Author Archive for Anthony Anderson

Green Lion Gallery online exhibition “Ten Miles Out”

Green Lion Gallery is proud to announce its latest online exhibition – “Ten Miles Out”, photomontages by Lilian Day Thorpe. Lilian, a talented, imaginative, and very accomplished photomontage artist spent some of her summer on the Maine coast where she partly grew up. Based on that experience, she’s been working on a fascinating series of images that explore new territory both technically and aesthetically. We’re thrilled and honored to host the premier exhibition for her new work.

Green Lion Gallery is located at 40 Lemont Street in Bath. Contact  for more information.

Local Color Gallery showing Guest Artists

“Gardener Ten” by Sheep Jones, oil, 10×10

Local Color Gallery will be featuring four guest artists this November including Sheep Jones, Abbie Read, Liz Donald and Margaret Griffith. Belfast artist Sheep Jones’ work begins with layers that build up adding extra interest and leaving swatches of colors in their wake. These are perfect tidbits for the imagination. She has exhibited in numerous solo and group shows in the US and Europe. 

Abbie Read of Appleton finds that the natural world has always in some way informed her art. As a graduate student she taught herself the rudiments of making books but it wasn’t until she began taking classes with Rebecca Goodale in Maine that she honed her skills in Book Arts. She incorporates these skills, as well as her passion for collecting old books and odd objects, into her constructions.

Liz Donald from Camden has been creating and studying art throughout her life. She works in oil, acrylic and pastel preferring a vivid palette inspired by extended stays in San Miguel de Allende, Mexico. She is a member of River Arts in Damariscotta Maine and the Boothbay Region Art Foundation.
Margaret Griffith of Little Cranberry Island works in oil using a juxtaposition of quirky Maine buildings combined with strong landscape elements. Her landscape paintings move from the shifting ocean water to the purple mountains, often incorporating the uniqueness of Maine’s architecture. 

Local Color Gallery is located at 135 High Street, open Thursday-Sunday 12-4, details at:

Archipelago prepares for holiday fun

“In Still Life,” by Linden O’Ryan.

Archipelago will be taking some time over the next few weeks to slow down a bit and dream up some fun surprises for the upcoming holiday season. So even though you may not see our notes in your inbox, know that the store is open, the website is open, and we’re busy crafting a plan for holiday gifts and goodies. Stay tuned for announcements on sales, new goodie baskets and much more.

Practicing good self-care is vital in caring for others and our communities, and we hope that you’re able to take a few moments to breathe, notice the change of seasons, and find time for yourselves and loved ones.

Archipelago is at 386 Main St., Rockland. Store hours are 10 a.m. to 4 p.m. Wednesday through Saturday. Call 207-596-0701 or go to for more information.

Greenhut Galleries presents new exhibition by Tom Paiement

Tom Paiement

Greenhut Galleries presents a new exhibition by Tom Paiement, “Elegance + Chaos,” which runs Nov. 5 to 28 with an artist talk to be announced.

In his own words:

“In July of last year, I started a series of portraits in my studio in Bath. I used a stack of etching papers brought back from the University of Iowa print shop years ago when I was a grad student there. The paper is 30 inches by 22 inches. 29 friends and acquaintances sat for me in the studio, in the same straight backed, hard, wooden chair. With each individual, it was an intimate and deeply personal experience. Portraiture is always very challenging and engaging, the balance being to not be too literal yet maintain the ‘essence’ of the sitter along with the ‘freedom’ of the mark. I used pencil, oil pastel, collage, ink, and oil wash. In each of the drawings, a piece of the chair shows and is an integral, if minor, part of the series.

I stopped drawing the portraits in January when I moved my studio from Bath back to my home studio in Woolwich and started to concentrate on imagery for this show. Since the chair was the one constant in the work of the last 6 months, I decided to use it as a focal point. I thought I might still have a ‘sitter’ in the chair but more abstract and conceptual, a figure that spoke more universally and not so specifically to the viewer. The paintings are on wood painted with acrylic, ink, collage and range in size from 12 x 12 to 16 x 16. I began with two, small 12 x 12 loosely abstract paintings with just the empty chair. They stayed on my work wall in the studio while I started a few more paintings puzzling out where to go with this idea. Then the coronavirus overwhelmed everything, and the empty chairs in those two paintings became symbols for the mounting number of deaths, the social distancing and the isolation the pandemic imposed. Early in the virus, I began keeping daily track of the national numbers of those infected and dead, incorporating those mounting and relentless tolls into the work. I use different font sizes to accent the uneven distribution of the virus cases and run the numbers together so they stream without pause. The abstract chair became more precise and representational, sometimes graphic, calling attention to its emptiness and the blunt fact that no one is sitting there.

There is a stained glass window in my house from the St. Charles church in Brunswick that was demolished in 1972. The window was given to my family and then to me. I began to use its shape and colors in a few of the paintings, which adds an interesting spiritual connection to the series and opens up questions the coronavirus pushes us to ask. The stark contrast between drawing portraits and quarantine has been both unsettling and motivating. The series continues to evolve as we move in response to the pandemic and figure out how to draw a future for ourselves.” —Tom Paiement

From Brown Lethem’s “Jointings.”

Brown Lethem’s “Jointings” will be shown in the side gallery.

“This selected group of assembly pieces started in the ‘60s when I moved my family into a rundown Brooklyn rowhouse,” Lethem says. “Carpentry skills become a necessity and, soon, my livelihood for a number of years. As a result, the tools and methods of joining wood to hardware and paint in a playful manner became a natural and spontaneous way of drawing with the materials at hand and making toys with my three kids. Making toys was always a secret ambition. In the ’90s, with my children grown, I become more interested in assemblage as an art form, which punctuated the flatness and darker narratives of the paintings I was doing at the time. During the ‘70s, I taught home repair and children’s woodworking classes in a Brooklyn settlement house which occasioned some of the pieces. Others came about after my move to Maine in the ‘90s, up to the most recent ones in my Brunswick studio.”

Greenhut Galleries is at 146 Middle St., Portland. Hours are 10 a.m. to 5:30 p.m. Monday through Friday and 10 a.m. to 5 p.m. Saturday. Call 207-772-2693 or email for more information.

Bates College Museum of Art exhibits ‘Let’s Celebrate Ashley Bryan!’

Untitled collage from Beautiful Blackbird.

Bates College Museum of Art presents “Let’s Celebrate Ashley Bryan!,” which runs Oct. 21 to March 20.

Although only open to visitors with valid Bates IDs due to the pandemic, the museum remains committed to serving the public through a variety of remotely accessible educational programs.

The virtual exhibition can be viewed at

African-American artist Ashley Bryan is one of Maine’s cultural treasures. A noted painter, printmaker, illustrator, author, puppet maker and storyteller, Bryan, who turned 97 on July 13, came to Maine as a member of the first class to attend Skowhegan School of Painting and Sculpture in 1946. He began to summer regularly in the Cranberry Isles, a group of islands off Mount Desert Island, in the late 1940s, and has lived on Little Cranberry Island year-round since the late 1980s. In 2019, Henry Isaacs and Donna Bartnoff Isaacs, longtime friends and neighbors of Bryan’s on Little Cranberry Island, donated over 50 works of art including paintings, drawings, and prints, and numerous other items including copies of his books. The core of this exhibition is drawn from this generous gift.

Bryan’s passion for storytelling was fueled by trips to the public library as a child, where he read folktales, novels, biographies and poetry. However, there were few opportunities to identify with African Americans in the books he found. This is a problem he has been determined to address in his books ever since. Bryan has written and illustrated more than 50 books, many inspired by African folktales and Black American spirituals. These include award winning titles such as “Infinite Hope: A Black Artist’s Journey from World War II to Peace” (2020); “I Am Loved” (2018), “Freedom Over Me: Eleven Slaves, Their Lives and Dreams Brought to Life” (2016) and many more.

Illustrations from selected books and a reading area are part of the exhibition.

Like his book illustrations, Bryan’s paintings are varied in subject. Works from earlier in his career are often expressionistic and representational painted in a naturalistic palette, with subjects including family, friends, musicians, landscapes and gardens, and images painted while abroad. Later, paintings share the brilliantly colorful palette of many of his book illustrations and include lush and vivid gardens and scenic images from Little Cranberry Isle.

In the artist’s words, “I can’t remember a time when I have not been drawing and painting. In kindergarten, when I learned the alphabet and then drew the pictures for each letter, it was a wonderful experience because the teacher said I had published a book when I reached the end and sewed it together. Because of the encouragement I received as a child, in school and at home, I continued doing those books. I don’t know how much those experiences were actually behind what I’m doing now in a direct sense, but it was the spirit in which it was opened to me, that in which I really believed.”

Learn more about the exhibit and additional offerings at

New issue of MMPA Antidote now available online featuring Barbara Peacock

Barbara Peacock’s “James,” from the American Bedroom portfolio.


In response to COVID-19 stay-at-home orders and local closings, the Maine Museum of Photographic Arts in Portland began creating the online series MMPA Antidote, which includes photographic artwork, audio interviews, and artist statements and reflections from Maine artists, aimed to serve as inspiration during times of isolation.

This issue features work by Barbara Peacock.

In 2017, MMPA exhibited the beginning of this portfolio, American Bedroom,” writes MMPA director Denise Froehlich. “Barbara Peacock received a Getty grant to travel the country and make pictures of people in their bedrooms. She’s been at this project ever since, and the work has become a very up to date portrait of contemporary America. We are proud to share new work from this on going endeavor.”

In her own words: “American Bedroom is a cultural and anthropological study of Americans in their private dwelling: their bedroom,” Peacock writes. “The nature of the project will be portraits of individuals, couples and families that reveal the depth of their character and spirit. My interest lies in the poetic resonance of ordinary subjects much in the convention of our forefather of the documentary tradition, Walker Evans. I follow his practice of photographing commonplace subjects, working class Americans, beneath notice and yet the very fabric of our nation. I am passionate but not sentimental about America. I am drawn, as Evans was, to the quiet, magisterial beauty of people half lost in memory, with too much time on their hands or in silent paradox. I argue and persuade that these subjects matter.”

Published bi-weekly, Antidote features contemporary photographers and interviews with industry experts.

Visit to view the most recent issue.

Investigate the links, share the images, and send some of your own to

Artist Talk featuring Christine Lafuente and Carl Little

“Shoreline Rocks and Hedge,” by Christine Lafuente.

“Acadia Seas, Acadia Seeing,” a virtual artist talk by Christine Lafuente with Carl Little will be held at 7 p.m. Nov. 5, presented by Cynthia Winings Gallery.

Lafuente’s talk explores how a decade of painting seascapes on Mount Desert Island has inspired an evolution in her still life compositions.

In her paintings of harbors, rocky coasts and the islands of Acadia, light plays through varying atmospheres of fogs, mists and clear sunny days. Lafuente writes, “Looking into water changes how I see nature. It becomes abstracted and mysterious, as in the way form falls apart and coalesces again in a reflection on the water. As I begin to express this transformation in paint, I also seek to recreate this visual experience in my still-life compositions. Inside a glass water-filled vase is a microcosm of how the world reveals itself in paint.”

Lafuente grew up in Poughkeepsie, New York, and was influenced by the Hudson River School of Painting at a young age. Lafuente has received an Adolf and Esther Gottlieb Foundation Grant, been included in the Invitational Exhibition of Visual Arts at the American Academy of Arts and Letters, and most recently received a Medal for Achievement in Visual Arts from the Philadelphia Sketch Club.  Her work is part of many public and private collections. She has exhibited in New York, London, and extensively along the East Coast. Lafuente lives and works in Brooklyn, New York.

Carl Little is the author of more than 25 art books. Little writes for Art New England, Working Waterfront, Hyperallergic, Maine Boats, Homes & Harbors and Ornament. He has helped produce several Maine Masters films, including the award-winning “Imber’s Left Hand.” Born and raised in New York City, he directed the Ethel Blum Gallery at College of the Atlantic before becoming director of communications and marketing at the Maine Community Foundation in 2001.

RSVP by emailing to receive a Zoom link.

Caldbeck Gallery announces new virtual exhibit

“Ornamental Crabs,” by Nancy Glassman.

Calbeck Gallery presents “Life, Still,” a virtual exhibit featuring a new body of work by Nancy Glassman.

View the e-catalog at

Caldbeck Gallery is at 12 Elm St., Rockland. Gallery hours are noon to 4 p.m. Wednesday through Friday and by appointment. For more information, email, go to, or call 207-594-5935.

Maine Farmland Trust Gallery presents virtual exhibit ‘A Reflection on Water’

“The Answers in Her Heart,” Leslie Harris.

Maine Farmland Trust’s new virtual exhibit, “A Reflection on Water,” explores the relationships that exist between humans and the precious resource, water. This show runs from Oct. 13 through Jan. 8 and includes work from 17 artists that show the diverse connections to this elemental and shape-shifting substance. With evocative multi-media, this exhibit explores the relationships that exist between humans and this essential resource and considers current issues regarding water as a vital component of agriculture and every ecosystem.

A macro color photograph by Emily Candler Davis and mixed-media paintings by Kathryn Shagas capture swift-moving water to create abstract images.

Sharon Yates and Carol L. Douglas rendered scenic oil paintings of gathering fog, farm ponds and places the land meets the water, while Leslie Harris’ paintings feature dreamlike figurative work of women wading in water in the moonlight.

The mixed-media paintings of Peter Walls and a monoprint by Julie Crane juxtapose beautifully in the underwater worlds of fish, while Julie’s reduction woodcut print of an otter complements Sara Gagan’s mixed-media collage of a blue heron. Jude Valentine’s digital prints are a striking interpretation of the elemental forms of water. Shana Rowe Jackson’s detailed colored pencil drawings depict shimmering morning dew on apples, blueberries, and grass stems.

Andre Benoit Jr. fashioned water scenes of stream run-off and reflecting moon cycles with painted wooden assemblages. Wonderfully complex paper cut and mixed-media images created by Mj Viano Crowe seem to tell mythological stories of the ocean. Mango Johnstone’s Nature Mandala features exquisite shells and sea horses, and Tracey Cockrell’s unique electronic speakers, fashioned of kelp, produce field recorded sounds of the shoreline.

“Upstream to Downstream: In Our Bloodstreams” is a digital video produced by ecological artist Krisanne Baker that illustrates how what we do upstream effects what happens downstream.

In addition, the full-color photographs of Bridget Besaw and Lily Piel, who have worked on documentary projects with MFT over the years, are showcased on the gallery web page to illustrate some of the many ways water is essential in agriculture, from growing crops to watering livestock.

There will be a virtual opening reception from 5 to 6 p.m. Nov. 20, with talks by the artists, including Krisanne Baker, a multimedia ecological artist whose work focuses on water quality, and Carol L. Douglas, a mid-coast plein-air, landscape and figure painter and instructor who writes a top-ranked art blog.

To attend, RSVP at for the Zoom link.

Maine artist Reggie Burrows Hodges receives national grant

Reggie Burrows Hodges, “Swimming in Compton: Look Ma.”

Dowling Walsh artist Reggie Burrows Hodges received a Joan Mitchell Foundation Painters and Sculptors grant.

The Maine-based painter’s works explore storytelling and visual metaphor. His large-scale paintings — rendered in acrylic and pastel on raw canvas — explore universal subjects, such as identity, community, truth and memory and often draw inspiration from his childhood in Compton.

Learn more at