Archive for Art exhibit

Dowling Walsh Gallery hosts four exhibits in July

“Path to the Bowerbird’s Estate,” by Marilynn Gelfman Karp.

During the month of July, Dowling Walsh Gallery will host four exhibitions: 

“Tessa Greene O’Brien: Floating in the Water Looking up at the Sky,” “Marilynn Gelfman Karp: Sampling the Riff,” “Alan Magee: Grand Illusions” and “Kenneth Noland (1924-2010): Paper as Paint.”

“Floating in the Water Looking up at the Sky”
July 2 to 31

Tessa Greene O’Brien’s Eastport series evolved over the course of the past 18 months, with several visits back to the community. The paintings all depict places in or around Eastport, but the subject matter is more about the artist trying to paint the romance of falling in love with a new place, trying to remember what it looks like when away, and trying to record and savor every detail while there.

“Red Roof,” by Tessa Greene O’Brien.

“Something clicked within me when I first spent time in Eastport, Maine, a tiny in town filled with contrasts,” she says artist Tessa Greene O’Brien. “It is a borderland, with little red buoys marking the thin line between the United States and Canada, and a dramatic tide that highlights the push and pull between ocean and land. The line between nature and humans there is thin, and the border between the past and present feels this was as well.

The landscape was new to me, but it felt familiar, reminding me of the small coastal community that I grew up. I was attracted to the familiarity of a place that was unburdened by actual memories.

The Eastport paintings are about how it feels to lie on your back floating in the water, looking up at the sky, what sunny fields smell like, and the crisp satisfaction of high noon shadows on shingled houses. They are about grief, joy and the failures of memory to satisfy desire. I am using paint and textiles to try to describe the way that places layer over one another in memory, with edges blurred. The paintings are overgrown, spilling over, faded, swirling and scattered, with dappled light & color turning a place into a daydream.” — Tessa Greene O’Brien

“Sampling the Riff”
July 2 to 31

“Things made by human hands (manu-factured) meet naturally occurring components in my studio. I unify them in unexpected ways, often surprising myself at the resulting sculptures. The whole is not the sum of its parts. Ordinary bits become exotic, a new context changes the mundane into the arcane.

To confound things, sometimes a thing that appears to have been plucked from nature can be person-made (I have made bird nests that would fool a bird) and there are naturally occurring phenomena that appear to have been manufactured (consider the sand dollar or a pearl).

As differences between the natural and the manmade become less clear in my works … new frames of reference are invoked. Carefully examined unions and dimensions within may be glimpsed, rife with twinkling potential and unfamiliar gardens bloom.” — Marilynn Gelfman Karp                                                                                                              

“Grand Illusions”
July 2 to 31

“Helmet X,” by Alan Magee.

Alan Magee’s Helmet X, a large painting completed in early 2021, is symbolic of this historic chapter. A hauntingly beautiful elegy to our failed attempts across time to armor our selves against our baser instincts, it sears the mind’s eye. The soft polish of the exquisitely rendered crusader helmet pulls the thread of the ages to the present, its row of rivets suggestive of bullet holes or coffin nails; its beauty seductive. We are all soldiers in life.



Paper as Paint
July 2 to Aug. 28

“Diagonal Stripes,” by Kenneth Noland.

Dowling Walsh Gallery will present an exhibition of handmade paper by Kenneth Noland (1924 to 2010). Noland, known primarily for his large-scale Color Field paintings, began making art with paper pulp in the late1970s and continued to explore its possibilities well into the 1990s. While he worked with a variety of materials and explored various media throughout his career, Noland found the use of paper pulp as a primary ingredient to be extremely satisfying in the directness of its application and physicality. In contrast to painting on canvas, the precision of papermaking lay in the process — the physical building of colored paper pulp to create a final image, a vehicle to generate depth of surface and ultimately a means explore color relationships in new and unexpected ways.

Dowling Walsh Gallery is at 365 Main St. in Rockland. The gallery is open from 10 a.m. to 5 p.m. Tuesday through Saturday and by appointment on Sundays and Mondays. Visit, or call 207-596-0084 for more information.

Shaw Jewelry in Northeast Harbor Celebrates 40th Anniversary


Shaw Jewelry in Northeast Harbor Celebrates 40th Anniversary

Opening Reception Thursday, July 1, 5–7pm (every other Thursday eve all season)

Tapestries of Mount Desert Island

Trina may be best known for her exquisite renderings of birds, but this year she presents dynamic tapestries of stitched together fabrics. With layers and texture, she creates large format landscapes. Channeling stained glass or mosaics, the patterns are complex and revealing.


You Haven’t Seen Diamonds Like This Before

We are super excited about Todd and Debra coming to town! Todd creates jewelry that is part of our human celebration. He revels in the re-invention of natural beauty. His altered diamond jewelry dance in the sensual clarity of moonlight. They are at home with the sweep of the body, as is treasure washed onto sand. An artist engineer with an explorer’s essence.


Beauty in Unexpected Places

We are delighted to welcome back Lisa’s surprise paintings. She captures the moments when we may not be paying attention. The spaces in between. The road framed by headlights. That overhead wire. But also, the subtle colors of a marsh at twilight.



Gold and Honey, Amanda Hagerman, and Ravit Kaplan

Landing Gallery opens Sarah Faragher solo exhibit

Landing Gallery, 409 Main St, Rockland, is pleased to announce the opening of “LOCAL COLOR: AN ALMANAC OF MAINE PAINTING”, a solo exhibit of 60 new paintings by Sarah Faragher, June 4 – June 29.

Sarah Faragher is a 1990 graduate of Colby College, Magna cum laude and Phi Beta Kappa.  Her work was included in ART OF ACADIA by David Little and Carl Little, published in 2016 by Down East Books.  Sarah was an Artist-in-residence at Acadia National Park and the Weir Farm National Historic Site in Wilton, Connecticut and has been invited to participate, numerous times, in Art Week on Great Spruce Head Island.

“My paintings are memoirs of my 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.  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.”

“The solitude and perseverance I cultivate as a painter serve me well in times of plenty, and even more so in times of distress. Last year I stayed close to home and found solace in my work.  I painted in the back yard, and by a neighbor’s driveway, and at the little beach at the end of the street.  I also took day trips to paint mountain vistas and quiet lakes, and attended a reclusive inland residency.  As the months passed, the seasons took on an inevitable rightness, as they always do.  To note the changes as they happened, I decided to paint a certain nearby hillside and a field by the sea here in town, during each season.  Focusing on these places and their transforming colors helped me navigate the ongoing seclusion, and reminded me of one of my core tenets of painting: what I observe and experience in the landscape echoes what I feel in my heart which I know to be true and real.

As the wheel of the seasons continues to turn, I pay particular attention to the times of solstice and equinox. Their ancient sacredness lives still.  They remind us of continuity and community. They’re patient, and offer the long view. When they arrive, their particularities come to the fore: the new growth, flowerings, ripenesses and fruit, and then the falling away.  Lush trees in full summer and their spare leafless elegance in winter become more beautiful and poignant to me than ever, as I paint them.  The anxiety I carry about the state of the world is assuaged by the remembrance of the cycle of nature as an ever-renewing wellspring. In my paintings and in life, I find that renewal and hope because I search for them, and keep searching until they reveal themselves. They’re here, today.

The varied colors of the landscape speak throughout the year, but winter might be my best-loved season. Daylight is valuable; darkness is peaceful.  I was born in December near the solstice, and my middle name is Noël.  I’m at home in the clear cold air and quietude.  I made friends with the bleak a long time ago.  Under the whites of the snow, earth colors warm my palette with umber, ochre, and sienna.  In winter I take stock, recommit to long-term projects, and rest.  January offers a fresh start.  Patterns of snowfall veil the familiar, and I rejoice in the absence of brighter colors, even while I daydream of spring greens and verdant island summers.”

Please join us in the gallery.  Hours: Weds, Thurs, Fri, Sat & Sun 11-5, Closed Mon & Tue.  FMI 207 239-1223,

Eastport Gallery kicks off season with annual Community Show

“Autumn Blueberry Fields,” by Cynthia Morse, a piece in the 2020 Community Show.

The Eastport Gallery will open for the summer season on June 5 with its annual Community Show.

This year, the show will be presented both live in the Water Street gallery and online in the virtual gallery.

The show will run in the front rooms of the gallery from June 5 through 19 and will continue online in the virtual gallery through July 17 at The gallery is open from 11 a.m. to 5 p.m. Wednesday through Sunday.

Eastport Gallery is at 109 Water St., Eastport. Call 831-588-7576 for more information.

DIAA shows ‘Joyful Measures’

“Red Tulips,” by Teri Rippeto.

After a stressful year, it is time to find some joy, which is precisely what the Deer Isle Artists Association is doing. “Joyful Measures,” the first show of the summer season, runs June 1 to 13.

The gallery will be open from 10 a.m. to 2 p.m. Tuesdays through Sundays, June through October.

Mary Eaton, Anita Kimball, Clare McBeth Wall, David McBeth, Diane McGuire-Horton, Katama Murray and Teri Rippeto will be featured in the first show. In the art rack will be work by Jackie Davidson, William Lukens and Katama Murray.

The DIAA is concerned about the well-being of its artists and visitors, so CDC and Maine government protocols will be maintained throughout the summer. All visitors will be required to wear face masks, and hand sanitizer will be available for those entering the gallery. 

Window exhibits are available for viewing 24 hours a day.

The show “Strawberry Fields” will open June 15.

Call 207-348-2330, email, or go to for more information.

Dowling Walsh May Exhibits

Jamie Wyeth, Portrait of a Moon Curser – Fifteenth in a Suite of Untoward Occurrences on Monhegan Island, 2021, Acrylic, gesso, and oil on canvas, 30″ x 48″

Dowling Walsh invites the public to an opening reception Friday May 7 from 3 to 6.


MUD SEASON is a group exhibition featuring works by Jamie Wyeth, Ann Craven, Reggie Burrows Hodges, Lois Dodd, Daniel Minter, Stephen Pace (1918-2010), Marsden Hartley (1877-1943), Fairfield Porter (1907-1975), and David Driskell (1931-2020)


Aaron T Stephan, Simple Twist of Fate, 2020, Sand, cement, dye, 60″ x 60″ x 120″

Joan Losee’s Farms and Landscapes at Local Color Gallery

Skunk Cabbage by Joan Losee, oil on linen, 20×24

Camden artist Joan Losee will be the Guest Artist this May at Local Color Gallery in Belfast. Her work the past two years has been focused on the farms and landscapes of inland Maine. The experience of visiting these locations and putting them into oil paintings has broadened her knowledge of Maine and beauty found in unexpected places. 

Most of Losee’s work is about ordinary subjects but her approach brings out extraordinary emotion and presence showing that they’re not ordinary after all. She has over 40 years of training in watercolor, egg tempera, pastel, and oil. Her belief is you have to master the rules before you can break them. Keeping that in mind she continues to take workshops while constantly striving to increase her proficiency and maintain a freshness in her artistic expression.

Local Color Gallery is located at 135 High Street in Belfast, open Tuesday-Sunday 11-4, for details visit

Open call for Mount Desert Island Open

Painting by Rick Osann of Bar Harbor.

Calling all artists to submit work for this year’s Mount Desert Island Open.

Be part of a non-juried art exposition in its 21st consecutive year at Shaw Jewelry in Northeast Harbor.

All artists are invited to participate.

Criteria for inclusion: a close association with Mount Desert Island and an item you would like to share with the community. Paintings, prints, sculpture, photography and un-categorized pieces are all welcomed.

To participate, email or call 207-276-5000. This is first come, first served, with room for about 40 participants.

Professional or amateur, novice or trained, this is always a varied and surprising collection.

The event will open May 27, and artwork will be up until June 17.

Dowling Walsh Gallery hosts exhibitions + book release in May

“Untitled Victory,” by Aaron T Stephan.


During May, Dowling Walsh Gallery will host a solo exhibition by Aaron T Stephan; a window installation and book release of “Blue Violets,” by Cig Harvey; and a group exhibition titled “Mud Season.”

“Aaron T Stephan: Untitled Monuments” runs May 7 to 29. Stephan is an artist living and working in Portland. His work presents a wry look at the world around him, focusing on a complex web of information carried by everyday materials and objects.

This exhibit arises from the complexities of public monuments and their ability to reproduce deeper structural problems. This has been seen during the past year not only in the toppling of long-standing monuments but also through the ways in which the pandemic aggravated deeper cultural divides.

Cyanotypes are the original medium for making blueprints, an object that represents the span between a plan and an actuality. Monuments are also physical representations of a set of ideals, in the same way that blueprints stand as an idealized design of a real object.

In “Untitled Monuments,” the translation of the monument to paper suggests a speculative process of questioning that is more flexible, less permanent, and more grounded in personal experience than the top-down narratives received from systems of authority.

Stephan’s large sculpture, “Simple Twist of Fate,” shows a singular, gestural movement that changes the entire building structure of a unit, exploring simple methods of change and influence.

“Black Petunias,” by Cig Harvey.

Cig Harvey’s window installation will be shown from May 1 to 29. Harvey is an artist whose practice seeks to find the magical in the everyday. Rich in implied narrative, Harvey’s work is deeply rooted in the natural environment and offers explorations of belonging and familial relationships.

In tandem with the release of Harvey’s book “Blue Violet,” the artist will present a window installation at Dowling Walsh during May, a sensory experience of live flowers, photographs and neon works.

“Blue Violet” is a vibrant meditation on the procession of seasons, sensory abundance and the magic of everyday life. Part art book, botanical guide, historical encyclopedia and poetry collection, “Blue Violet” is a compendium of beauty, color and the senses. Exploring the five senses, “Blue Violet” takes the reader on a personal journey through nature and the range of human emotions. Images and text in a variety of forms (prose poetry, recipes, lists, research pieces, diagrams) focus on immediate experience to understand the vibrancy of the senses on memory and feelings.

“Portrait of a Moon Curser — Fifteenth in a Suite of Untoward Occurrences on Monhegan Island,” by Jamie Wyeth.

The group show “Mud Season,” which runs May 7 to 29, presents works by Reggie Burrows Hodges, Jamie Wyeth, Ann Craven, Daniel Minter, Lois Dodd, David Driskell (1931- 2020), Marsden Hartley (1877-1943), Fairfield Porter (1907-1975) and Stephen Pace (1918-2010).

These works are examples from artists who have and are working deliberately to present to us new vantage points of scenes we thought we already knew.

Dowling Walsh Gallery is at 365 Main St. in Rockland. The gallery is open from 10 a.m. to 5 p.m. Tuesday through Saturday and by appointment on Sundays and Mondays. Visit, or call 207-596-0084 for more information.

Online Art Auction will benefit the Maine Art Gallery


The Maine Art Gallery in Wiscasset has gathered a number of noteworthy, yet affordable, works of art for an online auction that is open for bidding from May 1 to June 15. The pieces, donated by artists and collectors, offer the buyer an opportunity to obtain fine art while helping to support the nonprofit gallery.

The art can be viewed online prior to the opening of the auction at The pieces will be available for in-person viewing at the gallery from 11 a.m. to 4 p.m. May 7 and 8.

This iconic Maine scene, an acrylic on paper by Jane Dahmen, is among the works of art in the Maine Art Gallery online auction.

Once bidders register for the auction, they will find pieces from well-known artists, such as Howard Chandler Christy, John Lorence, and Jane Dahmen, as well as a number of artists with a strong connection to Maine.

The Maine Art Gallery is a nonprofit organization dedicated to the advancement and preservation of painting, sculpture and graphic arts through exhibitions, lectures, demonstrations, and educational programs for children and adults. The gallery is located at 15 Warren St., Wiscasset. Visit for details.