Archive for Portland

Pamela Moulton’s work-in-progress, ‘The Forest,’ is temporarily open to guests

Pamela Moulton’s work-in-progress, “The Forest” installation.

Artist in residence Pamela Moulton is opening the SPEEDWELL gallery, so people can experience her installation “The Forest” in progress.

“The Forest” is an interactive, multi-sensory installation that will continue to evolve throughout Moulton’s residency.

Wearing festive green or blue is encouraged.

There will be a maker’s table where visitors can fabricate elements

to integrate into the whimsical environment.

Guests will be asked to leave their shoes at the door to minimize the tracking of snow and winter weather into the installation.

Masks are required, sanitizer and gloves will be available in the gallery, and the gallery will be limited to five guests at a time.

Hours are 3 to 6 p.m. Dec. 27 through Jan. 5.

SPEEDWELL, at 630 Forest Ave., Portand, is an artist-run nonprofit gallery dedicated to supporting the work of mid- to late-career women, LGBTQ+, and BIPOC artists. All programming is free. The gallery relies on donations and grants to keep the doors open and events happening. Learn more at www.speedwellprojects.com, or call 207-805-1835.

Greenhut’s 26th Annual Holiday Show

Matt Blackwell, Flora, Just the Other Side of Nowhere

Though we’re disappointed not to be gathering for a festive opening reception this season, we’re excited to invite you in to see Greenhut’s 26th Annual Holiday Show!

With styles ranging from realism to colorful abstraction and everything in between, there is truly something for everyone. This exhibition runs from December 3 through January 30, 2021.
FEATURED ARTISTS
Joel Babb, Susan Barnes, Chris Beneman, Matt Blackwell, Mary Bourke, Jeff Bye, Thomas Connolly, Ed Douglas, Grant Drumheller, Maurice Freedman, Philip Frey, Kathleen Galligan, Roy Germon, Alison Goodwin, Thomas Higgins, Jon Imber, Tina Ingraham,  William Irvine, Sarah Knock, Marty Kremer, Margaret Lawrence, George Lloyd, Frederick Lynch, Daniel Minter, Nancy Morgan Barnes, Colin Page, Tom Paiement, Roy Patterson, Stephen Porter, Sandra Quinn, Alison Rector, Glenn Renell, Alec Richardson, Kathi Smith, Mike Stiler, Neil Welliver and John Whalley

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.

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.

Call for submissions: Portland Museum of Art

The Portland Museum of Art invites artists to submit work to “Untitled, 2020: Art From Maine In A _____ Time,” which is slated to run from Feb. 12 through May 31, 2021.

“Art From Maine In A _____  Time” is a tribute to Helen E. and William E. Thon, who have enhanced the PMA’s regional contemporary program and enriched the cultural life and experience of the people of Maine for two decades.

Any artist living and working in Maine in 2020 is invited to submit their work for consideration.

Submissions close Wednesday, September 30, 2020, 11:59 p.m. EST.

Notification of jury results will be on or before Nov. 16.

See www.portlandmuseum.org for details.

‘Distilled’ photography show at Cove Street Arts

“Distilled” in an exhibition of the photography of Cynthia and John Orcutt, curated by Bruce Brown.

The Orcutts expertly document fragile places (both natural and manmade) by simplifying the subject through composition and technique, drawing the essence of the subject into the final image.

The photographs are made with a commitment to distill the subjects of our images to their most simple and direct content, to separate them from features that complicate or minimize their graphic qualities and allow us to extract their true substance. Seeking to achieve the greatest clarity of expression through the most advantageous combinations of lighting, position, camera technique, and weather, we strive to communicate the essence of a particular place or structure.

The show runs through Oct. 17.

Cove Street Arts is at 71 Cove St., Portland. Call 207-808-8911 or email info@covestreetarts.com for more information.

Robin Swennes will exhibit ‘For the Love of the Blues’

“Cordon Bleu,” by Robin Swennes.

Robin Swennes will exhibit “For the Love of the Blues” at Casco Bay Artisans, 68 Commerical St., Building A, Portland, from Sept. 10 to Oct. 11.

In her own words:

I must have a thousand photos of blueberries that I use for reference when I paint. They can look so different—whether it’s that frosty periwinkle blue color that is almost a dust that can be swept off the berry by the touch of a human hand, or when they are bruised with deep purple indents, or when some of the skin is peeled back and a rust color comes peeking through. It’s because of those different appearances that each painting I do becomes a one-off that I can never exactly recreate. Light, or lack of it, can create highlight tones we take for granted, but I try to exploit and expand upon them. Our brains know the berries are blue, but when you really start looking, there really are numerous other colors dancing around.

Years ago, somebody mentioned the idea of fractals in nature to me and it opened my eyes to start looking for examples. They are everywhere if you just look. Blueberries are perfect, little, tasty orbs that keep repeating on the bush — for a limited time in Maine — so they are precious. I find myself wanting to slow time down to capture them for a bit longer. A painting can do that and will remind you that nature will gift you with these gems again in the coming year when the days get hot and sunset comes late.

I have never had much of a sense of smell, so I rely more on my other senses. I may not know how blueberries smell, but I can tell you that they’re divine when heated up with a brownie from Standard Baking Co in Portland or paired with a fresh, still warm, homemade chocolate chip cookie. It probably goes without saying that every time I start another blueberry painting, I end up making more than a few trips to the kitchen to get some good chocolate and sprinkle some berries over it. How precious the short blueberry season in Maine is to me!

For inquiries into the works or any other information, please contact gallery owner Jennifer Swarts at jen@cascobayartisans.com or gallery manager Jess Lauren Lipton at CBArtMarketing@gmail.com.

‘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.

Maine Jewish Museum popup show features work by Carol Eisenberg

Carol Eisenberg, “Fictive Landscapes 001.”

Maine Museum of Photographic Arts isn’t physically open yet but wants to cheer and support efforts by its neighbors.

The Maine Jewish Museum is hosting a pop-up exhibit that features the work of MMPA advisory board member Carol Eisenberg and other great artists.

Carol Eisenberg’s exhibit runs from Aug. 13 to Sept. 12.

Maine artists donate to Maine Medical in new online exhibition ‘Sheltered in Place’

“Isolation,” by Nora Tryon.

Maine artists donate to Maine Medical in new online exhibition

Although the Union of Visual Artists (UMVA) Gallery, inside the Portland Media Center at 516 Congress St. in Portland, is not open yet, UMVA artists produced the online exhibition “Sheltered in Place.” The show’s work reflects artists’ thoughts and feelings on both the coronavirus pandemic and the pandemic of racism. A portion of any art sale from this show will be donated to Maine Medical Center for COVID-19 protective measures.

“The images and words of UMVA artists in this online exhibition surface from the isolation and compression of life in the pandemic,” said John Ripton, UMVA-Portland co-chairperson. “The works express personal and universal struggles. There are abstract and figurative pieces and a variety of media from painting and mixed media to photography and digital work. We hope you will plumb the depth of these highly personal interpretations and that one or more of the pieces will touch your spirit. Last, we believe community and society is the source of great art and we dedicate this work to first-responders everywhere.”

View the show at https://umvaportlandgallery.blogspot.com/2020/07/sheltered-in-place-pandemic-art-show.html.