Archive for UMaine Museum of Art

UMaine Museum of Art announces Summer Exhibitions

The University of Maine Museum of Art, located at 40 Harlow Street in downtown Bangor, opens three new exhibitions in May 2019. UMMA is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region, presenting approximately 12 original exhibitions each year. UMMA’s summer shows open to the public on May 17 and run through August 31, 2019. Admission to the Museum of Art is free in 2019 thanks to the generosity of Deighan Wealth Advisors.

 

 

Harold Garde, Councils, 1986, Acrylic on canvas

 

 

WHEN THERE WAS ANOTHER ME: HAROLD GARDE

When There Was Another Me, a large-scale exhibition featuring an assortment of forceful and stimulating works by Harold Garde. The artist, who splits his time between Florida and Maine, has exhibited widely throughout the United States. Garde, now in his 96th year, continues to produce works of great energy, intensity, and relevance.

While Garde has created a vast quantity of paintings and many unique series throughout his life’s work—from chairs to kimonos to solely abstract compositions—UMMA’s exhibition offers an extensive and focused look at recurrent subjects from throughout his career: figure and portraits. Within these selected works one sees the authority of Garde’s mark making and his spirited use of color. The figurative pieces chosen for this exhibition are emotionally complex, challenging, and unharnessed. At times they are humorous, confounding, and even unnerving. Above all, they convey conflicting states of mind as well as the complex nature of humanity; topics that are particularly relevant in contemporary art and society today.

Although the artist’s early exposure to Abstract Expressionism continues to infuse his paintings today, his ongoing exploration of portraiture and the figure conveys another significant facet of his enduring creative practice. The 35 works showcased at UMMA draw connections to early Expressionists, particularly German artists such as Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Both artists were among the founders in 1905 of the formidable artist group Die Brücke (The Bridge). This group sought to create a new form of artistic expression in which color and subject matter were liberated from all traditional approaches. This commanding selection of expressionistic works celebrates Harold Garde’s passionate and unique point of view as well as his prolific and rigorous studio practice.

 

 

Julie Beck, Creation of Eve, 2018, Oil on canvas

 

 

OUR HANDS ARE FULL OF COLOR: JULIE BECK

The subject of Julie Beck’s oil paintings are primarily animals, still life, and the figure. Beck, who lives and works in Boston, creates works that are rendered in striking detail. With the eye of a discerning collector, the artist searches antique stores for unique objects to arrange within her paintings. Beck adds “I use objects that are loaded with personal meaning—artifacts from my own history or found objects that evoked a particular memory or feeling.”

Beck often combines unexpected elements in her portraits. While her sitters are rendered in a realist manner, she employs a more whimsical approach and expressive treatment in the background. For example, in Optical Delusion, the young woman’s facial features and clothing are carefully modeled, while the background is an array of expressive colored brushstrokes that seem to move behind the figure.

 

 

ALISON WELD, Birthright, 1997, Oil and upholstery on canvas

 

 

SYMPHONY OF PASSION: ALISON WELD

Symphony of Passion offers a glimpse at over 40 years of studio practice by New York-based artist Alison Weld. The exhibition incorporates paintings from several of Weld’s unique series. Prominently featured are large-scale diptychs that represent an important series of works from 1994-2003 titled Home Economics. Boldly painted abstract panels are juxtaposed with mass-produced, patterned upholstery fabric. For instance, in the left panel of Psyche’s Soul,1997, Weld’s brushstrokes have yielded a turbulent tangle of textured, warm-toned marks as if she’s rendered the ferocious energy of a firestorm. In contrast, the composition’s right panel consists of appropriated designer fabric that depicts various butterflies and moth species. Instead of being quiet, saccharine depictions of winged creatures, the complex, frenzied pattern of layered insects balances beautifully with the raw energy of the abutted oil on canvas. While the surface texture and imagery on the two panels are vastly different, the diptych is unified through the warmth of Weld’s palette on the left and the orange, earthy hues of the butterfly’s wings on the right.

With roots in Abstract Expressionism, Weld’s Tonal Variation series is characterized by a richness of mark-marking and the gradual buildup of lush textural surfaces. The artist refers to these works as “assemblages” in which she brings together newer paintings and older works to investigate new relationships—while also re-contextualizing the past. Metabolic Histories, 2015, is a stellar example of the Tonal Variation series in that it apposes five separate energetic canvases. This composition will be dismantled during the exhibition and, at various intervals, three of the canvases will be paired with their original panels to form distinct new compositions. Metabolic Histories is a vehicle for viewers to witness the sort of experimentation that is most commonly seen within the confines of an artist’s studio.

The UMaine Museum of Art’s presents Spring Art Factory

UMMA in Bangor welcomes all ages to ring in spring with UMMA’s Annual Spring Art Factory.  On May 4 there will be several stations set up in the lobby and classroom of the museum.  Stop by any time between 11 and 3  to create your own paintings, prints, and paper crafts.  All supplies are included, and guided instruction is provided.  Art Factory is FREE and open to the public thanks to the generous sponsorship of WBRC Architects &  Engineers.

UMMA BRAINY ART… TRIVIA NIGHT AT THE MUSEUM – SEASON 2

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For Season 2 of BrainyArt, each of the four nights of BA Trivia (10/24/17, 12/5/17, 2/6/18, & 4/10/18) will be focusing on a different art form (visual art, music, theatre and dance, respectively).
NIGHT THREE – THEATRE
TUESDAY, February 6th
5:30 – 7:30 PM
Ages 21 +, $5
Night Three is THEATRE NIGHT and the Museum has teamed up with Penobscot Theatre Company to co-host. The team that correctly answers the most trivia questions will win the Team Challenge, and be awarded a cash prize. An additional prize will be awarded to the participant who receives the most votes in the Individual Challenge. Light refreshments and adult beverages will be available. For more information visit umma.umaine.edu/events.
BrainyArt  is made possible by the generous support of Zach & Bailey Means and Means Wealth Management.

UMaine Museum of Art announces Fall Exhibitions

Maine and Again: Jack Balas

Maine and Again: Jack Balas

The University of Maine Museum of Art, located at 40 Harlow Street in downtown Bangor, opens four new exhibitions in September. UMMA is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region, presenting approximately 12 original exhibitions each year. UMMA’s fall shows open to the public on September 15 and run through December 30, 2017. Admission to the Museum of Art is free in 2017 thanks to the generosity of Deighan Wealth Advisors.

JACK BALAS: MAINE AND AGAIN
September 15 – December 30, 2017

Maine and Again, features over forty works by painter Jack Balas, who lives and works in Arizona and Colorado. The UMMA exhibition is the largest assembly of the artist’s works to date. Balas’s works, principally watercolor on paper and oil on canvas, are featured in a wide range of sizes including small compositions, multi-paneled paper pieces and several large canvases.

For nearly twenty years the depiction of athletic, youthful men, primarily of the all-American type, has been a focus of Balas. The artist’s buff subjects, some of whom seem to have just finished a gym session, offer a counterpoint to the proliferation of images of women throughout art history. These images of idealized masculinity celebrate the virility and wished-for invincibility of youth. Balas’s male subjects, at this particular stage of their lives, are full of desires, confidence, and hope. They possess an optimism and vitality as yet unfettered by the pressures of life.

Central to Balas’s creative process is the layering of seemingly disparate elements and painting styles within each work to create a fertile ground for contemplation. For example, in ZEITGEIST (#1207), we are left to ponder the relationship between a realist depiction of a muscular young boxer, a hastily-rendered outline of Mickey Mouse, thought bubbles with hand-drawn text, and a circular pool of bright green paint. Balas’s practice of journaling and story-telling is evident in the hand-drawn scrawled text and poetic passages that weave their way through many of the paintings.

The exhibition includes a selection of images that retell the artist’s adventures touring Maine as a young man in the 70s. Balas captures the lure of Maine’s varied landscape and creatures, as well as memorable moments for him such as meeting Andrew Wyeth, exploring coastal fishing villages, and hiking to the summit of Mt. Katahdin.

Maine and Again–a mid-career survey of sorts–features a number of just-completed works that are his largest canvases to date. Portage (Evening Would Know My Reply)(#1470), an 80 x 90-inch work from 2017, highlights the pleasures of summer. The artist has juxtaposed a painting of a log cabin, a linear drawing of an Adirondack chair, and two shirtless guys: one hugging a pine tree, the other crouched down in a game of catch. The cohabitation of Balas’s imagery ignites curiosity and sends the viewer on a search for meaning.

Traces: Amy Theiss Giese & Keliy Anderson-Staley

Traces: Amy Theiss Giese & Keliy Anderson-Staley

TRACES: AMY THEISS GIESE & KELIY ANDERSON-STALEY
September 15 – December 30, 2017

Traces features the works of Amy Theiss Giese and Keliy Anderson-Staley, two photographers whose processes and images question deep-rooted conceptions on what constitutes a photograph. Both photographers have not used camera or lens to create these abstract compositions. Their process of applying and manipulating photo chemicals, and the resulting final images, may be more akin to the language of painting. The splatters, drips, blooms, and marks in these assorted works are not unlike the movement and gestural brushwork seen in Abstract Expressionist canvases, particularly notable in Action Painting and Color Field.

Giese and Anderson-Staley’s work methods necessitate a keen understanding of the fleeting nature of photographic chemicals, darkroom techniques, and materials. However, of equal importance to their processes is the sheer delight of experimentation. A creative fearlessness and willingness to embrace uncertainty is essential in realizing these evocative works. The imagery invites innumerable associations including mutable landscapes, networks, organisms, and micro/macro worlds.

Anderson-Staley resides in Houston, Texas and creates works using a wet-plate collodion tintype process—the origins of which are rooted in photography’s early history. Giese, who is based in Boston, Massachusetts, creates her images by using black and white darkroom chemistry on both silver gelatin and chromogenic papers.

Tintype Portraits: Keliy Anderson-Staley

Tintype Portraits: Keliy Anderson-Staley

KELIY ANDERSON-STALEY: TINTYPE PORTRAITS
September 15 – December 30, 2017

Houston-based photographer Keliy Anderson-Staley has made thousands of portraits that record the diversity of American faces. The wall installations, arranged in grids, consist of portraits of individuals and couples. The photographer states, “Each individual in this series—identified only by a first name—defiantly asserts his or her selfhood, resisting any imposed or external categorizing system we might bring to these images.” Anderson-Staley’s images exhibit the alluring surfaces and distinctive tonality characteristic of the tintype process. Another unique aspect of her portraits is that some facial features of the subjects are sharp, while others are out of focus. Adding to the drama are the darkened, rounded edges that frame the compositions. Anderson-Staley focuses on individuals from all walks of life and highlights our uniqueness, as well as the interconnectedness of humanity.

Anderson-Staley creates images using the wet-plate collodian tintype process, made with chemistry mixed according to nineteenth-century recipes. She coats blackened aluminum with collodian and then submerges them in silver nitrate to become light sensitive. The portraits are created using a wooden view camera with antique brass lenses. Exposures range between four and 20 seconds and require the sitters to remain motionless. The plates are then developed with ferrous sulfate and fixed with potassium cyanide. Anderson-Staley keeps the history of the medium alive by exploring these early photographic processes, all while creating works that advance photography’s contemporary relevance and discourse.

Littoral Drift Nearshore: Meghann Riepenhoff

Littoral Drift Nearshore: Meghann Riepenhoff

MEGHANN RIEPENHOFF: LITTORAL DRIFT NEARSHORE
September 15 – December 30, 2017

Meghann Riepenhoff exhibits a selection of camera-less images created in 2017, that record the essence of nature in its most elemental and fluctuating states. Riepenhoff works primarily in cyanotype, a process explored by Anna Atkins and other photographic pioneers in the 1840s. As is characteristic with this early photographic process, the artist has hand-coated watercolor paper with light-sensitive chemicals. What is unique to Riepenhoff’s process is that these works, often of considerable size, are created on location in a variety of natural environments. The paper is brought to sites where it is exposed to ocean waves, sections are buried in the sand, submerged in tidal pools, and draped over limbs in the rain. The process is both performative and physical as Riepenhoff collaborates with natural forces to create these striking works.

The cyanotype takes on a monumental presence in Littoral Drift Nearshore #516 (Bainbridge Island, WA 04.27.17), a large-scale composition created specifically for the UMMA exhibition. This immersive work, spanning ten feet, consists of twenty components joined together to convey the energy of undulating waves captured in a range of deep blues. Like the evolution of natural environments, Riepenhoff’s images continue to change over time—the surfaces are not fixed as in traditional darkroom photographs. While the artist’s images undeniably draw associations to painterly abstraction, these one-of- a-kind images are also direct imprints of the landscape.

Riepenhoff lives and works in Bainbridge Island, Washington and San Francisco, California, and these locales are often reflected her compositions.

Admission to the Museum of Art is FREE in 2017 thanks to the generosity of Deighan Wealth Advisors. For more information visit umma.umaine.edu

UMaine Museum of Art announces ART@NOON – George Kinghorn

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Please join us WEDNESDAY, DECEMBER 7th at the Museum of Art for an informal noon-time gallery talk with Museum Director and Curator George Kinghorn.  The talk will focus on Contemporary Currents: Nine New Brunswick Artists, currently on exhibit through December 31st.  ART@NOON gallery talks are free and open to the public!

For more information contact: Kat Johnson, 207- 561 – 3360, kat.johnson@umit.maine.edu or visit www.umma.maine.edu

PHILIP FREY: PARALLELS at UMaine Museum of Art

PHILIP FREY (American, born 1967) Slightest Defect, 2016 Oil on linen panel Courtesy of the artist

PHILIP FREY (American, born 1967) Slightest Defect, 2016
Oil on linen panel
Courtesy of the artist

From September 23 – December 31, 2016 Parallels features a new assortment of oil paintings by Maine artist Philip Frey. The artist, most known for his expressive images of the Maine landscape, provides varied glimpses of other subjects and approaches in this exhibition including cityscapes, portraits and abstract compositions.

PHILIP FREY (American, born 1967) Adjusting (Heather), 2016 Oil on linen panel Courtesy of the artist

PHILIP FREY (American, born 1967) Adjusting (Heather), 2016
Oil on linen panel
Courtesy of the artist

Frey explains that these works address “a need to explore, discover and stretch my limits as a painter” and that “by design, the explorations in one series influence the other and vice versa.” While the new abstract works allow Frey to investigate a more intuitive and improvisational process, the paintings exhibit color relationships and sensitive brushstrokes that are often seen in his representational works.

Admission to the Museum of Art is FREE in 2016 thanks to the generosity of Deighan Wealth Advisors. For more information contact: Kathryn Jovanelli – 40 Harlow St. – Bangor, ME 04401 – 207.561.3350 –  kathrynj@maine.edu – www.umma.umaine.edu

SKETCHBOOK SESSIONS at the UMaine Museum of Art

 

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Have you used a sketchbook? Would you like some fresh ideas?

You’re invited to come and create new pages among other creative thinkers in the classroom of the Museum. Beginning September 30th, and continuing every Friday afternoon from 3:30 – 5 p.m., UMMA will provide an inspiring space for you to further your artistic practice working with your sketchbook. Adults and students grades 6 and up are welcome to join. Those under 18 must complete the proper release form agreements in order to attend.

FRIDAYS (beginning 9/30), 3:30 pm – 5 pm
FREE, and open to the public

For More Information:
K.L. Johnson, MFA
P: 207- 561 – 3360
kat.johnson@umit.maine.edu
www.umma.maine.edu