Archive for openings

Artemis Gallery: Work by Christopher O’Connor bridges the digital divide to the natural world

“River Reflections No.1,” by Christopher O’Connor.

Artemis Gallery will present Christopher O’Connor’s “River Reflection” series as part of its fall show, which includes other gallery artists.

O’Connor is a native of Ireland, born in the colorful town of Dingle in County Kerry. His work and life are mirroring in their examination and curiosity of the world.

His work focuses primarily on the natural world and the elements which inhabit it. His work of late, being rendered from digital images as reference points, investigates the dimension of distortion by digitization. These dimensions being the invisible building blocks, or pixels which compile like drops of paint to represent the natural world in digital form. Our eyes are only capable of absorbing the 256 colors which our computer screens deliver, and our minds fill in the blanks, though we are not aware of it.

In paintings resembling those of the pointillist and impressionist artists, O’Connor captures moments which bridge the digital divide to the natural world.

The show opens Oct. 7 and runs through the month, with an opening reception from 4 to 6 p.m. Oct. 7.

Artemis Gallery is at 1 Old Firehouse Lane, Northeast Harbor. Call 207-276-3001 for more information.

‘Tim Greenway: Refined Resurgence’ on view at Cove Street Arts

Work by Tim Greenway.

“Refined Resurgence” explores progress and beauty in the context of two photography series, South Portland’s petroleum tanks and the expanding cityscape of the Portland peninsula over the past two years. With these photographs, my hope is to provide a new creative way to view these familiar mundane environments that many consider eyesores. Perhaps to provoke the viewer to see beauty and art in their own lives and environment. — Tim Greenway

“Tim Greenway: Refined Resurgence,” curated by Bruce Brown, is on exhibit at Cove Street Arts from Oct. 14 through Dec. 11, 2021. An opening reception will be held from 5 to 7 p.m. Oct. 14.

Cove Street Arts is a multi-media space that celebrates Maine’s storied and out-sized place in American art history by promoting contemporary Maine art, contributing to the Maine arts economy and engaging in the vibrant and growing East Bayside community by offering workshops and art-centered educational opportunities. Learn more at CoveStreetArts.com.

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

Dowling Walsh Gallery presents four new exhibits in October

“Magic,” by Tollef Runquist.

Dowling Walsh Gallery will host four exhibitions in October. The opening reception for all shows will be held from 4 to 7 p.m. Oct. 1 behind the gallery. Masks are required at all times inside the gallery.

“Sunflowers,” by Joyce Tenneson.

Joyce Tenneson: “Radiant Beings”

Oct. 1 to 30

Haunting, ethereal, mystical — all of these words describe the photographic style of Joyce Tenneson. Her photos command a complex and intense emotional response from the viewer, which has made Tenneson one of the leading photographers of her generation.

Vicki Goldberg, critic and author, writes of Tenneson: “Tenneson possesses a unique vision which makes her photographs immediately recognizable.” Her work has appeared on covers for magazines such as Time, Life, Newsweek, Premiere, Esquire and The New York Times Magazine.

Tenneson is also the author of 17 books, including the best-seller “Wise Women.” “Radiant Beings: The Magical Essence of Flowers” is the third in a trilogy of books on the life cycle of flowers.            

“In Chinese philosophy, a garden is a space for understanding truths that lie beyond ordinary perception,” Joyce Tenneson explains. “When the COVID pandemic hit, I brought the garden inside, surrounding myself in my studio with a cacophony of flowers and vines, keeping them for long periods to interact with, and to observe their life cycles. The photographs in this series are records of the interactions I had with my flower subjects, the Radiant Beings, in my indoor garden. In this new series I decided to take risks. I experimented with longer exposures on my camera, giving more space to the unknown, and to serendipity. Like my human subjects before, I wanted to allow these radiant beings to connect with me magically. As these images emerged in the last 18 months, I was surprised and inspired by what I discovered.”

“Gökotta,” by Erik Weisenburger.

Erik Weisenburger: “Gökotta”

Oct. 1 to 30

Gökotta is a Swedish concept, without direct translation, referring to the act of rising at dawn to go outside and listen to birds singing. This poetic image corresponds in title to one of the paintings in the show but more broadly encompasses the allure and whimsy of this painter’s work.

Portland-based artist Erik Weisenburger paints luminous landscapes, rich with detail. His meticulous brushwork and ability to convey glowing light is reminiscent of early Northern European paintings. Weisenburger’s compositions repeat natural patterns — blades of grass, ladders of tree branches, clumps of moss — and have a satisfying balance. The density of detail makes his paintings feel precious and treasured, pulling the viewer in to study each piece of the panel. Weisenburger’s work is often narrative or allegorical, with symbolic overtones referential of outsider folk art.

He studied at the Parsons School of Design in Paris and received his BFA in sculpture from the Art Institute of Chicago in 1992 and his MFA from the University of Wisconsin-Madison. He spent many years working in Chicago before moving to Maine in 2005.

Tollef Runquist: “Inner Alchemy”

Sept. 3 to Oct. 30

Tollef Runquist’s exhibition, “Inner Alchemy,” presents new works from his continued exploration of fantastical landscapes, the terrain of the psyche and the actuality of everyday life. They are paintings of inquiry and affirmation, loose forms of self-prompt and examination of maker and viewer. They combine imaginary objects, human figures and the archetypal to create enigmatic worlds. Recurrent imagery of daily objects — fruit, hands, plants — ground the paintings and create a unique, symbolic language. 

Runquist received his BA in studio art from Dickinson College in 2002. Since then, he has continued his education through painting and other mediums. He lives and works in Searsport.

Work by Wood Gaver.

Wood Gaylor (1883-1957)

Aug. 21 to Oct. 31

Dowling Walsh Gallery is pleased to present an exhibition of works by Wood Gaylor. This exhibition coincides with “Art’s Ball: Wood Gaylor & American Modernism, 1913-1936,” on view at the Ogunquit Museum of American Art through Oct. 31.

Gaylor was born in Stamford, Connecticut in 1883. During the 1920s, Gaylor spent summers at the Ogunquit Art Colony, where he met and worked alongside artists including Yasuo Kuniyoshi and Marguerite and William Zorach. 

Gaylor was experimental in his early etchings and carvings, and the influence of Gauguin, Matisse, Davies and Laurent is palpable. Well-trained and completely immersed in modernist artistic styles, however, Gaylor’s mature style is uniquely his own. Flat areas of blocked color, and crowded scenes recording events and moments he witnessed, are hallmarks of his work.

Works by Gaylor are in the public collections of many major art museums, including the Whitney Museum of Art (New York), the Smithsonian American Art Museum (Washington, D.C.), and the Portland Museum of Art (Maine).

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 www.dowlingwalsh.com, or call 207-596-0084 for more information.

Celebrate CMCA’s fall exhibitions

“Emily in the River,” by Cig Harvey.

The Center for Maine Contemporary Art (CMCA) in Rockland invites the public to celebrate its fall exhibitions with a reception for the artists from 4 to 6 p.m. Oct. 2.

On view throughout the galleries are solo exhibitions by Ryan Adams and Hiraki Sawa and the thematic group exhibitions “Spatial Relations” and “Into Action.” The event will include an informal gallery talk by all three “Spatial Relations” artists: Elizabeth Atterbury, Gordon Hall and Anna Hepler. The event is free and open to the public.

“This is Black Art,” by Ryan Adams.

NEW EXHIBITIONS AT CMCA

Ryan Adams | “Lessons” :: Oct. 1 to Jan. 9

The focal point of Adams’ solo exhibition is a 33-foot-long mural titled “Switch the Code.” The title refers to the practice of code-switching, where individuals purposefully change their speech, behavior and/or appearance to be seen outside of stereotypical assumptions and accepted within a majority culture. The mural is accompanied by a series of recent paintings.

“Absent,” by Hiraki Sawa.

“Into Action” :: Oct. 1 to Jan. 9

“Into Action” features photographic works set in nature that document actions as they naturally occurred, actions as they were performed for the camera,  interactions created in post-production, or propose actions to be taken by viewers. The exhibition features works by Jennifer Calivas, Mark Dorf, Ray Ewing, Cig Harvey, Julie Poitros Santos and Shoshanna White.

“Negative Space Box,” by Gordon Hall,

“Spatial Relations” :: Oct. 1 to Jan. 9

The exhibition brings together a broad range of sculptures by Elizabeth Atterbury, Gordon Hall and Anna Hepler that were created to rest directly on the floor or lean on or hang from the walls. All three artists create works with strong contours and a visibly direct use of materials, including wood, ceramic, metal, concrete, cardboard and paper. In addition, each employs color as an embellishment, ranging from paint and pigment to colored pencil and stain.

Hiraki Sawa | “Absent” :: Oct. 1 to Jan. 9

Hiraki Sawa’s most recent single channel video, “Absent” (2018), presents scenes from an intimate and imaginative world, populated by surreal creatures that travel between grand and intimate landscapes. Sawa’s landscapes rest majestically within his circular projection, while his creatures (i.e., a walking tea kettle, a dancing cup, a flying spoon) emerge from the periphery, building a sense of anticipation for their arrival as the video progresses.

CMCA is located at 21 Winter St., Rockland. Summer hours are in effect through Oct. 31: 10 a.m. to 5 p.m. Monday through Saturday and noon to 5 p.m. Sunday. For more information, go to https://cmcanow.org.

New paintings by Alan Bray at Caldbeck Gallery

“Larch,” by Alan Bray.

New paintings by Alan Bray are on view at Caldbeck Gallery from Sept. 18 to Oct. 30. An opening reception will be held from 5 to 7 p.m. Oct. 1.

In the artist’s own words:

It is among the intricate structures of phenomena that I look for an innate order of things. It is the branching pattern of trees, the drifting of snow, the meanders of flowing water, the swaying of grass in the wind, or the conjoining of ripples on the surface of a pond that imparts to a place and a time it’s particularity. To become a vital part of that particularity is to achieve familiarity, an intimacy and affection that serves to reorder the experience of a place. When I slow down and give myself up to a place or a phenomena it is to try and forget what I think I know and enter into a fresh state where all incidental details are eliminated and what appears to be chaos is organized into pattern

Caldbeck Gallery is at 12 Elm St., Rockland. Current gallery hours are noon to 4 p.m. Tuesday through Saturday and 1 to 4 p.m. Sunday. For more information, email caldbeck@midcoast.com, go to www.caldbeck.com, or call 207-594-5935.

‘All That Endures’ at Cynthia Winings Gallery

“Pollen Mountain” (acrylic and pollen on paper), by Ben Potter.

Cynthia Winings Gallery presents “All That Endures,” a group exhibition featuring work by Steve Bartlett, Louise Bourne, Avy Claire, Anna Dibble, Ingrid Ellison, Elizabeth Gourlay, David Hornung, Juliet Karelsen, M.P. Landis, Christine Lafuente, Heather Lyon, Buzz Masters, Bill Mayher, Tessa Greene O’Brien, Carol Pelletier, Ben Potter, Robin Reynolds, Jerry Rose, Lari Washburn, Patricia Wheeler, Cynthia Winings and Diane Bowie Zaitlin.

New work by Ingrid Ellison.

Sculpture by Ray Carbone, Melita Westerlund and John Wilkinson is featured in the garden.

The show is on view through Oct. 16. An opening reception was held on Sept. 26. All visitors are encouraged to wear masks indoors.

The last day of the gallery will be Oct. 16, and then everything will shift online.

Cynthia Winings Gallery is at 24 Parker Point Road, Blue Hill. Learn more at www.cynthiawiningsgallery.com, or call 917-204-4001.

Running with Scissors Hosts Opens Studios & 6×6 Exhibit

RE-OPENING after 18 months; Running with Scissors Hosts Opens Studios & 6×6 Exhibit, October 1 – 3, 2021

Wander fun and family-friendly open studios and 6×6 exhibits at Running with Scissors artist studios during Maine Craft Weekend (MCW) and First Friday Art Walk (FFAW). Kick off the weekend at Belleflower Brewing Co. (66 Cove Street) on Friday night from 5-7pm for an informal artist meet and greet and 6×6 exhibit. On Saturday and Sunday wander over 16,000 sq. ft. of private and open-air studios and communal workspaces in the clay, print, wood, and paint studios at 250 Anderson Street from 10am – 5pm and 10am – 3pm. Don’t forget your mask!

RWS artists are diverse in their mediums, artistic goals, backgrounds, ages and experiences. This rich mix of experienced to experimental artists creates a culture of sharing, support and cross-pollination of ideas and work. RWS artists often work in several mediums and are supported by access to a wide variety of equipment, tools and information that the studios provide. Bringing together resources and community, RWS’s goal is to help artists reach their independent creative goals. The 6×6 exhibits are a way to share these diverse styles and talents in a more accessible and unifying format (where all work is 6″ x 6″ and up to 6″ deep).

These events are a part of MCW, a statewide tour of Maine craft studios, businesses and events, and First Friday Art Walk (FFAW), a monthly self guided art studio, gallery and event tour held monthly at various locations around greater Portland. Running With Scissors is a proud 2021 Event Sponsor of MCW, which is produced by Maine Crafts Association. FFAW is put on by Creative Portland, the city’s arts agency.

Explore the life and work of craft artists and craft businesses during MCW! For more information visit mainecraftweekend.org and creativeportland.com and follow @rwsartstudios on Instagram.

Courthouse Gallery presents ‘Master Effect: Jon Imber and Linda Packard’ with an artist talk

“Three Ducks,” by Jon Imber.

Ellsworth Courthouse Gallery Fine Art will present “Master Effect: Jon Imber and Linda Packard,” an exhibition highlighting the continuum between master painter Jon Imber and one of his students Linda Packard, on view Sept. 15 through Oct. 15 at the gallery and online at www.courthousegallery.com.

In conjunction with the show, the gallery will host a Zoom talk from 5 to 6 p.m. Sept. 29. Jon Imber’s wife, Jill Hoy, will join Linda Packard and gallery director Karin Wilkes on Zoom to talk about the show and how Imber influenced Packard’s work. To register call 207-667-6611, or email info@courthousegallery.com.

“Master Effect” highlights the influence Imber had on Linda Packard, one of the gallery’s long-standing artists. Gallery owners Karin and Michael Wilkes are pleased to announce they will be representing the Jon Imber estate, and they have been working with Jill Hoy, Imber’s wife and his son, Gabe Imber.

The profound works of the masters are part of a continuum that have inspired developing artists for centuries. Imber studied with Philip Guston at Boston University, and he often cited Willem de Kooning as a strong influence. For Packard, influences include Cezanne and Matisse, the New York abstract expressionists, and Jon Imber. Packard had the privilege of working with Imber in Stonington for five years before he died. During this time, Packard worked from life, as did Imber, mostly plein air.

“Imber taught me an entirely new way of looking at nature and the landscape,” Packard says. “Painting from life became about responding to the experience of being at a place rather than recording the subject.” This approach changed Packard’s work forever, and she cites Imber as her most important influence.

Others have noticed the connection between Imber and Packard. In a recent Portland Magazine article (February/March 2021) about artists and their influences and mentors, art critic and historian Daniel Kany paired the late Maine painter Jon Imber (1950–2014) with contemporary painter Linda Packard. The article, “Fuel of Influence,” firmly establishes Packard as one of Imber’s protégés. Although the Imber influence is evident in Packard’s work, the translucent effect she achieves with paint is clearly her own.

“I think our strongest common denomination is that’s it’s all about the paint,” Packard says. “The paint drives the expression. Through Jon, I learned the joy of working with juicy paint, scraping and rubbing out, and welcoming the happy accident that sometimes redirects the work.”

As a result, Packard has since transitioned to a totally process-driven studio practice with a focus on abstraction. “As my work has evolved, subjective or abstracted, it’s the paint and how it can be used that interests me the most,” Packard says. “That’s Imber’s influence.”

Jon Imber (1950-2014) was best known for his plein-air landscape paintings. Although Imber found early success with figurative paintings, he experimented with different influences, styles and subject matter all his life. He transitioned from figures, to portraits, to large studio landscapes, then figures in landscapes and plein air landscapes, and finally landscapes on the edge of abstraction. Throughout these changes Imber maintained a unique style of gestural brush strokes and an intimate sense of knowing his subject that goes beyond observation. The former director of the Danforth Museum called him one of the most important painters of his generation and placed him in the lineage of Boston Expressionists.

Imber’s work has been included in many publications including Paintings of Maine: A New Selection by Carl Little, Boston Modern, Figurative Expressionism As Alternative Modernism by Judith Bookbinder, and 100 Boston Painters by Chawkey Frenn. Imber split his time between Stonington, Maine, and Somerville, Massachusetts, where he taught at Harvard for many years.

“Remembrance,” by Linda Packard.

Linda Packard is an abstract painter interested in pushing the physical properties of paint. Although she began her career by painting plein air, Packard’s current work is process driven. She enjoys experimenting with mark-making and textural tools, and exploring the play of opposites: warm/cool, thick/thin, transparent/opaque. While the majority of Packard’s work is now abstract, she still considers herself a landscape painter and often draws on remembered experiences in nature.

Packard holds a BA in studio art from Smith College. Her early work focused on printmaking and extended into book arts. Packard has been awarded several residencies, including the Great Spruce Head Island Art Week (2009), a Heliker-LaHotan Foundation fellowship (2015), and a month-long residency at Weir Farm in Wilton in Connecticut (2017). Packard has lived in Maine for more than thirty-five years, and she currently maintains a studio in downtown Bangor.

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

Cove St. Arts presents ‘Peregrine Press @ 30’

“Sectional,” by Chris Beneman.

Cove St. Arts presents “Peregrine Press @ 30,” Sept. 9 to Nov. 13.

This exhibition celebrates the 30th anniversary of Peregrine Press, a cooperative printmaking studio in Portland. The studio takes its name from the peregrine falcon, a totem representing visionary power, wisdom and guardianship.

The exhibition showcases work from over 30 members, demonstrating Peregrine’s fulfillment of its mission to celebrate the art of printmaking as an innovative, dynamic and evolving art form.

Peregrine Press dedicates this exhibition to longtime member Phil Stevens, who died suddenly in August. A dear friend to the press, Stevens served as its treasurer for decades. His work is included in the exhibition.

“Creation,” by Richard Wilson.

Featured artists also include Judith Allen-Efstathiou, Susan Amons, Chris Beneman, Mary Brennan, Jessyca Broekman, Sissy Buck, Blue Butterfield, Stephen Burt, Kate Cheney Chappell, John Costello, Blair Folts, Anne Garland, Jeanne O’toole Hayman, Alison Hildreth, Kate Katomski, Robin McCarthy, Larinda Meade, Zachary Pike, Sandra Quinn, Jenny Scheu, Debbie Schmitt, Judy Schneider, Delphine Sherin, Alice Spencer, James Sylvester, Andrea van Voorst van Beest, Richard Wilson, Sui Witherell and Jeff Woodbury.

Learn more about Peregrine Press at www.peregrinepress.com.

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

Maine artists show work at Ridge Works Studio

Ridge Works Studio will exhibit work by six Maine artists in the show “Artists 6: BREAK/OUT.”

The show will be open from 4 to 7 p.m. Sept. 24 and 10 a.m. to 4 p.m. Sept. 25 with free admission and refreshments.

Artists include Marjorie Arnett, JoAnne Houlsen, Janake Howard, Deborah Jellison, Lauren Jellison and John LeBlanc.

Ridge Works Studio is at 37 Sandy Ridge Lane, Searsport.