Archive for Portland

‘Drawing Now’ Exhibits at the Institute of Contemporary Art at Maine College of Art

Clint Fulkerson, Portal 20, graphite ink and gouache on paper, 30×22

 

Following exhibitions in Paris and Sydney, the international Drawing Collective’s first U.S. exhibition “Drawing Now” will be on view at the Institute of Contemporary Art (ICA) at the Maine College of Art (MECA), 522 Congress Street, Portland Maine, from January 17th – March 22nd.  A public Opening Celebration will be held on Friday, February 1, 5:00 – 8:00 pm.
The Drawing Collective  is comprised of 30 artists from eleven countries who all share the practice of abstract drawing. Its founder, Munira Naqui, a Portland-based artist, and Bruce Brown, Curator Emeritus  Center for Maine Contemporary Art (CMCA) are co-curators of “Drawing Now.” Erin Hutton, Director of Exhibitions at ICA at MECA, is the organizer of the exhibition.

Danielle Lescot, Mires Series, pencil on paper, 42×30 cm

 

The Drawing Collective’s work expands upon a rich intellectual and aesthetic history of abstract drawing.  Said Brown, “Descendants of Bauhaus, De Stijl, Réalities Nouvelles and Art Concret, their work represents a contemporary continuum of research in the formal purity of abstraction.”
“The core of the Collective’s work lies in the inter-connectivity of artists separated by geographical, linguistic and cultural barriers,” stated Naqui, who was born in Bangladesh, studied in  Moscow and came to the US in 1982.  A resident of Maine since 1993, she was inspired to launch the collective while discussing with artist friends in Paris several years ago the role of abstract drawing in contemporary practice and the possibility of using it as a common ground to connect with artists spread across the world.
“It is an honor for the Institute of Contemporary Art at Maine College of Art to present The Drawing Collective’s first exhibition in the United States,” said Hutton. “Their devotion to the exploration of new strategies and methods is in alignment with our mission.” 
A highlight of the exhibition will be a durational drawing rendered live by Kevin Townsend , artist in residence at ICA at MECA from January 30th – February 2nd. An internationally recognized artist and professor currently living and working in Kansas City as part of KCAI’s foundation department, Townsend’s expanded drawing practice centers around mark-making, obsession and the phenomenology of time. He previously taught at Massachusetts College of Art and Design and at Boston’s School of the Museum of Fine Art at Tufts University.

Anne Brochot, Untitled, ink on Bristol paper, 42”x29.7”

 

On Thursday, February 21st, 7:30 p.m., Portland Ovations will present “Strumming Music,” a musical performance by the American Contemporary Music Ensemble at the ICA at MECA.  Done in partnership with the exhibition, the performance will offer music responding to the artwork.  For ticketing information, please visit this link.

 

Running With Scissors Annual Holiday Pop-up Sale and Open Studios

On Friday, December 14th 4-8 and Saturday, December 15th 10-4 the studios at RWS will be open to the public and a pop-up shop will appear in the gallery, featuring 40+ local artists with work for sale. There will be food from Baristas + Bites and Black Dinah Chocolatiers, drinks from Tandem Coffee, music, and more! Plus check out the RWS Print Shop to participate in the 2018 Portland Print Craw

Greenhut Galleries’ 24th Annual Holiday Show

Tina Ingraham, Glenn’s Lobster House, Mackerel Cove, Bailey’s Island, Oil on linen, 12 x 16 inches

 

Greenhut Galleries’ 24th Annual Holiday Show, featuring its complete roster of painters and sculptors, opens Thursday, December 6th. While the gallery-wide exhibition opens on that date, the public reception for the show – a great chance to meet many of the artists while sampling Holiday treats – will be held on Saturday, December 8, from 1:00 to 3:00 p.m.

Henry Isaacs, At Bradbury Mountain, Pownal, oil on canvas, 16 x 30 inches

 

Kathi Smith, Snow Globe, Oil on canvas, 36 x 30 inches

 

With styles ranging from realism to colorful abstraction, there is something for everyone for the Holidays. This exhibition runs from December 6 through December 29, 2018.

Greenhut Galleries to Showcase Alison Goodwin

Long-time Greenhut artist Alison Goodwin, best known for her whimsical, vividly imaginative paintings, opens her 10th Greenhut solo show, Ragged Bounty, with a reception from 5-7:00 pm on November 1, 2018. The show continues until December 1.
Goodwin’s iridescent, bold, and vibrant paintings are marked by their playful exuberance as well as a deep and abiding reverence for the state of Maine and its inhabitants. Having grown up on the southern Maine coast and now living in Portland and Rockland, the artist’s love and affinity for the region lies both on her sleeve and at the cellular level.
Included in this exhibition (along with landscapes and other subjects) are the latest of several iterations of Goodwin’s fishermen saints.  Living among fishermen most of her life, she has cultivated a fascination for watching them work — often from her front porch or kayak. Goodwin paints portraits of these fishermen, encircling their heads in golden halos, canonizing them as icons of Maine’s ragged bounty. These works reveal Goodwin’s respect and gratitude for the harvesters of the sea and for their role in developing our close relationship with the natural world.  This work conveys what the artist describes as a certain “reverence for the way they make a living, battling nature day after day.” She feels that these fisherman “not only keep Maine honest but give it a holiness.”
Influenced by Hundertwasser, Klimt, Matisse and Calder, Goodwin’s work throughout her career is characterized both by her use of turbulent, saturated color and by the delightfully skewed perspectives of her compositions, typically depicting unruly landscapes, expressive interiors, and kinetic villages. Goodwin’s voice is energetic and funky, hip-yet-sincere.  Though her work boldly references many masters, her style is unique, and distinctively her own. As art historian Shannon Egan put it: “By taking Gauguin’s halo, van Gogh’s colors, Matisse’s patterns, and Picasso’s ambiguities of subject and space, Goodwin presents a complicated marriage of particular art-historical references. She avoids pastiche and instead finds originality in a careful use of a visual and historical language. Goodwin translates the pictorial concerns of nineteenth- and early twentieth-century artists into a new vision for contemporary painting.”
Each of her paintings is built on layers of patterns and geometric designs which combine to create larger constructive elements. Goodwin often explores these elements in graphic charcoal drawings and abstract paintings that amplify these characteristics. Her abstract work thus builds new forms which transfer to successive cycles of paintings.
Alison Goodwin graduated from the University of Southern Maine (1981) and Portland School of Art (now Maine College of Art)(1984). Her work is included in private and corporate collections regionally and throughout the world, including those of Grown Brothers Harriman & Company, Wellesley College, Pierce Atwood, Nelson Kinder & Mosseau, Fletcher Allen Health Care, and National Semiconductor.

OCTOBER News & Opportunities from the Maine Crafts Association

 

Image: Embergrove shot by Michael Wilson | Artists In Their Studios 2018

 

 

MCA Program Calendar: Upcoming Events and Deadlines

OCTOBER

Oct 6: Last day to view Winterstick Snowboards @ Center for Maine Craft Gallery

Oct 8: Maine Craft Weekend YARD SIGN ordering deadline (for MCW participants)

Oct 9 – Nov 18: The Luthiers’ Craft @ Center for Maine Craft Gallery

Oct 13: Maine Craft Weekend Mini Craft Show @ Center for Maine Craft 9am-3pm

Oct 13 & 14: Maine Craft Weekend

Oct 15: Craft Apprentice Program 2019 application opens

Oct 15: Portland Fine Craft Show 2019 application opens

Oct 23: CAP Artist Talk & 2019 CAP Information Session @ Maine Craft Portland

Oct 27: Photography for Craft Artists Workshop (Portland)

2018 Looking Ahead

Nov: Center for Maine Craft 10th Anniversary Month!

Nov-Dec: Annual Ornament Showcase @ Center for Maine Craft Gallery

Dec 7: Craft Apprentice Program 2019 Application Deadline

Dec 14-16: MCA Mentor Booth @ CraftBoston

2019

January 31st: Portland Fine Craft Show Application Deadline

June-October 2019: MCA Master Craft Artist Ten-Year Anniversary Exhibition @ Fuller Craft Museum

May 9-12: Annual MCA Workshop Weekend @ Haystack

June 1: 2019 Seconds & Supplies SALE @ Running with Scissors

October 5&6: Maine Craft Weekend 2019

 

 

Detail, Nancy Giesberger (2018 Master)

 

 

CAP Artist Talk and Information Session October 23, 3pm, Free

Free and Open to the Public, 3:00 – 4:00pm

Maine Craft Portland | 521 Congress Street, Portland, ME 04101 | 207-808-8184

Craft Apprentice Program Info Session (Application tips, program description, Q&A) and 2018 Masters & Apprentices Artist Talks by Christine Peters (2018 Master), Nina Devenny (2018 Apprentice) and Nina Ruit (2018 Apprentice)

The 2019 program has funding to support five Master/Apprentice pairs thanks to a grant from the National Endowment for the Arts, and we have simplified the CAP application – there is no better year to apply!

The session will provide information about the program and application process as well as serve an opportunity to connect with other artists looking for a master or apprentice match.  The session will take place in the new Flex Space at Maine Craft Portland, currently featuring work from the 2018 Craft Apprentice Program masters and apprentices.

 

 

 

Maine Craft Weekend

Visitors

Plan your tour! Next weekend October 13-14, hundreds of artists will open their studios, offer pop-up shops, mini workshops and demos, special events and collaborations with craft venues (including brewers!) as part of this annual statewide celebration of Maine craft. This year visitors may ‘check-in’ on the event website to receive special tour recommendations, email updates/social media alerts and provide feedback.

Artists/Host Sites

Late registrations accepted through October 8, small fee applies. Don’t forget to order your yard signs – deadline is midnight October 8! Check out these tips for promoting your event.

2018 Sponsors Artscope, Maine Made, Maine Crafts Association, Maine Arts Commission, The Betterment Fund, City of Hallowell, Heart of Ellsworth, Discover Gardiner, DownEast, Portland Pottery, Moosehead Lake, Cyber Copy, Maine Charitable Mechanics’ Association and Maine Gallery + Studio Guide.

For Event Information go to: https://mainecraftweekend.org

 

 

 

Photography for Crafts Artists

Good photography is crucial to sharing your work online, and can help set you apart in world full of social media. While a professional photographer can provide amazing and consistent results, this may not be in the budget for all of your projects. Sign up to learn these essential skills with professional photographer, Andrew Davis in Portland, ME on October 27, 2018.

Visit: https://mainecrafts.org for more information

 

 

LEARN MORE & CONTACT US

Center for Maine Craft

P.O. Box 342
GardinerME 04345
United States

Physical Address
288 Lewiston Road, West Gardiner, ME
(207) 588-0021

Maine Craft Portland
521 Congress Street, Portland, ME
(207) 808-8184

MCA Office: (207) 205- 0791

www.mainecrafts.org

 

 

 

 

The PMA Presents Major Exhibition of Work by Modernist Sculptor Isamu Noguchi

Isamu Noguchi working on model for Riverside Park Playground, 1963. ©The Isamu Noguchi Foundation and Garden Museum, New York / ARS. Photo by Michio Noguchi

 

The Portland Museum of Art (PMA) is honored to announce it will open Beyond the Pedestal: Isamu Noguchi and the Borders of Sculptureon October 5, 2018. This exhibition of approximately 40 sculptures and 10 works on paper is a rare Maine retrospective of Isamu Noguchi (1904-1988), the Japanese-American artist who became a central figure in the development of 20th-century American modernism. The exhibition runs through January 6, 2019.

Beyond the Pedestal examines the ways Noguchi reimagined the possibilities of sculpture over the course of his 60-year career. The show brings together varied aspects of Noguchi’s expansive production—which included traditional sculpture, landscape architecture, memorials, stage sets, interior designs, furniture, and more—highlighting the artist’s belief that the sculptor’s role was “to order and animate space.” Noguchi was as comfortable creating monuments and gardens as he was collaborating to produce industrial design and stage sets. Juxtaposed across the exhibition, his works complicate notions of form and function and use the mix of materials, shapes, and techniques to encourage audiences to reimagine their sense of what sculpture can be.

Beyond the Pedestal also reveals Noguchi as a man engaged with the cultural instabilities of the world around him. In addition to showing how spaces such as playgrounds could transform social interactions, the exhibition investigates Noguchi’s direct treatment of fundamental social justice questions. His art addresses racial injustice, the internment of Japanese Americans during the Second World War, and nuclear proliferation—among other themes—forming a thorough examination not only of the renowned artist’s perspective on sculpture, but on the world itself.

In 1986, just two years before he died, Noguchi served as the American representative at the Venice Biennale—the most-prestigious international contemporary art exhibition of the time. The show, which the artist titled Isamu Noguchi: What is Sculpture?, confounded many critics in its diversity of styles and materials. Nevertheless, it got to the heart of Noguchi’s ambition to investigate sculpture’s potential to inform social spaces and spur physical, intellectual, and even spiritual engagement between audiences and artworks.

This question—“what is sculpture?”—is the starting point for Beyond the Pedestal, an exhibition that allows PMA audiences to examine the artist’s driving interest in the relationships between people, objects, and spaces.

 

Isamu Noguchi (United States, 1904–1988), Slide Mantra Maquette, circa 1985, botticino marble, 27 3/4 x 29 1/2 x 27 inches. The Isamu Noguchi Foundation and Garden Museum, CR#605 m3. © The Isamu Noguchi Foundation and Garden Museum, New York / ARS.

PLAY AND MOVEMENT

Isamu Noguchi believed that the interaction between people, his artworks and their environments was crucial for the perception of space and that movement—like volume, line, and proportion—was central to the process for engaging sculpture.

The bronze cast of Play Mountain, for example, reveals Noguchi’s first foray in landscape design. The table-top sculpture is a plan for an environment that Noguchi envisioned would fill an entire city block. Believing that play could offer the potential for children to experience sculpture and the city through physical interaction, Noguchi broke from the standards of New York City playgrounds as fenced-in, asphalt-covered lots, and instead imagined sculpting the earth itself to create slides, steps, and curves. Although his vision was never made into reality, the model served as a touchstone for him throughout his life.

 

 

Isamu Noguchi (United States, 1904–1988), Play Sculpture, c.1975 – 76 ( fabricated in 2017) Steel 44 x 103 x 103 in. (111.8 x 261.6 x 261.6 cm) Courtesy of San Francisco Museum of Modern Art

 

 

Noguchi’s interest in movement surfaced in his art in various forms. With works such as Play Sculpture, individuals can understand their own space and relation to art by moving around the undulating, serpentine forms. In considering additional relationships of sculpture and movement, Noguchi collaborated with architects, inventors, and performers. He frequently partnered with choreographers such as Martha Graham and Erick Hawkins to develop stage sets that fostered the performative movement of dance. By creating the sculptural structure for these environments, as he did with Jungle Gym, Noguchi offered audiences new ways to see the world of dance.

MEMORIALS AND SOCIAL JUSTICE

Isamu Noguchi was committed to examining all facets of the relationship between human experience and sculpture, leading him to engage crucial causes of social justice through his art. In the 1930s through the 1950s, he designed sculptures that considered issues that shook both American culture and global society.

In the 1940s, Noguchi voluntarily entered the Poston War Relocation Center—a federal detention center for Japanese-American citizens during the Second World War—where he stayed for seven months. Though he had hoped to humanize the environment through art, his sculptures from this time reveal his pain and disillusionment as he confronted his isolation and American xenophobia. Some of these powerful works, including Yellow Landscape and My Arizona, will be on view in Beyond the Pedestal. Other works in this section of the exhibition, including Monument to Ben Franklin, suggest the artist’s negotiation of his own American identity, while sculptures such as Monument to Heroes serve as a painful meditation on the human costs of war.

 

DOMESTIC LANDSCAPES

Beyond the Pedestal also explores how Isamu Noguchi’s expansive understanding of his medium led him to sculpt numerous objects that could traditionally be classified as interior decor. Rather than simply create lights, chairs, and tables that conformed to modernist furniture conventions, however, he crafted furniture that recalled other examples of his sculpture as well as sculpture that evoked his design concepts. His free-form sofa and ottoman, for example, more closely suggest the river stones he used in his gardens than the stark lines of contemporary modernist couches. On the other hand, the composition of the layered metal planes in Lingaconjures the idea of a recognizable folded table.

Noguchi collaborated extensively when developing his sculpted interior pieces. For his Akari lamps, for instance, he worked with a manufacturer in Gifu, Japan, and he partnered with the American industrial manufacturer Knoll on his rocking stools. He took pleasure in the way these works could be produced industrially, making his sculpture available to a broader audience, and felt no concern that a commercial practice would devalue his aesthetic. While many of these forms appear iconic to our 21st-century eyes, when Noguchi created them in the middle of the last century they fundamentally altered the perception of the link between furniture and sculpture.

 

CREDITS

Beyond the Pedestal: Isamu Noguchi and the Borders of Sculpture has been co-organized by the Portland Museum of Art, Maine and The Isamu Noguchi Foundation and Garden Museum.

Generously supported in part by:
Eileen T. Gillespie and Timothy Fahey
Karen L. McDonald
Christina F. Petra
David E. Shaw

Foundation Support: The Japan Foundation, New York

Corporate Sponsor: KeyBank sponsorship is made in honor of Sterling Kozlowski.

Media Sponsors:
Artscope
Maine Public

 

PMA BACKGROUND

With an extensive collection and nationally renowned exhibitions, the Portland Museum of Art (PMA) is the cultural heart of Maine. The PMA boasts significant holdings of American, European, and contemporary art, as well as iconic works from Maine—highlighting the rich artistic tradition of the state and its artists. The museum brings it all to life with unparalleled programming. From special events, family activities, and community conversations to PMA Films, curator talks, and tours of the Winslow Homer Studio—it’s all happening at the PMA.

The museum is located at Seven Congress Square in downtown Portland.

Summer Hours: Monday, Tuesday, Wednesday, Saturday, and Sunday 11 a.m. to 6 p.m.; Thursday and Friday 11 a.m. to 8 p.m.

Winter Hours: Wednesday, Saturday, and Sunday 11 a.m. to 6 p.m.; Thursday and Friday 11 a.m. to 8 p.m.

Admission is $15 for adults, $13 for seniors, and $10 for students. Everyone age 21 and under is free thanks to the generosity of Susie Konkel. Admission is free every Friday from 4 p.m. to 8 p.m. No admission is required to visit the PMA Café and PMA Store.

Winslow Homer Studio tours are available by reservation. For more information, call (207) 775-6148 or visit portlandmuseum.org.

Greenhut’s October show is “Sandra Quinn: Inside Out”

Sandra Quinn, Safe Passage, encaustic and mixed media, 16 x 18 inches

“What is art in the final analysis?
Art is the shining forth of one’s interiority.”
~ Mu Xin
“I found I could say things with color and
shapes that I couldn’t say any other way
things I had no words for.”
~Georgia O’Keeffe
Greenhut’s October show will be an exhibition of Sandra Quinn’s contemplative, graceful, and quietly evocative encaustic paintings, aptly entitled Inside Out, with an Opening reception Thursday, October 4 from 5-7 pm. Sandra is a gifted abstract painter who has, in Portland Press Herald art critic, Dan Kany’s words, “really mastered encaustic as a medium to the point where she can think fluently in the medium instead of being limited by it.” This fluency is apparent in the finished work, and crucial to the success of the artist’s introspective, deeply meditative process, through which she channels richly personal interior spaces to the outside world using her own unique, energetic, and continually evolving nonverbal language – a language coursing with immediacy and a certain joy in its own being. The work is atmospheric, lyrical, and exudes the quiet confidence of an artist in full control of/complicity with her medium. This complicity not only opens the door to spontaneity, it invites it in. The show runs through October 27.
Like music, Quinn’s art is abstract in the purest sense. It adheres to no object, and refers to no subject. Quinn succeeds in expressing her sui generis emotional being and specific sites of recalled sensation and memory through color, texture, gesture, and symbol (musical notations and glyph-like calligraphy applied to the encaustic surface with graphite or paint sticks).
Central to her style is a fascination for, and an ability to visually depict, space itself, which is often represented in large, irregular, neutral-colored formations at the center of her canvas. She manipulates these spaces in a variety of ways; they might evoke a sweet summer breeze in one painting, and in the next, an invisible force field, driving the colors and other marks to the edge of the canvas. In a sense, the true subject of all of Quinn’s paintings is a transcendent locus of experience and emotion that lies beyond language and falls between the cracks of literal meaning.
Quinn exercises a type of mindfulness, creating a space to convene with her Self – a quiet space for authentic being and emotion to emerge: “My goal is to make work that expresses the feeling of being fully present and focused. I want to explore and experiment, responding to each mark or brushstroke that I put down. There needs to be clarity and balance, bathed in the subtle nuances of space and means to quietly look inside – to see what memories or experiences might bubble to the surface, to be alert and listen. This journey grounds me in the present and guides me to the future.”
There is an intrepid and non-self-critical openness to Quinn’s approach – a non-teleological joy in the process for the process, and a willingness to engage with whatever truths might emerge from the realm of the unconscious. This mind space is accessible only to those who have truly mastered their medium, who trust in their gift, and who have the courage to follow wherever the dialogue between artist and his of her emerging object may lead. Painter’s block is never an issue: “When looking at the blank white surface, I see an invitation, a reminder that anything is possible.”
Sandra Quinn earned a BFA in Painting (with Honors) from Portland School of Art (presently Maine College of Art), and a BA in Painting from San Diego State University. She is a member of the Peregrine Press, and her work has been included in a number of juried exhibitions, including five showings at the Center for Maine Contemporary Art. Her work is included in the permanent collections of the University of New England as well as in numerous corporate and private collections.

Glenn Renell, “Valley Grass”

In the side gallery this month we have new oil paintings by another long-time Greenhut artist, Glenn Renell. An accomplished landscape painter, Glenn has cultivated a profound understanding of the relationship between a painter, a place, and a viewer. His perceptive observation of the subtleties of light and the relationships of sky, land, and horizon are beautifully rendered in his paintings.
“There is a place in landscape painting where the spirit of place meets the soul of the painter, and when the viewer sees and shares that place in a painting, that’s where art begins.”
Born in Portland, Maine [1947] and raised in New York, Glenn attended Rhode Island School of Design, spent four years in the Navy, and graduated from Fort Wright College with a BFA in painting in 1975. He went on to receive an MFA in painting from the University of Massachusetts in 1978 and taught design, drawing and painting at Maine College of Art from 1980 through 2001. Glenn left teaching to paint full-time and now resides in southeast Arizona between the Dragoon and Chiricahua mountains. Renell’s works have been included in numerous museum shows, and are included in public and private collections throughout the world.

September Events at Greenhut Galleries

September 25, 5-7pm
Sample Award Winning Craft Spirits from Liquid Riot Distillery

This month, Greenhut is excited to partner with popular Portland craft distillery, Liquid Riot, to host an in-gallery tasting. On the menu will be a selection of spirits including: Fernet Michaud, Old Port Rye Whiskey, Old Port Single Malt Whiskey, Old Port Bourbon, Old Port Whiskey, Old Port White Oak Whiskey. Fine locally crafted spirits + Maine-sourced fine art = the perfect pairing. This event is free and open to the public (ID’s will be checked). Join us!

September 27, 5:45pm
Reading of New Work by the Maine Arts Commission’s
2018 Literary Fellow, Matthew Clark

Greenhut is excited to announce the next in our ongoing series of literary events, which will be a reading of new work by the Maine Arts Commission’s 2018 Literary Fellow, Matthew Clark. Matthew earned an M.F.A. from the University of Iowa’s Nonfiction Writing Program and will be a Fellow at the MacDowell Artist Colony this fall. His essays have been named Notable in the Best American Non-Required Reading and Best American Essays series as well as being nominated for several Pushcart Prizes. You can find his work in numerous literary journals, including The Antioch Review, Ecotone, The Indiana Review, True Story, The Morning News, and Fourth Genre. Matthew lives in Bath, ME. This event is also free, and open to all.

“6’3″ Man with Doritos,” True Story, Issue #20

Isamu Noguchi is coming soon to the Portland Museum of Art

Isamu Noguchi (United States, 1904–1988), Table, 1971, marble, 2 x 52 x 17 1/4 inches. The Isamu Noguchi Foundation and Garden Museum, CR#717. © The Isamu Noguchi Foundation and Garden Museum, New York / ARS

Opens October 5 at the Portland Museum of Art

Beyond the Pedestal: Isamu Noguchi and the Borders of Sculpture investigates Noguchi’s expansive artistic practice by exploring his efforts to enlarge and challenge conventional notions of sculptural boundaries. Born in 1904, the Japanese-American modernist experimented endlessly with the intersection of objects, people, and space over the course of his 60-year career. Melding ideas and approaches to art from across the globe, Noguchi created traditional sculpture, landscape architecture, play structures, monuments, stage sets, interior designs, furniture, and more. This exhibition brings aspects of his varied production together, complicating notions of form and function and using the juxtaposition of materials, shapes, and techniques to encourage audiences to reimagine their sense of what sculpture can be.

Beyond the Pedestal: Isamu Noguchi and the Borders of Sculpture has been co-organized by the Portland Museum of Art, Maine and The Isamu Noguchi Foundation and Garden Museum.

Generously supported in part by:
Eileen T. Gillespie and Timothy Fahey
Karen L. McDonald
Christina F. Petra
David E. Shaw

Foundation Support: The Japan Foundation, New York
KeyBank sponsorship is made in honor of Sterling Kozlowski.

This exhibition is part of Art for All.

Art for All is an initiative that supports the PMA’s dedication to being an open, accessible, inclusive, and welcoming museum for all, through exhibitions and programs that reflect our community and create experiences with art that strengthen our bonds and bring us together.

TOM PAIEMENT 20 Years of Exploration | Greenhut Galleries

Selfies
Mixed media on panel 15 x 13 inches

TOM PAIEMENT
20 Years of Exploration

September 6 – 29, 2018

Opening reception Thursday, Sept 6 from 5-7pm
Artist talk Thursday, September 20 at 5pm

Grant Drumheller featured in the side gallery.

Greenhut Galleries
146 Middle St
Portland, Maine 04101
207-772-2693