraveled” further pushes the limits of pre-conceived notions of materials, context and scale.
Adjacent to the exhibition’s introductory label is a three-panel, woven tapestry titled “Rain” by Vermont artist Bhakti Ziek. The artist is an expert in digital jacquard weaving and this radiant textile incorporates silk, cotton, rayon, and metallic yarns. To the left is a suspended shawl titled “Portrait of Alzheimer,” by Maine artist Katharine Cobey. The hand spun silk and wool threads begin in an orderly pattern from the lower-left, continue over the shoulder, and as it descends down to the right, the patterns degrade into a web of threads that spread out in disarray along the floor. Cobey is nationally recognized for her fiber sculpture and teaching.
Although these first two examples incorporate recognizable fiber materials, there is a serious shift as one proceeds into the gallery. Warren Seelig’s “Stone Carpet/Shadowfield” is a ten foot wide “weaving” constructed of stainless steel and red rock shards which cast dancing shadows on the wall. Seelig (Rockland, ME) is an artist with an international reputation, with his work included in over 30 major museum exhibitions in the United States, Europe, Japan and Korea.
“Stone Carpet/Shadowfield” by Warren Selig
Within view of Seelig’s piece is “Wallpapered Space” by Samantha Fields. (Brockton, MA) The artist has adapted the piece to fit an 8 by 11 foot section of wall. It is made up of recycled crocheted afgans, framing and embroidered vinyl siding. Her patterns are hole-punched into the vinyl siding and then embellished with bright colored acrylic yarns. Although the materials are “plastic” and “perhaps a bit tacky” the end result has a certain charm and whimsy and questions our idea of beauty.
The exhibition includes four “dresses” by Vermont artist Wylie Sophia Garcia which are a part of her project “The Dress That Makes the Woman – One Year. Twelve Dresses. One artist’s challenge to create and to wear a work of art for each month of the year.” Garcia intended to embark upon a ritualized creative challenge: to wear and to work daily on a dress for one month at a time for an entire year. The final sculptural “dresses” were her performance piece and personal diary as she went about her daily life in Burlington, Vermont.
New Bedford artist Elin Noble exhibits a bold, red and black itajime shibori quilt. The artist has spent more than 30 years investigating traditional and contemporary dye techniques, focusing on Japanese itajime shibori (clamp-dye resist).
Vermont artist Michele Ratté uses drawing, printmaking, collage, and innovative textile printing processes to make her work. Her series of “Island” pieces and her most recent work, “Maze” use 22kt gold and palladium mono-prints on hand-loomed silk, linen, velum and fishing line. The pieces are elegantly displayed in acrylic cases lit from below.
A wide variety of materials, process and techniques are represented in the exhibition which is indicative of many of today’s fiber artists. During meetings with several diverse groups of participants Jodi Colella (Somerville, MA) created “Hive” which is made up of aluminum screen chambers stitched together with steel wire. In this installation the piece crawls up the gallery wall, casting deep shadows and creating negative spaces.
Merill Comeau (Concord, MA) uses painted vintage linens, composted fabric samples and deconstructed clothing for her wall installations. Melita Westerlund (Bar Harbor, ME) uses shredded blue jean fibers in her sculptural “Environmental Chaos,” Sallie Findlay (Deer Isle, ME) uses repurposed cotton scallop bags collected from local fisherman, and Allison Cooke Brown (Portland, ME) incorporates Q Reader codes into her work. Also on exhibit are works by Elizabeth Billings (Tunbridge, Vermont), Lisa Grey (Portsmouth, NH), Sarah Haskell (York, ME), Priscilla Nicholson (Brunswick, ME), Adrienne Sloane (Lexington, MA), and Katharine Whild (North Yarmouth, ME.)
There are several programs scheduled in conjunction with the exhibition.
Artist Merill Comeau will give a talk on Sunday October 5, 3 p.m. “Fiber Art Now: An Artist’s Perspective. Katharine Cobey will present a day long, knitting workshop, “Culling the Greats” on Saturday, October 25. Exhibition curator Mary Harding will give a gallery talk “My Fiber Road Trips” on Sunday, November 2, 3 pm. Historian Lynne Zacek Bassett will present “HerStory in Civil War Quilts” on Wednesday, November 5, 6 p.m. For further information on these programs please refer to the Museum’s web site www.oldyork.org.
Gallery hours are Thursday – Saturday 10-4, Sunday 1-4 through December 6th.
3 Lindsay Road, York, Maine. 207-363-4974
“Yellow” by Jeff Bye Outside In is Jeff Bye’s third solo exhibition at Greenhut Galleries and continues his ongoing exploration of abandoned, neglected buildings throughout the Northeast. Through work as a conservator and set designer, Bye was allowed access to buildings and spaces that are off limits to the general public. He became fascinated with the monumentality of these abandoned structures that were once vibrant with activity as well as the mystery and intrigue of what’s inside. Bye states “These paintings have a strong impact on the viewer……the composition and how the light penetrates through the space and the use of contrast from very dark and ominous corners to pockets of light revealing the beauty of decay. This is also relative in the narrative images that I have created. There’s a drama that is present by how the figures occupy the space. This is not always intentional. The figure naturally takes the attention of the viewer and creates an overall drama and mood.” Viewing these paintings is like entering a dark room on a bright sunny day. Your eyes need time to adjust to fully appreciate the raw patinas, composition and textures. Jeff Bye holds a BFA from Rhode Island School of Design (RISD). Through RISD’s European Honors program, he spent a year in Rome, Italy studying classical art and architecture. He received his MFA at the New York Academy of Figurative Art. His formal education exposed him further to the work of artists like Henri Matisse, Pierre Bonnard and Lucian Freud, whose styles influence his work to this day. Bye has been awarded the distinction of Master Painter from the Copley Society of Art, Boston, MA, a professional credential organization. At the time, he was the youngest master painter in the history of the organization.
Charles Shipman Payson Building, Portland Museum of Art, Maine. Photo by Craig Becker.
The Portland Museum of Art (PMA) announced today a strategic vision for its future that includes a multifaceted collection project titled PMA 2016: Your Museum, Reimagined; a campus master plan; and an organizational restructuring that will position and prepare the PMA for additional growth.
“Museums continue to be under great pressure to be mission driven and economically sustainable, two qualities that can be difficult to reconcile but are highly valued at the Portland Museum of Art,” said PMA Director Mark H.C. Bessire. “Today, it is this juncture of mission and economic efficiency where many museums seem to be challenged. Our goal is to make our mission and artistic vision sustainable through the optimization of resources, excellent planning, and a strong work and volunteer force committed to excellence and integrity.”
PMA 2016: Your Museum, Reimagined is the culmination of the PMA’s 2010-2015 Strategic Plan and involves evaluating and reinstalling our permanent collection of more than 18,000 objects, providing visitors and members a range of opportunities to access and interact with the collection. The museum will close for six weeks beginning in January 2016 and reopen to the public on Sunday, February 14, with a completely reinstalled and reinterpreted experience, online access to the art, and an enhanced campus.
PMA 2016 includes the publication of the museum’s first-ever collection catalogue, which will provide information, context, and insight into the museum’s history, architecture, and art. Written by PMA curators, the catalogue will feature the museum’s most significant works of art and will include an essay surveying the PMA’s 130-year history by Maine State Historian Earle G. Shettleworth, Jr.
PMA 2016 will also include digital access to the museum’s entire collection. With the collection available online, the PMA will ensure that the public and scholars alike can experience the art, regardless of their location. The online database project will provide unparalleled access to the PMA’s unique collection.
In addition to new ways to experience art in the galleries and online, PMA 2016 will introduce a campus master plan which will guide the museum’s physical presence for years to come, while enhancing its amenities and providing a better visitor experience—enabling individually tailored experiences with the art.
An anonymous New England foundation has partially funded the planning phases of this project with a $250,000 grant, which includes support for a new strategic plan, the campus master plan, and an audience assessment project. To leverage support for PMA collection access—specifically the establishment of an art study room and online collection database—the foundation has challenged the PMA to raise $300,000 by January 31, 2015, after which the museum will receive an additional $150,000 from the foundation.
As the museum implements PMA 2016, members of the curatorial staff have taken on new roles. Jessica May’s new title is Chief Curator, and she will provide leadership and the implementation of strategies for exhibition programming and for the care, development, and use of the PMA’s collection. Karen Sherry’s new title is Curator of American Art and Director of Collections and Andrew Eschelbacher is the new Susan Donnell and Harry W. Konkel Assistant Curator of European Art. Diana Greenwold has been hired as a Curatorial Fellow, and her work will focus on the PMA 2016 project.
The PMA now has a divisional structure that encompasses four areas: Exhibitions and Collections, Audience Engagement and Communications, Development and Membership, and Operations. The PMA has identified these divisions as the core areas that deliver the institutional mission while providing a strong system of communications, accountability, and shared decision-making. The Exhibitions and Collections division is co-directed by Chief Curator Jessica May and Registrar Lauren Silverson; Audience Engagement and Communications division is led by Elizabeth Jones; Development and Membership by Elizabeth Cartland; and Operations by Deputy Director Elena Murdock.
PMA 2016: Your Museum, Reimagined will help the PMA evolve alongside technological advancements, keep pace with a growing Portland, and promote the region’s cultural heritage well into the future.
“Grey Morning, Islesboro, ME” by Sarah Faragher
Landing Gallery, 8 Elm St. in Rockland is pleased to announce the opening of “New Work & New Artists” a group exhibit, Oct 3 – Oct 30. Eleven of Maine’s talented fine artists exhibit their most recent paintings, drawings & photographs, many of which show a new creative direction. Bonnie D’Abate, Susan Amons, Roberta Baumann, Lewis Cisle, Sarah Faragher, Ralph Hassenpflug, Monique Lazard, David Riley Peterson, Ellen Roberts, Marcia Sewall and Suzanne Siegel, are included in this exhibit. Please join us and enjoy some new and exciting work by some of your favorite artists.
Gallery hours are Tuesday through Saturday 11 – 5, closed Sunday and Monday. For more information please call 594-4544.
“Double Cat” by Tollef Runquist
“This work, a selection of pieces from the past year, reflects my ongoing interest in aspects of the decorative, textile design, repetition, symmetry, flatness, and ideas of resolution and process as they apply to the construction of a painting. In addition I have been attending to a sort of cross pollination from other bodies of my own work, namely my ‘toy paintings’ and ‘revision’ series. These paintings contain elements of the whimsical, the dream image, something forgotten, something suggested, and are indicative of the ongoing evolution of my work.”
“Painting for me is an undertaking of appreciation and inquiry. It is a
means by which to engage the beauty and mystery of visual experience in an
ongoing dialogue. This is a widening puzzle; as I partake in this
conversation, it continually refreshes itself, revealing unexpected angles
and new understanding. I feel no particular loyalty to realism or my own
past work. I set to draw out a particular vision as long as my experience
with it is visceral, attentive and useful. I try to encapsulate the fullness
of my experience of a moment; weight and stillness, burning edges, massive
calm. These move me towards a particular subject, I try to paint and honor
them, and then move on.”
Dowling Walsh Gallery is located at 365 Main Street in Rockland Maine,
directly across from the Farnsworth Art Museum. We are open Tuesday through
Saturday from 10am 5pm, and by appointment on Sunday and Monday. For more
information, visit us online at dowlingwalsh.com or call (207) 596-0084.