Archive for exhibitions

Courthouse Gallery Fine Art Presents Two New Exhibits

“Ocean Diptych,” by Sally Ladd Cole.

Courthouse Gallery Fine Art presents two new exhibitions — “Downeast Narratives: Philip Barter and Matt Barter” and “Clarity of Vision: Sally Ladd Cole and B Millner” — available for viewing online at www.courthousegallery.com and at the gallery through July 10.

“Downeast Narratives: Philip Barter and Matt Barter” highlights recent work by Philip Barter and Matt Barter, a father-and-son duo of self-taught artists who were both born and raised in Maine. Their motifs focus on narratives of Maine’s working waterfronts and the earthy beauty of her landscape.

“Eastern Dragger,” by Philip Barter.

Philip, who was born and raised in Boothbay Harbor, has painted Maine for over five decades. In the early years, Philip worked in all manner of traditional Maine jobs to support his family of seven. He dug clams and worms, was the sternman on a lobster boat, did carpentry, and dragged for mussels. By the 1990s, Philip was able to paint full-time after the Bates College Museum of Art acquired his work for their permanent collection and mounted a retrospective of his work in 1992. Philip’s work was subsequently highlighted in Downeast magazine and acquired by the Farnsworth Art Museum and the Portland Museum of Art.

“Schoodic Driftwood Relief,” painted wood relief, by Matt Barter.

Matt, who was raised in Franklin, learned to paint under the guidance of his father. He sold his first painting at age 10 and by his teens was learning the mechanics of oil painting and making his own wood reliefs. His carved fishermen and wood reliefs are fast becoming a signature motif. Made from reclaimed wood beam and oil paint, his rough-cut figures capture the brawn of these weathered men laden with lobster traps, hoes, buckets and buoys.

Both Barters share an eye for composition, shape, and color and a deep-rooted connection to Maine that makes their work authentic.

“Clarity of Vision: Sally Ladd Cole and B Millner” highlights recent work by realist painters Sally Ladd Cole and B Millner, both of whom are new to Courthouse Gallery.

Cole is a realist marine and landscape painter who depicts the rural gems she encounters near her homes in Maine and New Hampshire. Many of Cole’s paintings highlight the Atlantic shoreline, where she finds an abundance of inspiration in the natural grace of the endangered vistas. Cole’s work has been included in numerous solo, juried, and groups exhibitions throughout New England and been highlighted in several publications and books.

“Harbor Fish,” by B Millner.

B Millner’s oil paintings approach photorealism and include interiors, landscapes, waterscapes and cityscapes, frequently nocturnal. Millner favors character over beauty and likes to convey a certain grittiness in his paintings.

A native of North Carolina, Millner participated in studio classes at the Virginia Museum of Fine Arts Studio School for more than 20 years and took foundry courses at Virginia Commonwealth University. His work, which has been exhibited in galleries from Maine to Louisiana and in Anguilla, can be found in numerous collections. Millner has been coming to Maine since 1995, and splits his time between Bailey Island and Virginia.

Courthouse Gallery is located at 6 Court St. in Ellsworth. For more information on upcoming shows, call 667-6611, or visit www.courthousegallery.com.

The Maine Art Gallery Opens Its First Online Exhibit

“Higgins Beach – Late Afternoon,” by Cynthia Sortwell.

“Untitled 1027,” by Conrad Guertin.

“Bobolinks,” wood engraving, by Siri Beckman.

Hard times inspire creativity, and Wiscasset’s Maine Art Gallery has stepped up to the challenge.

The gallery presents an online show of paintings, sculptures, photographs, prints and collages from 23 artists that might have been held at the gallery, were it not for the limitations due to COVID-19. Instead, the images can be viewed at www.maineartgallerywiscasset.org through July 10.

The show offers a range of styles. In addition to depictions of landscapes, waterscapes, architecture and still lifes, works include nontraditional shapes and symbolic paintings.

More information is available on the Maine Art Gallery Wiscasset Facebook page. The gallery, located in the historic Wiscasset Academy building at 15 Warren St., Wiscasset, is closed to the public this summer due to COVID.

Three Solo Exhibits Open at Dowling Walsh Gallery

“The Poppy and the Greenhouse,” by Cig Harvey.

Dowling Walsh Gallery will host three solo exhibitions in July featuring work by Cig Harvey, Jenny Brillhart and Marilynn Gelfman Karp.

The gallery will host an artist reception on opening day from 4:30 to 6:30 p.m. July 3 and a gallery open house each Friday from 3 to 5 p.m. The shows run through Aug. 1.

Cig Harvey’s exhibition, “Eat Flowers,” is a feverish exploration into how things feel, as represented through photography. The profusion of color and nature is a visual reminder that we are alive, and embracing it celebrates the basic human desire to be surrounded by beauty. These new photographs aim to bombard our primal senses. They are riotous and gluttonous, explosive and dramatic, full of life yet somehow simultaneously suffocating and terrifying.

Harvey’s artistic practice seeks to find the magical in everyday life. It is deeply rooted in the natural environment and offers explorations of belonging and familial relationships. Her photographs and artist books have been widely exhibited and remain in the permanent collections of major museums and collections, including the Museum of Fine Arts, Houston, Texas; the Farnsworth Art Museum, Rockland, Maine; and the International Museum of Photography and Film at the George Eastman House, Rochester, New York. She lives in Rockport.

“Blue Moon,” by Jenny Brillhart.

Jenny Brillhart received a BFA from Smith College in Northampton, Massachusetts, and an MFA in painting from the The New York Academy of Art. She has shown her work in Berlin and Florida and in 2017 exhibited at the Center for Maine Contemporary Art in a two-person show alongside artist Sara Stites. Brillhart is included in the 2019 deCordova New England Biennial. She lives and works in Stonington.

“Birdseye Sunset at the Equator Specimen,” by Marilynn Gelfman Karp.

Marilynn Karp is a sculptor whose mixed-media, found object works are represented in collections nationally and abroad. She holds a doctorate in physics and aesthetics and has taught art and material culture at New York University for 42 years. Karp is the author of “In Flagrante Collecto: Caught in the Act of Collecting” (Abrams, 2006) as well as the forthcoming book “Uncorked: A Corkscrew Collection” (Abbeville, 2020). She has given interviews, presented papers, and appeared on panels at museums and universities on various topics within the purview of collecting. She is the president of the Anonymous Arts Recovery Society and a trustee and board member of the Preservation League of New York State. Karp divides her time between her New York City studio and a farmhouse in upstate New York.

“Immersed in the rural landscape, I found miraculously enlightening instances of the mergence of the natural and the manmade by birds and insects,” Karp says. “This has informed and adapted my eye to the bird’s eye view and the wasp’s stunning utilization of architecture and utility meters as habitats. I now play their game with their abandoned nests and turn the tables to invent what they might have done in different times and places. As an avid observer of material culture, my sculptures suggest that the impetus to acquire, organize and integrate is proof that the hunter-gatherer instinct is alive and well.”

Dowling Walsh Gallery is at 365 Main St., Rockland. Go to www.dowlingwalsh.com, or call 207-596-0084 for more information.

Carol Douglas Exhibits ‘Argentina in Quarantine’

Carol Douglas painting in El Chaltén, Patagonia. Photo by Douglas Perot.

Work by Carol Douglas will be exhibited in “Argentina in Quarantine” on July 11. A reception from 2 to 6 p.m. will be held at the artist’s home studio/gallery, located at 394 Commercial St., Rockport.

In March, Douglas traveled to Patagonia to paint with a small group of fellow artists. COVID-19 was still a distant threat on the world stage. That didn’t last long. Within 48 hours, the Argentines closed down all internal flights. The group was effectively stuck in the tiny village of El Chaltén.

At first, that just meant no contact with the locals, but as the days went by, the cordon sanitaire tightened. At one point, Douglas had spiked a fever and was confined to her room.

“It turned out to be a parasite, but of course we didn’t know that at the time,” she said.

Meanwhile, it was getting colder in Patagonia. Termination dust — the first snow of the year at high elevations — appeared on the mountains. The hostel was not built for winter habitation. They grow no food at these elevations. The group had to move on.

“Glaciar Cagliero from Rio Electrico,” by Carol L. Douglas.

There was no travel within Argentina without a government-issued pass. The group learned there would be a last flight from the provincial capital Rio Gallegos to Buenos Aires, intended to get foreign nationals out of the country. Rio Gallegos was about 300 miles away. “Much of the drive was through open desert, where guanacos, rheas and jackrabbits try to become road kill,” said Douglas. Armed with a jerry-can of gasoline, they departed at 4 a.m. At each checkpoint, soldiers carefully scrutinized their papers.

“We arrived at the airport in ample time, but the line was excruciatingly slow,” she said. “The airline wasn’t honoring our tickets. The terminals were not working. I checked through a half hour after our scheduled departure. The plane taxied as we were escorted to our seats.”

In Buenos Aires, any hope of a quick flight to the U.S. was dashed. They were escorted out of the airport by a soldier and spent a week in a hotel, under the watchful eye of military guards.

“El Calafate,” by Carol L. Douglas.

“I did not return with the paintings I’d intended, but I did return with paintings of a strange and wondrous part of the world,” said Douglas.

The gallery space will be an outdoor tent for the duration of the pandemic. Guests are welcome to BYOW — Bring Your Own Wineglass — and Douglas will pour drinks. Masks are required.

For more information, call 585-201-1558, or email malerincd@gmail.com.

Pam Cabañas Exhibits Diptych Shorescapes at Hedgerow Gallery

Pam Cabañas

A solo show of recent work spanning a variety of mediums by Friendship artist Pam Cabañas is the first of the summer season’s offerings at Hedgerow Gallery.

Paintings and drawings included in the exhibition are large-scale, diptych shorescapes that represent a departure for the artist.

“Working on a larger scale is something I’ve always wanted to do,” Cabañas says, “but up until now I’ve held back because, you know, Maine has small walls!”

Deciding to work at a larger scale — some pieces measure 5- by 5-feet — has really been a matter of heart, Cabañas says, a way to get more fully immersed in the experience of the coast and islands she explores in her 14-foot skiff in and around the tip of the Friendship peninsula.

“I find that your iconic Maine imagery and landscape is all here in Friendship, especially out on the islands, where I do a lot of plein-air painting.”

Most of the paintings at the Hedgerow Gallery exhibit originated as plein-air pieces and then were finished in the studio.

“When I get the work back in the studio, I begin to see it as experiential, rather than simply as a picture of what I saw on a particular day.”

Adding that experiential element, Cabañas explains, involves “a quality of light, of values and, more than anything, movement.” The paintings become more atmospheric, she says. “I do photograph a lot out there, and I do use photographs for reference when I need them, but it is also pretty hilarious sometimes to see the photograph and to see the painting because they often have very little to do with each other.”

“Island Road,” by Pam Cabañas.

Cabañas began using the diptych format for her larger work, with a single image being split horizontally into two uneven sections, the larger surmounting the smaller, as a way to scale up her work without resulting in a physically unwieldy object.

More moderate-sized work in water color, ink and acrylic — along with Cabañas’ favorite medium, charcoal — are also included in the show.

Cabañas’ Hedgerow Gallery show runs from July 2 through 11. An artist reception will be held outside on the pergola deck and in the surrounding gardens at the gallery from 2 to 4 p.m. Sunday, July 5.

COVID-19 protocols will be followed. The gallery is closed July 6 and 7. Hedgerow Gallery is at 8 Ridge Road in the Martinsville section of the St. George peninsula, between Tenants Harbor and Port Clyde.

For more information on Cabañas’ show, go to hedgerowdesign.com. For more information on her work, go to www.pamcabanas.com.

Kevin Beers Shows ‘Points of Light’ at Gleason Fine Art

“The Red House and Skiff,” by Kevin Beers.

“Kevin Beers: Points of Light” is an exhibit of new paintings of Maine and Cuba, including Beers’ signature portraits of old cars and trucks. It will be exhibited at Gleason Fine Art, 31 Townsend Ave., Boothbay Harbor, through July 21.

Beers has been with the gallery for more than 20 years and continues to be one of the gallery’s most popular and recognizable artists.

Four years ago, Beers and his wife, Amy, decided to sell their New York City home and move to midcoast Maine. Home is now a spacious, 19th-century sea captain’s house in Thomaston, from which Beers ranges up and down Maine’s coast and islands, painting as he goes.

When it comes to describing his work, “I don’t believe in long-winded manifestos,” Beers says. “The paintings can speak for themselves more honestly than I ever could. I will say that I only paint things for which I have a strong emotional attraction.”

Beers grew up in the Hudson Valley, an area with a rich history of landscape paintings. He is drawn to plein air. He expanded his reach to later include Monhegan Island and Maine’s midcoast, where artists like Edward Hopper, Robert Henri, Rockwell Kent and the Wyeths have all painted.

He’s also held a longtime fascination with old cars and trucks. “I am drawn to the anthropomorphic qualities I find in these faded cast-offs,” he says. That fascination led him to Cuba twice, most recently last winter, when he joined a painters’ group. In Cuba, Beers discovered a multitude of ’52 Chevys, all in good working order. He painted the brilliantly colored red, green and turquoise Chevys against the backdrop of Havana’s beautiful but crumbling baroque buildings and lush vegetation.

Gleason Fine Art is not holding receptions at this time, but the gallery is open and showing new exhibitions while following precautions due to COVID-19. Hours are 10 a.m. to 4 p.m. Tuesday through Saturday. Contact the gallery at 207-633-6849 or info@gleasonfineart.com for additional information, or visit www.gleasonfineart.com.

Camden Falls Gallery Presents Online Exhibit ‘One Friendship, Two Stories’

“Camden Lights,” by Olena Babak.

“Trade Wind Afternoon,” by Roberta Goschke.

Camden Falls Gallery opened its second show of the season in June, titled “One Friendship, Two Stories” and featuring the works of Roberta Goschke and Olena Babak. The show runs through July 10 and is available for viewing online. The gallery is open by appointment only, due to COVID-19.

Making art is a typically a solitary activity, in the studio or outside, but not always. Roberta Goschke and Olena Babak met and discovered their common path to plein-air painting through figure and portrait drawing classes.

Remembrance of moments spent together experiencing the atmosphere and the vivid memories of painting together, discovering gardens, the summer sunshine, the bond of shivering in a boatyard for hours, and the thrill of holding down easels on windy Maine lawns are imprinted in their works. Regardless of the weather conditions, there is encouragement to follow the spark and influence and paint on. Since their paths have crossed, the love of chasing beauty with a brush in hand has always brought them together.

These two artists are like two melodies in harmony together, which is evident in their painting styles as showcased in this duet show.

Watch a virtual presentation with severals interviews and videos at www.camdenfallsgallery.com, available through July 10.

Camden Falls Gallery staff combines to do its best to provide as much visual information through videos and various digital media. If you would like more detailed images of the artwork from the gallery, call 207-470-7027, or email info@camdenfallsgallery.com.

‘Boating in Maine for Work and for Pleasure’ Opens at Kigel Studio

“Shattered Light,” by Jean Kigel.

With watercolors, Jean Kigel captures realistically the old-time spirit of dories and sailboats in varying weather conditions. With oils, she paints in her newer style of geometric realism.

This month, the artist presents paintings of boats. “Boating in Maine for Work and for Pleasure” runs from July 3 through 18 at her Back Cove Studio located at 1396 Back Cove Road, Waldoboro.

A native Mainer, Kigel grew up with canoes and rowboats on ponds and streams. After she moved to her Muscongus Bay studio home, she fell in love with lobster boats and sailboats. This show features boats from Back Cove, Waldoboro, as well as Pemaquid Point, Newfoundland, Latvia and China, reflecting her travels to those places.

Visitors can view these paintings online at www.jeankigel.com and in person by appointment only, following CDC health guidelines. For more information, email jean@jeankigel.com, or call 832-5152.

Littlefield Gallery Presents ‘Surpassing the Ordinary’

“Granite Stack, Schoodic,” by Sarah Faragher.

Littlefield Gallery presents “Surpassing the Ordinary,” an exhibit of paintings and sculpture featuring artists Sarah Faragher, Mark Herrington and Joseph Haroutunian.

Plein-air artist Sarah Faragher paints memories of her experiences with nature. “Through painting, I participate in the landscape, recognize transcendent moments in nature, honor the integrity of natural forms, and describe where my heart lives,” she says. “I often feel as if the places I paint have commissioned me to tell their autobiographies, at the same time that I tell my own.”

Sculptor Mark Herrington is inspired by glacial erratics that are ubiquitous in the Maine trout streams and ponds. “Using the material as the starting point in developing form, each piece is as individual as the stone that I begin with,” he explains. “I bring aesthetic rigor with a passion for minimalism to find something beyond and within the material itself.”

Joseph Haroutunian will show his abstract paintings. As former director of the Bowdoin College Art Museum, Katy Kline describes, “The colors, moods and forms of the Maine landscape inspire and infect Haroutunian’s paintings. If his canvasses do not constitute landscape portraits, they nonetheless serve as persuasive metaphors for the way landscape is experienced. Like the painter, the viewer is engulfed by sensory experience, plunged into fields of flux and flow.”

The show runs June 22 to July 19. The gallery, located at 145 Main St., Winter Harbor, is open daily from 11 a.m. to 5 p.m. and by appointment. Call 207-838-4174 or email info@littlefieldgallery.com for more information. Addition details are available online at www.littlefieldgallery.com.

A Virtual Stroll Through The Cynthia Winings Gallery!

Visit the First Floor of the Gallery in Part One of the group exhibition,
All Together Now

The Gallery is Open Thursday through Saturday, 10:00 – 5:00PM,  and by Appointment