Archive for gallery – Page 2

Cove St. Arts Presents ‘Portland 2020’

Please join us for the opening reception on February 6 from 5-7 of Portland 2020, an open juried photography show curated by Bruce Brown. The exhibition explores Portland today as Maine celebrates its bicentennial with photographs from over 50 different artists.

Maine Farmland Trust Gallery Presents ‘Farm Tools Project’

Bill’s Bridle- Ironwood Farm, Farm Tools Project collaboration, cyanotype, 22 x 30”


The Maine Farmland Trust Gallery in Belfast, features the Farm Tools Project, a collaboration between Fiore Art Center Residency alumni Sarah Loftus (2017) and Michel Droge (2018). Loftus and Droge explore the relationships between farmers and the land with a series of cyanotype prints of hand tools pulled from barns, fields, and greenhouses at seven farms across Maine. Over the past summer they built a portable wood and copper cyanotype kit with the help of Jack Manley, a boat builder in Warren, and traveled to small farms across the state with the box and a digital recorder. They spent time working alongside farmers to create images of tools. While the cyanotypes developed, the artists spoke with the farmers about their work, why they do it, and where they see Maine farming and food headed in the future.


Hubbard Blueberry Rakes- Burke Hill Farm, Farm Tools Project collaboration, cyanotype, 22 x 30”


Like agricultural crops, the cyanotype images are produced with sunlight and water. By their very nature, the ghostly blue prints convey our delicate relationship with the natural world. They capture tools as extensions of ourselves- embedded with the history, challenges, and the enduring resilience of Maine’s farmers.


Johnny’s Seed Bed Roller- Four Season Farm, Farm Tools Project collaboration, cyanotype, 22 x 30”


This project is funded in part by a 2019 individual artist grant from the Maine Arts Commission. The artists plan to self-publish a book, with the support of a Kindling Fund grant, which will include large-scale photographs of the cyanotypes paired with text inspired by their conversations with farmers.


Planet Jr. Seeder and Seed Plates- Villageside Farm, Farm Tools Project collaboration, cyanotype, 22 x 30”


The exhibit will be on display from January 21 through April 10, 2020. There is a closing reception Friday, April 10, 2020, 5:30-8 pm, with artist talks at 6 pm.

Greenhut Galleries Presents ‘Focus: Printmaking III’

The Elder 48 x 24 inches (variable)


Endanger monotype, linocut, chine colle 22 x 18 inches


Greenhut Galleries, in Portland Presents Focus: Printmaking III on view from Feb 6- March 28 with an opening receptions on Feb 8 from 1-3. The participating artists employ a wide variety of printmaking techniques and many belong to Maine printmaking organizations including Peregrine Press, Circling the Square Press, Printcraft, Running With Scissors and Pickwick Press. They are recipients of prestigious residences and fellowships such as the Monhegan Residency, Vermont Studio Center, Skowhegan School of Painting and Sculpture, Pollack-Krasner Foundation, Heliker-Lahotan Foundation and Tamarind Institute. Several have taught at institutions including Maine College of Art, Colby College, University of Maine, University of New Hampshire, Rhode Island School of Design and University of New England.

Clam Song Woodcut 21 x 21 inches


We Ignore Our Mother’s Uneasy Ghost Drypoint, chine colle 18 x 24 inches


Artists: Karen Adrienne, Judith Allen, Susan Amons, Christine Beneman, Holly Berry, Stephen Burt, Joan Busing, Julie Crane, David Driskell, Elizabeth Jabar, Amanda Lilleston, Liz McGhee, Larinda Meade, Daniel Minter, Lisa Pixley, Ellen Roberts, Scott Schnepf, Carter Shappy, Michael Torlen, Neil Welliver

Spotlight Artists Grace DeGennaro and Marc Leavitt at Cove St. Arts


Cove St. Arts in Portland is showing works by Marc Leavitt and Grace DeGennaro.

Marc Leavitt’s Mithuna series weaves East and West together. “Mithuna,” in Tantric art, refers to couples sculptured in close embrace. The series is an ongoing exploration of gender, nationality, and human sensuality.

Grace DeGennaro’s compositions are based on traditional symbols and sacred geometry. Her work also bridges Eastern and Western thought through ancient uses of pattern, symmetry, and iconic symbolism found in traditional forms such as Byzantine mosaics, indigenous weaving, and Tibetan mandalas.

Carol L. Douglas Studio Presents “Censored. Me. Really.”

In 2014, Carol L. Douglas was part of a duo show at a university gallery in Rochester, NY. The show was vast: a body of sixty large pieces including abstracts and nudes.

Douglas’ work dealt with the marginalization of women, exploring issues like religious submission, bondage, slavery, prostitution, obesity, and exploitation. It was featured in the university news and a city newspaper. Then, college administrators saw the show and closed it down. The paintings have not been shown as a body of work since. “We live in strange times,” said Douglas. “We not only tolerate but glorify the cardinal sins: lust, gluttony, greed, sloth, wrath, envy, and pride. On the other hand, we are leery of serious conversations, we don’t like serious effort, and we vilify those with whom we disagree.

“The cynic in me thinks that if I painted coy Odalisques there would have been no objection. Young people are exposed to sexually-charged but stupid images every day; in fact, this is part of the problem facing women today.”

Douglas’ work from the show is being reprised in “Censored. Me. Really.” The show opens on January 18. Carol L. Douglas Studio, 394 Commercial Street, Rockport.

MMPA Celebrates 10 Years & 100 Photo Collectors

John Goodman, The Schlitz Boys, Combat Zone, 1978, Silver print, 16 x 20 inches, From the collection of Melonie Bennett

Maine Museum of Photographic Arts in Portland, celebrates 10 years and 100 photo collectors.  An opening reception will be held on Feb 13 6-8, the show will run from Feb 13 – May 16 and will close with an artist talk given by Brenton Hamilton on May 16 6-8.


Reggie Burrows Hodges Awarded Ellis-Beauregard Fellowship

Reggie Burrows Hodges, First Serve, Hands Behind Your Back, 2019, Acrylic on canvas, 58″ x 84″

Dowling Walsh Gallery artist Reggie Burrows Hodges has been awarded the Ellis-Beauregard Foundation Fellowship in the Visual Arts. The Ellis-Beauregard Fellowship awards $25,000 to a Maine artist working in the visual arts and is paired with a solo exhibition at the Center for Maine Contemporary Art, a scholarly publication and a gallery talk.

Sunday Salon with artists featured in ‘Temporality’

Sunday Salon | Temporality

The Center for Maine Contemporary Art (CMCA), in Rockland invites the public to attend the second in a series of Sunday Salon gallery talks related to the exhibition “Temporality: The Process of Time,” on January 5 at 3pm. Presenters will include exhibiting artists Caleb Charland, Clint Fulkerson, and Kate Russo. Each artist will share images and discuss how they use time as a material in their work. 

Exploring ideas of repetition, duration, and process, the exhibition “Temporality | The Process of Time,” looks at how contemporary artists are using time as a means of making. The exhibition explores the question of what is time, and how do we measure and give value to it? One certainty is that artists need time to make their work and viewers need time to look. In a society that’s constantly on the move, the artists included in the exhibition are asking the viewer to slow down and consider the relevance of time as material. 

Caleb Charland (Brewer, ME) uses the photographic process to question visual possibilities within the natural laws of the world. His practice is based in wonder, a state of mind somewhere between knowledge and uncertainty.

Clint Fulkerson (Portland, ME) creates drawings that are the result of contemplating the relationships between space, time, matter, and energy. His murals are created using pre-determined limitations and visual analogies.

Kate Russo (Portland, ME) explores the use of color as narrative in her paintings. She borrows the color palettes of well-known, historical artists in an effort to convey an artist’s character through color.

Marilyn Moss Rockefeller Lobby Installation view

Sunday Salons are free to CMCA members, others with admission. Participants are encouraged to stay following the talk for refreshments and further discussion. The next Sunday Salon in the series will take place on January 26, 2020. For more information, please visit

Announcements from The Maine Crafts Association

Preparing for a Wholesale Show: Panel Discussion

MCA presents Preparing for a Wholesale Show, a panel discussion in our ongoing Wholesale Resource Hub program. The discussion will focus on best practices in preparing for a wholesale show, and audience members will have the opportunity to ask questions. The conversation will be relevant to any wholesale show preparation, but will provide a specific prep timeline for the New England Made (NEM) Spring Show, which is March 14-16 in Portland. If you are registered for NEM Spring or any wholesale show in 2020, or considering wholesale, join MCA for this opportunity to hear from the experts.

When: Tuesday, January 7 at 5:30pm

Where: Mechanics Hall Classroom, 519 Congress Street, Portland, ME


Styling Workshop: Learn to Make Compelling Images

Join Stylist + Art Director, Basha Burwell, for this one-of-a-kind styling workshop! She will introduce you to her line work, and teach you some tips and tricks to create interesting images containing your work. This unique workshop is for craftspeople + makers wanting to improve the skills necessary to present your craft through photographic images. This workshop will prepare you with the tools needed to successfully conceptualize, plan, produce, and even shoot creative and memorable still life images featuring your craft objects.

When: Saturday, January 25, 2020

Where: Church: 16 Brewster St, Rockland ME 04841

Cove St. Arts Presents ‘Think A Bot It’

Cove St. Arts Presents, in Portland Eva Goetz’s Think A Bot It. Large, friendly robots speak through semafore, coded messages, and signals requesting that we HELP, STOP, LOOK and LISTEN. Goetz’s colorful, dynamic bots encourage the viewer to engage deeply and to think about the possibilities (and dangers) embedded in our technological future. This exhibition is sponsored in part by the generous of The Candy and Jim Platz and Max Kagan Foundation and Creative Portland. 

This vibrant, playful body of work is also a serious platform where deep questions are considered: Are we marching toward a future filled with health and well-being? Or are we on a destructive course, drunk and blinded with new creative ability? Are we fully considering the impact of innovations on society (democracy) and our planet?

Born in Texas with Mexico next door, Eva Goetz was influenced by the palette of the land: the bright and dusty colors found within both the landscape and narrative folk paintings. These sense memories punctuate Goetz’s robots in the form of dots. As the artist explains:  “Dots are both energy and form. As circles, dots can become windows into consciousness. As points, dots can punctuate beginnings and endings. Or perhaps dots are points of light or energetic origins or infinity itself. We all begin and end somewhere.” Think A Bot It is on view through February 22.