Archive for Art Talk

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 info@greenhutgalleries.com for more information.

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 cynthiawinings@gmail.com to receive a Zoom link.

Thomas Connolly solo exhibition at Greenhut Gallery

“Dining Room Chair,” by Thomas Connolly.

Thomas Connolly is a realist painter known for his architectural paintings of Portland, New York City and beyond. His work is featured in a solo exhibit at Greenhut Gallery from Oct. 8 to 31.

The gallery will host an online artist talk at 7 p.m. Oct. 13, streaming live on Greenhut Gallery’s Facebook page.

Connolly participated in the Maine College of Art Baie Ste. Marie residency program in New Edinburgh, Nova Scotia. He was juried in to the 2011 Portland Museum of Art Biennial Exhibition, and the 2010 Center for Maine Contemporary Art Biennial Exhibition. He is the recipient of a Pollock-Krasner Foundation Grant and the Sheldon Bergh Award. Connolly’s work expresses a strong sense of mood through subtle use of color that adds a richness to the subjects he chooses to paint.

In the words of the artist:

These paintings are snapshots of scenes that I have come across over the past year or so. I usually have a camera on hand, photograph something if it appeals to me, and use this photo to get a start on a painting. Regardless of the imagery, I rely on colors to describe a feeling. Adjusting these colors is where I find a challenge and also joy in seeing different parts of the painting work with each other to create a unified effect.

The larger paintings are painted in a studio and require a bit of patience to describe all of the small details. These studio pieces are carefully crafted and methodical. Other pieces are painted on site, outside, and adjusted pretty quickly. Typically, they are painted at the end of the day, the light is changing, and I need to make decisions without a lot of thought. This adds an excitement and spontaneity. Of course, sometimes I would like a slower pace to adjust these pieces, but often the day is turning to dusk, and I have to wrap it up. Both the view that I am depicting and the painting go through many changes over the course of the hour that it takes to finish. With luck, I can get the two to agree with each other.

View the show online at https://www.greenhutgalleries.com/exhibitions-events/thomas-connolly-solo-exhibition.

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 info@greenhutgalleries.com for more information.

Autumn exhibits and events at the Cynthia Winings Gallery

“Out. Beyond. This.,” by Lari Washburn, a September featured artist at Cynthia Winings Gallery.

As Season Eight is winding down, the group show “All Together Now” continues to inspire and delight visitors.

Cynthia Winings Gallery is open from 10 a.m. to 5 p.m. through Oct. 24. The website is also updated regularly with new work. You can also tour the gallery virtually at https://vimeo.com/434115621.

New work has arrived throughout the summer, and it’s reassuring and uplifting to see what is being created during this turbulent and uncertain time.

The Cynthia Winings Gallery will present a Zoom artist talk with Christine Lafuente titled “ACADIAN SEAS, ACADIAN SEEING:

How 10 years of painting seascapes has inspired new ways of composing still life and cityscape.” The artist talk is at 2 p.m. Oct. 24.

Cynthia Winings Gallery is at 24 Parker Point Road, Blue Hill.

‘Sight Specific’ solo exhibit by Tina Ingraham

Tina Ingraham will show “Sight Specific” from Sept. 10 to Oct. 3 at Greenhut Galleries.

Ingraham will give an online artist talk at 7 p.m. Oct. 3, which will be streamed live on the gallery’s Facebook page.

Ingraham was born in Kenton, Ohio, in 1947. She received an MFA from Brooklyn College of CUNY in 1996 and a Bachelor of Science in Design at the University of Cincinnati, College of DAAP in 1970. Influenced by three years of living in Perugia, Italy, Ingraham’s study of Renaissance painting and fresco is evident in her warm palette, fascination with surface, and vivid perception of nature.

She is a recipient of many awards, including grants from the Guggenheim Foundation, Maine Commission for the Arts and the Pollock Krasner Foundation. She has taught in a variety of teaching environments including Bowdoin College, Stephens College, Brooklyn College, and painting workshops in Italy, Colorado and Maine.

View the exhibit online at https://www.greenhutgalleries.com/exhibitions-events/tina-ingraham-solo-exhibition.

Greenhut Gallery 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 info@greenhutgalleries.com for more information.

Meet the artists of MFT’s Bicentennial show ‘200 Years of Farming’ at virtual artist talk

“Why Buy the Cow,” by James Southard.

To mark Maine’s Bicentennial year, this show focuses on some of the history, practices, triumphs, and challenges of farming in Maine over the last 200 years — from homesteading to dairy, potatoes, blueberries, the local food movement, and present-day changes and challenges.

This exhibit encompasses a wide range of media to depict just some of the rich history of farming in Maine. Maine Farmland Trust is proud to partner with the Penobscot Marine Museum to exhibit seven glass-plate photographic prints on loan from the Eastern Collection of oxen, draft horse teams, and scenes of the harvests of corn and potatoes. Also on display are six black and white photographs from PMM’s new collection by Kosti Ruohomaa, courtesy of Black Star Publishing Company, depicting crisp, clear images of hard working farmers in their daily lives.

Join a few of the artists featured in the show, along with Kevin Johnson, curator and collections manager from the Penobscot Marine Museum, and others to talk about some of the history of Maine farming and the inspiration of its people and landscape during a virtual artist talk from 5 to 6 p.m. Aug. 21.

Learn more about the artists and their work at https://www.mainefarmlandtrust.org/200-years-of-farming-a-bicentennial-celebration. View the full exhibit at https://artcld.com/show/maine-farmland-trust-gallery-200-years-of-farming-a-bicentennial-celebration.

RSVP for Virtual Artist Talks at https://donate-now.mainefarmlandtrust.org/event/200-years-of-farming-a-bicentennial-celebration-artist-talks/e292839.

Join visual arts resident James Southard, academic writing resident Sophie Kelmenson, and several guests for a chance to learn more about their work during a virtual open studio from 6 to 7 p.m. Aug. 25.

Join Margot Kelley, the literary arts resident for September, and several guests to learn more about her work during the September Virtual Open Studio from 6 to 7 p.m. Sept. 30.

Maine Farmland Trust is a statewide, member-powered nonprofit working to protect farmland, support farmers, and advance the future of farming.

Meet Fiore Art Center’s (virtual) artist-in-residence

Katie Addada Shlon. Photo courtesy of the artist.

In lieu of Open Studio Days at Maine Farmland Trust’s Joseph A. Fiore Art Center, guests can join virtual open studios this summer to learn more about what’s happening and see what the art center’s summer residents are up to. The event runs from 5 to 6 p.m. July 29.

During the July virtual open studio, guests will meet Katie Addada Shlon, the art center’s virtual performance artist in residency. Fiore Art Center welcomed Addada Shlon in July.

Addada Shlon uses the natural environment as a collaborator in their work. Their current body of work focuses on creating new instruments for sound, departing from traditional forms and structures to reframe our experience of music as bodied participants.

“Viewing the land as a living system which requires love and care, I turn my focus to restorative and regenerative agriculture practices which serve that need,” Addada Shlon said. “The issues of public health, land health, individual health, growth and nourishment are all connected but can be made invisible in everyday life.”

Addada Shlon will share her work by sharing a film. The screening will be followed by a panel conversation and audience Q&A with  Katie Addada Shlon, Heather Lyon (past performance artist and residence) and Sarah Simon (Maine Farmland Trust’s farm access and farm viability director). Opening and closing remarks will be given by Karen Giles, gallery coordinator at Maine Farmland Trust.

Joseph A. Fiore Art Center. Photo courtesy of MFT.

RSVP for the virtual open studio at https://donate-now.mainefarmlandtrust.org/event/july-virtual-open-studio/e291476 to receive a Zoom link to the event.

Artist residencies are a way for each artist to further their work as it reflects on agriculture, environment and our current times.

Check the MFT website at mainefarmlandtrust.org and social media platforms (facebook.com/mainefarmlandtrust, @mainefarms and @mft_gallery on Instagram) to follow the progress of the residents’ work and stay connected with the virtual open studio days.

‘Discussing the Line’ online panel discussion will be hosted by CMCA

“Double Bubble” (detail), by Tracy Miller. Courtesy of the artist and Mrs. Maspeth, NY.

The Center for Maine Contemporary Art in Rockland will host a virtual Tuesday Talk from 5:30 to 6:30 p.m. July 21 with four of the artists whose work is currently on view in the exhibition “Skirting the Line: Painting between Abstraction and Representation.”

The talk, which is free of charge and open to the public, will feature artists Meghan Brady, Inka Essenhigh, Anne Neely and Hannah Secord Wade in conversation with scholar and curator Amy Rahn.

Rahn’s research and work focuses on postwar painting and women artists, in particular the historical consequences of women artists’ networks of understanding and camaraderie. She is currently an associate professor of art history and director of the Danforth Gallery at the University of Maine at Augusta.

The event will also include a live virtual tour of the exhibition at CMCA as the panelists discuss the works on view. To join the talk on Zoom or Facebook Live, register at cmcanow.org.

MEET THE ARTISTS:

Meghan Brady received her BA from Smith College and her MFA from Boston University. She was a 2019 and 2017 recipient of an Ellis Beauregard Foundation Grant, a 2018 Hewnoaks Summer Fellowship and a 2019 MacDowell Colony Fellowship. Her work was recently featured in a solo exhibition, “Reversible Roles,” at the University of Maine Museum of Art, Bangor. Brady lives and works in Camden.

Inka Essenhigh received her BFA from Columbus College of Art & Design and her MFA from School of Visual Arts in New York City. Her work has been shown in numerous solo and group exhibitions throughout the country and internationally, including recently at the Susquehanna Art Museum, Harrisburg, Pennsylvania; Kavi Gupta Gallery, Chicago, Illinois; Virginia Museum of Contemporary Art, Virginia Beach, Virginia; Jacob Lewis Gallery, New York City; Columbus College of Art & Design, Canzani Center, Columbus, Ohio; Tomio Koyama Gallery, Tokyo, Japan; and Pace Prints, New York City. Essenhigh lives and works in St. George and New York City.

Tracy Miller was born in Storm Lake, Iowa, and studied at the University of Iowa, the University of California at Berkeley and Skowhegan School of Painting and Sculpture. Her work has been included in nine solo shows and more than 50 group shows throughout the U.S., including a solo exhibition at the American University Museum in 2013. She is the recipient of a Guggenheim Foundation Fellowship, three Pollock-Krasner Awards, an Elizabeth Foundation Award, a Marie Walsh Sharpe Art Foundation Grant and an American Academy of Arts and Letters purchase prize. Miller lives and works in Brooklyn, New York, and spends summers in Harrington.

Anne Neely received her BA from Old Dominion University, Norfolk, Virginia. She has been awarded residencies at the Millay Colony for the Arts, the Ballinglen Arts Foundation and the Cill Rialaig Arts Center. Her work has recently been featured in a solo exhibition at CUE Art Foundation, New York City, curated by Sarah Sze; and a solo exhibition, Water Stories at the Museum of Science, Boston. Other recent exhibitions include Cove Street Arts, Portland, and Lohin Geduld Gallery, New York City, as well as numerous additional venues throughout the U.S. She splits her time between home and studios in Jonesport and Boston.

Hannah Secord Wade received her MA in fine art from Chelsea College, London, and her BA from Hampshire College, Amherst, Massachusetts. She has been a resident at the Arteles Creative Center, Open Wabi and The Sam and Adele Golden Foundation. Her work has been featured in various publications, including Boooooooom!, Design Crush and Style for Mankind. She lives and works in Woolwich.

A New Issue of MMPA Antidote Is Available Online

“Morning Web,” by Sal Taylor Kydd.

“It’s always been my philosophy to try to make art out of the everyday and ordinary… it never occurred to me to leave home to make art.” — Sally Mann

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.

Joel R. Ferris, a donor who helped launch MMPA, says, “On Fridays after work, I pour a glass of wine and look and read the site and pretend I’m on Portland’s First Friday art walk.”

A new issue of MMPA Antidote is available online at www.mainemuseumofphotographicarts.org.

Investigate the links, share the images, and send some of your own to contact.mmpa@gmail.com.

Virtual Opening for ‘Unnamed for Decades’ solo exhibit by Erin Johnson

The Center for Maine Contemporary Art in Rockland will host its first-ever virtual opening reception from 5 to 6 p.m. June 6 to celebrate the exhibition “Erin Johnson | Unnamed for Decades.”

Spanning two galleries, “Erin Johnson | Unnamed for Decades” presents a series of new, site-specific installations by the artist.

Johnson is the recipient of the second annual Ellis-Beauregard Foundation Fellowship Award, which grants $25,000 to a Maine artist working in the visual arts and is paired with a solo exhibition at CMCA.

Johnson’s research-driven video installations blend documentary, experimental and narrative filmmaking devices to examine the ways in which individual lives and sociopolitical realities merge. Comprised of footage of site-specific performances, the videos explore how power structures are communicated through relationships, focusing on histories of nationalism and place.

“Unnamed for Decades” is the artist’s first solo museum exhibition in Maine and presents a series of new site-specific installations that incorporate videos, sculptures and photographs. These works explore the artist’s ongoing interest in the complexity of collectivity, the wide-ranging consequences of scientific research, as well as dissidence, desire and the queer body.

The public is invited to join the event on Zoom or view live on CMCA’s Facebook page. CMCA associate curator Bethany Engstrom will offer a live video view of the exhibition, and Johnson will discuss her research and work. Donna McNeil, director of the Ellis-Beauregard Foundation and Ellen Tani, A.W. Mellon postdoctoral fellow at the National Gallery’s Center for Advanced Studies in the Visual Arts will also make remarks.

To register for the Zoom event, visit www.cmcanow.org/event/virtual-opening-erin-johnson-unnamed-for-decades.

A 360-degree virtual tour of the exhibition along with Johnson’s video works can be viewed beginning June 6 on the CMCA website at www.cmcanow.org/event/erin-johnson.