2018 Second Look

2018 second look

CENTER FOR MAINE CONTEMPORARY ART

Artists | 2018 Freedom Baird Tad Beck John Bisbee Richard Blanco Mattina Blue Patricia Brace Jackie Brown Tom Burckhardt Stephanie Cardon Amy Stacey Curtis Alicia Eggert Adam Ekberg Donna Festa Alan Fishman Tom Flanagan Carolina González Valencia Julie K. Gray Sarah Haskell Willoughby Lucas Hastings Dylan Hausthor Ethan Hayes-Chute Anna Hepler Jacob Hessler Hilary Irons Samantha Jones Katie Kehoe Lisa Kellner Eleanor Kipping Seth Koen Baxter Koziol Adam Lampton Siglinde Langholz Jocelyn Lee Alex Lukas LumenARRT! Heather Lyon Dafna Maimon Shanna Merola Jonathan Mess K. Min John Moore Christopher Myers | For Freedoms Elaine K. Ng Ashley Normal Sean Patrick O’Brien Isabelle O’Donnell Loretta Park Gelah Penn Julie Poitras Santos Ben Potter Jesse Potts Probably Joel Daniel Quintanilla Shannon Rankin Alison Rector Becky Jane Rosen KJ Shows Rachel Sieben Gina Siepel Anneli Skaar Suzy Spence Emilie Stark-Menneg Aaron T Stephan Sal Taylor Kydd Tectonic Industries Ian Trask TUG Collective Kathy Weinberg Michael Winkler Erin Woodbrey

table of contents.

Director’s Message

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Exhibitions

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Artist Projects & Programs

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In the News

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director’s message.

“Art to change the world.” —CMCA visitor Each year CMCA presents a dynamic schedule of changing exhibitions and programs that influence and inspire our diverse community. The art and artists we exhibit help redefine what art is and can be. Ours is a living history, a perpetual canvas.

We are grateful to the artists of Maine for the opportunity to share their widely diverse, engaging art with our audience. Their art speaks across cultures, politics and generations, inviting new ways of looking and thinking about the world. Our work with artists and our arts education programs spark conversations about art’s role in contemporary society—fostering stronger communities and contributing to a more vibrant future for all.

Thank you to our members, donors, volunteers and supporters for making possible all that we do. As we Look Forward to 2019, I invite you to take a second look at what we accomplished together in 2018.

In gratitude,

Suzette McAvoy Executive Director & Chief Curator

Exhibitions

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“You begin with the possibilities of the material.”

Robert Rauschenberg

T H E M AT T E R O F M AT T E R November 11, 2017 - February 11, 2018 Jackie Brown ∙ Stephanie Cardon ∙ Lisa Kellner ∙ Adam Lampton ∙ Jonathan Mess ∙ Loretta Park Gelah Penn ∙ Ben Potter ∙ Shannon Rankin ∙ Emilie Stark-Menneg ∙ Aaron T Stephan ∙ Ian Trask

The question of how and why an artist uses materials has long been a topic of consideration in art history. Today, many artists are looking to this question and seeking to find a balance between what they use to make work and the concepts behind them. Providing agency to the materials themselves, artists are looking at materials as a means of communication, whether they are

expanding on traditional media and narratives or utilizing everyday objects to construct new forms. Exploring these concerns in their work, the artists included in the exhibition, all with ties to Maine, are also considering why they choose to work with certain matter in our current material culture and social climate, and the role that these materials play within it.

Exhibition Sponsor 250 Main Hotel Media Sponsor Maine Public

“It’s amazing to see what people are doing with material here in Maine. They are really pushing the materials they are using and what can be done with them.”

Bethany Engstrom Associate Curator, CMCA

BOUNDARIES Richard Blanco + Jacob Hessler February 17, 2018 - May 27, 2018 “Our nation’s original motto: e pluribus unum (out of many, one) is charged with the utopian ideal that no single narrative is more important than another, and that America could and ought to someday be a nation where all narratives converge into one. In other words, a place where boundaries dissolve.”

Richard Blanco

Boundaries is a collaborative project between Presidential Inaugural Poet Richard Blanco and contemporary landscape photographer Jacob Bond Hessler.

Blanco’s poems and Hessler’s photographs together investigate the visible and invisible boundaries of race, gender, class, and ethnicity, among many others; they challenge the physical, imagined, and psychological dividing lines—both historic and current—that shadow America and perpetuate an us-vs.-them mindset by inciting irrational fears, hate, and prejudice. In contrast to the current narrowing definition of an America 8

with very clear-cut boundaries, Blanco and Hessler cross and erase borders. As artists, they tear down barriers to understanding by pushing boundaries and exposing them for what they truly are—fabrications for the sake of manifesting power and oppression pitted against our hopes of indeed becoming a boundary-less nation in a boundary-less world.

Resonance John Moore

March 3, 2018 - June 17, 2018

John Moore’s evocative, beautifully rendered composite images have garnered him a wide circle of ardent admirers, including poet and critic Vincent Katz, who, in 2013, composed a series of five poems in response to Moore’s paintings, one of which, Frankford Station, is included in the exhibition catalog. In the catalog essay, Christopher B. Crosman, writes, “Moore’s montage sensibility takes painting back to its post-medieval roots and then slowly, smoothly, smartly, almost imperceptibly, imposes a contemporary pictorial logic of being in an unfixed present while simultaneously existing in several places, times, moods, or even styles, all at once. Only painting can do that. And Moore…quietly, clearly, inexorably makes us aware of this simple fact.”

Completed primarily in the artist’s Belfast, Maine, studio in the past decade, the paintings are derived from drawings, on-site visits, sketchbook notations, photographs, and other source material.

Moore’s Midwest origins, and the remembered working class culture of his upbringing affect the choices that inspire these works, which are marked by personal experience and by the “weathered weight of time.” They range from a mill town in eastern Pennsylvania and a manufacturing site in Philadelphia, to urbanized locations from Bangor to Belfast in midcoast Maine.

The works are all studio constructions that represent what Wallace Stevens refers to as “the incessant conjunction between things as they are and things imagined.” The paintings are mainly composites rather than accurate depictions of actual places and are put together in a way that is intended to appear seamless. Some of them are close to the appearance of a specific site; some depart considerably. Everything in them is real however, or should have been real, or could be real. “That’s the only rule,” says the artist, “it could be real.”

Portrait of an Artist KJ Shows March 3, 2018 - June 3, 2018

“With shoes there’s no judgement. It’s not like painting someone’s face. There’s a lot of personality in them. It’s amazing, if you really get into it, because that’s our connection to the Earth, through our feet. Whatever you’re walking through or whatever you’re experiencing is being imprinted into them, that’s the way I feel about it.”

KJ Shows

In 2008, KJ Shows began working on a series of oil paintings paying homage to a variety of contemporary artists worldwide. Connecting with them personally by mail, Shows asks each artist for a pair of shoes that they feel best represents them. She then creates paintings that are unconventional and non-judgmental portraits.

With continued positive response from participants, the series has come to include the shoes themselves along with a growing collection of ephemera, correspondence, and photos. To date, Shows has painted over 100 shoe portraits of both world renowned and obscure artists, including Jamie Wyeth, John Baldessari, Ed Ruscha, Jenny Holzer, William Wegman, Judy Chicago, and Annie Sprinkle‌and the list keeps growing.

American Steel

June 30, 2018 - October 14, 2018

John Bisbee

John Bisbee’s work in American Steel draws on a deep well of American historical and vernacular imagery.

Constructed entirely from nails, by hand, his sculptures are made in a spirit of solidarity with workers of all kinds; each nail expresses the idea of things joined together. The work in American Steel also has a critical edge. For the first time, Bisbee uses poetic language, narrative imagery and potent emblems to express his concern with our country’s direction. American Steel is thus a statement on current affairs. In his own words, an “abstraction of who we are, right now.”

In the catalog essay accompanying the exhibition, Glenn Adamson writes: “We hear a lot these days about the decline of American manufacture. Communities in the so-called ‘rust belt’ are struggling to cope with the rise of robotics, outsourcing to factories abroad, and an overall shift to the digital sector. This upheaval has taken generations to unfold. But it’s now upon us, and is taking a toll in our economy, our politics, and on families across the USA. It is against this backdrop that John Bisbee crafts his sculpture.

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“With American Steel, Bisbee has brought a new voice to his art... Excuse the pun: Bisbee has nailed it.”

Carl Little, Hyperallergic

Major Sponsor | Roxanne Quimby Foundation Sponsors | Cold Mountain Builders, John & Linda Coleman, Lucas Kaempfer Foundation, James & Lisa Mooney, Robert & Elizabeth Nanovic, David E. Shaw Family Foundation

Studio Flood Tom Burckhardt June 9, 2018 - October 7, 2018

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Studio Flood is a life-size, walk-in installation executed entirely in cardboard and black paint, and centered on the image of an artist’s studio that has experienced a catastrophic flood. Here the floor plane, now an extended surface of water, appears above our heads. One’s world is turned upside down, both figuratively and literally. In the floodwater, black monochrome canvases—emblems of intellect, will, and discipline—are floating and have been wrenched from their creators’ control and set adrift.

Imagine an artist who insists on separating his paintings from the “real” world only to find that world crashing in anyway. With coastal communities around the world vulnerable to rising seas and flooding, Burckhardt says, “Like most of us, I am concerned about these unsettling ecological prospects, but what concerns me most directly is reality’s clash with human creativity. Rather than address this in the macro-political sense, I find an individual’s experience can be a stronger narrative.”

“By finding ways to foreground his conflicts about painting, while also expanding its definition, Burckhardt has become one of the most interesting artists of his generation.�

John Yau, Art Critic

Jocelyn Lee The Appearance of Things June 16, 2018 - October 14, 2018

Visible and mobile, my body is a thing among things; it is caught in the fabric of the world, and its cohesion is that of a thing.

But because it moves itself and sees, it holds things in a circle around itself.

Things are an annex or a prolongation of itself; they are incrusted into its flesh, they are part of its full definition ... the world is made of the same stuff as the body. ~Maurice Merleau Ponty Eye and Mind

“The world enters our body via sensual portals: eyes, nose, ears, skin and nervous system, it is then translated by our brains into meaning and experience.”

Jocelyn Lee

The Appearance of Things attempts to access this tactile and optical experience and explores how we are enmeshed in an embodied and ephemeral world. All life, including our human form and being, passes through stages of birth, blossoming, and death.

Life occupies environments—it makes itself at home, and enacts an arc of existence on this stage, be it a pond, a forest, or a suburban home. Each image strives to celebrate a multitude of sensual bodies: animals, plants, and human beings. In many ways, the photographs are cabinets of wonder, echoing nineteenth century natural science’s fascination with the diversity of life.

The Appearance of Things represents nearly 10 years of work

by Lee, and encompasses still life, portrait, and landscape photographs, as well as many images that fuse these genres. This mingling is partly what the work is about: creating a shift in perspective where a body (portrait) becomes a landscape; a still life becomes a portrait; and a landscape becomes a body.

Printed at large scale, the photographs beckon the viewer to a cinematic immersion in the image. The installation of the work as triptychs and diptychs juxtaposes various bodies in divergent earthly environments and shifts scale significantly across the images.

The works are meant to engage the body of the viewer and become galaxies of their own through the use of space and the dilation and contraction of scale.

Freedom Baird ∙ Tad Beck ∙ Mattina Blue ∙ Amy Stacey Curtis ∙ Alicia Eggert ∙ Adam Ekberg Donna Festa ∙ Alan Fishman ∙ Tom Flanagan ∙ Carolina González Valencia​∙ Julie K. Gray Sarah Haskell ∙ Willoughby Lucas Hastings ∙ Dylan Hausthor ∙ Ethan Hayes-Chute ∙ Anna Hepler Hilary Irons ∙ Samantha Jones ∙ Eleanor Kipping ∙ Seth Koen ∙ Baxter Koziol ∙ Siglinde Langholz Alex Lukas ∙ LumenARRT! ∙ Shanna Merola ∙ K. Min ∙ Elaine K. Ng ∙ Ashley Normal Isabelle O’Donnell ∙ Julie Poitras Santos ∙ Jesse Potts ∙ Probably Joel ∙ Alison Rector Becky Jane Rosen ∙ Rachel Sieben ∙ Gina Siepel ∙ Anneli Skaar ∙ Suzy Spence Tectonic Industries ∙ TUG Collective ∙ Kathy Weinberg ∙ Michael Winkler ∙ Erin Woodbrey

November 3, 2018 - March 3, 2019

2018 BIENNIAL 25

Taking place in the fall of even-numbered years, the CMCA Biennial is an open, statewide juried exhibition featuring work in all mediums produced in the past two years. A snapshot of Maine’s vibrant contemporary art scene, the CMCA Biennial dates back to 1978 and is the longest-running juried competition in the state. This year’s iteration includes work by 43 artists representing 33 communities across Maine.

In reviewing the 659 submissions received, jurors Kate Green and Robin K. Williams remarked that the work “evidenced the breadth of contemporary practices flourishing across the state, while also reflecting elements that make Maine unique: the sea, the wilderness, craft.”

Jurors Kate Green, Guest Director, Marfa Contemporary Robin K. Williams, Ford Curatorial Fellow, Museum of Contemporary Art Detroit Sponsor First National Bank

screen

an ongoing series featuring current video work by artists with a connection to Maine

Heather Lyon MILK, ROLL, WRAP

September 25, 2017 - February 14, 2018

A sculptor who works with unlikely materials ranging from rebar to sequins to milk, Heather Lyon’s most recent work includes task-based performance videos that question interpersonal relationships and the ways we negotiate longing, loss, desire, power and vulnerability.

MILK, 2017 was created during a residency at Pinea Linea de Costa in the southern coastal town of Rota, Spain. Lyon is seated in a tower once belonging to a nunnery that was the only built structure remaining after a Tsunami devastated the town in the 1700s.

The tower symbolizes what endures in the face of disaster. Lyon’s performance is transformative visually, psychologically and emotionally as she slowly and with great concentration pours milk over her head, bathing her face, hair and garment in this metaphorically nourishing, wholesome and pure material. Her performance is an attempt to connect with the eternal, to sustain and transcend.

ROLL, 2017 and WRAP, 2017 are performative videos in which Lyon wraps her body in electric blue felt and a chain of teal blue sequins. The act of wrapping is one of the repetitive tasks Lyon uses in her object making. Wrapping or binding holds together different elements or parts, revealing form through process as it softens edges and conceals. It is a gathering together, both literal and metaphoric, at once protective and restrictive. Lyon applies this action to her own body, making visible the process and the transformative relationship between body and material.

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Using the physical structure of CMCA and MASS MoCA as starting points, Adam Lampton is interested in how the specific architecture of these museums relates to the geography around them.

Adam Lampton Museums

February 15, 2018 - June 3, 2018

In both of the short videos presented in Screen, he suggests alternate lives for these spaces.

In CMCA in Three Alternative Landscapes (2017), Lampton questions how the landscape influences one’s understanding of the museum.

Is there anything that is supremely important to the mission of the museum in being a building in Rockland, Maine?

In Give Me a Place to Stand (2016), he wonders how the history of North Adams frames one’s experience of MASS MoCA. In both pieces, he approaches the making of the video as a still photograph over time—not so much interested in a cinematic approach to storytelling, but a visual approach that allows for a slow unfolding of the image.

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Patricia Brace B. R. A. C. E. | MASS MoCA

June 4, 2018 - October 28, 2018

B. R. A. C. E. | MASS MoCA (2018) documents an obstacle course / performance / installation created by artist Patricia Brace while in a residency at MASS MoCA in 2018. The video features Brace, with artists Vered Snear, Danielle Andress, Chris Williford, Elisabeth Smolarz, and Hyo Jin Yoo, performing within an immersive, hardedge, abstract, red, green, and blue environment.

Wearing corresponding red, green, and blue B. R. A. C. E. costumes, in each act, performers activate the space with collaborative and improvisational feminist sketches.

Bifurcated Radical Anarchist Cultural Enterprise or B. R. A. C. E. is a performance group of 1-5 women and LGBTQIA performers established by artist Patricia Brace in 2016. Since then B. R. A. C. E. has performed at Rutgers University, IF Museum Academy, Tête Berlin and MASS MoCA. Using hybridized forms of athletics, dance, product design, and analogue and digital technologies, B. R. A. C. E. seeks to expose and ratify injustices that women and LGBQTIA identifying people experience as a trickle down from governmental policies. When laws affect personal liberties and expressions of identity B. R. A. C. E. asks “what is truth in a political system that lies and how do we occupy that space?”

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Artist Projects & Programs 32

June 10, 2018

Katie Kehoe Provisions for Buoyancy Interdisciplinary artist Katie Kehoe conceived Provisions for Bouyancy as a series of performances/actions in which she wears a wetsuit and carries a body board while walking for extended periods through areas that would be flooded if the sea level were to rise by six feet. Between May 26–June 15, 2018, she performed at least once in each state and province situated along the east coast from Washington, D.C. to Halifax, Nova Scotia. The event at CMCA concluded Kehoe’s four-day residency in Rockland, Maine, where she participated in a roster of public events and engagements hosted by The Steel House, The Apprenticeshop, the Island Institute, and CMCA.

June 16, 2018

Dafna Maimon + Ethan Hayes-Chute Camp Solong Fun-Raising Camp Solong is an ongoing collaboration between artists Dafna Maimon (Porvoo, Finland) and Ethan HayesChute (Freeport, ME and Berlin, Germany). Founded in 2016, Camp Solong is a gesamtkunstwerk evolving around an absurdist, nomadic feminist summer camp for adults. The Camp’s third session took place in August 2018 on Orr’s Island, Maine. In June, at CMCA, the artists presented a participatory public performance that served jointly as a camper recruitment session.

“At Camp Solong, we have tailored a program which makes use of the potential condition of the Farewell,” says Maimon and Hayes-Chute. “Recognizing it as the most essential experience of not just Summer Camp, but existence at large, our summer camp program is stacked full with around-the-clock fun and relaxing activities and contemporary methods that simulate and prepare our campers for their inevitable and eventual departure from Camp. Through guided exercises and games, you will be given the chance to sift through the entire emotional range of the ‘goodbye – universe’ in all of its stinging colors.”

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July 24, 2018

Distinguished Lecture Lonnie G. Bunch III Founding Director, National Museum of African American History and Culture, Smithsonian Institution One of the nation’s leading figures in the museum community, Director Lonnie Bunch presented, The Challenge of Building a National Museum. Established in 2003 by an Act of Congress, the National Museum of African American History and Culture opened to the public on September 24, 2016. As the 19th member of the Smithsonian Institution, the NMAAHC attracted more than 2.1 million visitors in its first year of operation.

“What’s clear is that the museum has struck a nerve,” says Director Bunch. “It’s become an important symbol, an important metaphor, an important pilgrimage site.”

CMCA acknowledges Dr. David Driskell and Eddie and Sylvia Brown for their generous support and assistance in arranging Director Bunch’s visit to Maine.

“As a leading voice in the global cultural community, Director Bunch speaks to the important role of museums as catalysts for change and understanding in the 21st century.”

Suzette McAvoy Executive Director, CMCA

September 13, 2018 - October 14, 2018

For Freedoms Billboard Project For Freedoms is a national platform founded by artists Hank Willis Thomas and Eric Gottesman that uses art as a vehicle to build greater participation in American Democracy. Timed to coincide with the opening of the 2018 Camden International Film Festival, CMCA and For Freedoms presented a full-scale, temporary billboard installation by acclaimed artist and writer Christopher Myers in the CMCA community courtyard.

Entitled Every Refugee Boat is a Mayflower, Myers’s installation speaks to the growing international refugee crisis and current issues on migration. Based in New York City, Myers is an award-winning writer and illustrator of young-adult literature, whose artistic practice is equally rooted in his storytelling and interest in global affairs.

Since 2016, For Freedoms has produced exhibitions, town hall meetings, billboards and public art across the United States to spur greater participation in civic life. Inspired by American artist Norman Rockwell’s paintings of Franklin D. Roosevelt’s Four Freedoms (1941)—freedom of speech, freedom of worship, freedom from want, and freedom from fear— For Freedoms uses art to encourage and deepen public explorations of freedom in the 21st century.

This year, For Freedoms launched The 50 State Initiative, a new phase of programming running from September through December 2018. Centered on the vital work of artists, the exhibitions and related projects of The 50 State Initiative model how arts institutions can become civic forums for action and discussion of values, place, and patriotism.

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October 13, 2018

Making Migration Visible A Shared Space A Shared Space | Lewiston is a pop-up immersive 360° virtual reality experience by filmmaker Daniel Quintanilla in collaboration with Shuab Ahmed Mahat and Hilowle Aden, that invites all of us to ask questions about the physical and social spaces we inhabit and what we lose when we are out of contact with one another. A Shared Space tells the story of friends Hilowle and Shuab, who grew up in Dadaab, Kenya—the largest refugee camp in the world. Today, both men have started families and call Lewiston, Maine, home. Raising children in the country’s least diverse state in the wake of President Trump’s Muslim Ban and rising nationalist sentiments has created challenges neither expected.

A Shared Space was presented in conjunction with the exhibition and statewide collaboration Making Migration Visible: Traces, Tracks & Pathways, organized by the Institute for Contemporary Art at Maine College of Art, Portland, ME.

education ARTL AB F OR ALL AG E S January 6 February 3 March 3 April 7 May 5 June 2 July 7 August 4 September 1 October 6 November 3 December 1

A Matter of Shadows Draw With Your Head Portrait Of A Shoe Collage to Watercolor Walkie Talkie Toys Cardboard Constructions Clip, Clasp, Clamp!

Sun Print PhotoLab Inverted Worlds Cartooning and Character Design Finding Artistic Ancestors Curator for a Day

ARTL AB ARTCAM PS February 19-22 April 16-19 July 16-19 July 23-27

February ArtCamp | Draw Big, Write Large April ArtCamp | Zine Scene Summer ArtCamp | 3D Build Summer ArtCamp | Clay Works

ARTL AB OPE N STU D I OS November-February March-May June-October November-February

Materiality | Ian Trask Portrait of an Artist | KJ Shows Studio Flood | Tom Burckhardt 2018 Biennial | Thomas Flanagan

M OR E ARTLAB PR OG RAM S September 8 July 31-August 30 September 15-May 25

ArtLab @ Midcoast Mini Maker Faire Art Explorers; a partnership with Flanagan Community Center/Rockland Harbor YMCA Arts@Work; a partnership with RSU13 Adult & Community Education’s RASA program

LO O K I N S I D E Gallery education program for schools and organizations throughout the year.

ArtLab is supported in part by funding from Milton & Sally Avery Foundation, The Cricket Foundation, Morton-Kelly Charitable Trust, Nellie Leaman Taft Foundation, and individual donors.

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and more.

ART F OR U S January 7 January 13 January 21 January 28

What is Art? What is the Role of the Art World?

What is Artistic Beauty?

What is the Role of Art With the Humanities?

Presented by Roger Dell, in collaboration with the Farnsworth Art Museum S U N DAY SALON S February 4 February 18 April 15 April 22 April 29 May 6 May 20 December 2 December 16

Materiality IV | Jackie Brown + Jonathan Mess + Aaron T Stephan Boundaries | Richard Blanco + Jacob Bond Hessler This is a Portrait if I Say So | Anne Goodyear Artists in Conversation | John Moore + Sam Cady Young Voices on Boundaries | The Telling Room Resonance | John Moore + Christopher Crosman Sole of the Artist | KJ Shows + Nancy Kureth Who Do You Love? | Sarah Haskell + Baxter Koziol + Julie Poitras Santos + TUG Collective Who Do You Love? | Thomas Flanagan + Samantha Jones + Alison Rector + Kathy Weinberg

TU E S DAY TALK S March 20 July 17 August 21 September 25 November 13

Altered Spaces | EBF Residency | Bethany Engstrom Studio Flood | Tom Burckhardt The Appearance of Things | Jocelyn Lee + Edward Earle New Gallery Models in Maine | Grant Wahlquist + Tobias Czudej 2018 Biennial Artist | Elaine K. Ng

M OR E ARTI ST TALK S September 15 October 13

Studio Flood | Tom Burckhardt American Steel | John Bisbee Gallery Talk + Book Signing

AD U LT WOR K S H OPS May 12 June 16 August 2-5

Confronting Boundaries Poetry Workshop | Ellen Goldsmith Writing Near The Sea | Katherin Seitz | 26 Split Rock Cove Artist Book Intensive | Cynthia McGuirl, Abbie Read, Sandy Weisman | 26 Split Rock Cove

FI R ST FR I DAYS May 4 June 1 July 6 August 3 September 7 October 5

M OR E PR OG RAM S & EVE NTS Get Sticky Art Couch Performance by B. R. A. C. E. Live Music by Sundrop Live Music by Sam Kyzivat Hole History

February 14-28 June 29 July 10 July 18

Art You Love | Benefit Auction The Art Party | Annual Gala Artful Living Tour | Owls Head + St. George 2nd Annual Maine + Florida Reception

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in the 12/16/18 Nov/Dec 2018 11/4/18

Art Review: The 2018 CMCA Biennial is Good and Messy, Dan Kany, Portland Press Herald On The Road: Art Billboards Inspire Political Action, Molly Zapp, Art New England See a snapshot of Maine’s vibrant contemporary art scene at Rockland museum, Bob Keyes, Portland Press Herald

10/24/18

The Center for Maine Contemporary Art Celebrates Its 20th Biennial, Allison Paige, Decor Maine

10/15/18

Development projects taking shape in Rockland, Boothbay, Walpole, Renee Cordes, Mainebiz

10/15/18

‘All art is political’: behind America’s most ambitious public art project ever, Nadja Sayej, The Guardian

10/11/18

This fall’s standout shows in museums throughout the six-state region, Cate McQuaid, The Boston Globe

Oct 2018

Rockland Chronicle, Franklin Einsprunch, The New Criterion

Fall 2018

One and All | Collaboration as Dialogue, Bethany Engstrom, The Maine Arts Journal: The UMVA Quarterly

Fall 2018

The Appearance of Things: Jocelyn Lee Dreams a World of Women, Edgar Allen Beem, The Maine Arts Journal: The UMVA Quarterly

9/23/18

MECA Celebrates Migration, and Many Others Follow, Bob Keyes, Portland Press Herald

9/20/18

Jocelyn Lee: The Appearance of Things, Chloe, LOENKE Magazine

9/19/18

Does New England architecture have an identity, or is it defined by outside influences?, William Morgan, The Architect’s Newspaper

9/19/18

For Freedoms Billboard Project at CMCA, The Free Press

9/17/18

Rockland Travel Guide: Maine’s MidCoast & Islands, Ariel Viera, Urbanist

9/15/18

John Bisbee’s Fearless American Steel, Carl Little, Hyperallergic

Sep 2018

Route 1 Road Trip, The Rockland Renaissance, Down East Magazine

8/31/18

The Center for Maine Contemporary Art presents the exhibition ‘Jocelyn Lee: The Appearance of Things’, ArtDaily

8/27/18

Poutine, Country Fair & “The Appearance of Things” photo exhibit, Amy Paradysz, Maine Women Magazine

8/14/18

One Photographer Reflects on the Mysteries of the Human Body, Ellyn Kail, Feature Shoot

2018

Best of Maine 2018, Down East Magazine

Summer 2018

Making an Appearance: Jocelyn Lee at the Center for Maine Contemporary Art, Dylan Hausthor, The Chart - Vol. 3, No. 3

Jul/Aug 2018

Destination Coastal Maine, Debbie Kane, Art New England

7/25/18

Appearance of Things: life and death in Jocelyn Lee’s photography, Claudia Fuggetti, Collateral

7/24/18

Made in Maine – by YOU!, Erin Smith, The Sunrise Guide

7/23/18

Jocelyn Lee Captures The Appearance Of Things, Rosie Flanagan, iGNANT

7/23/18

Maine’s ‘designing women’ chip away at architecture’s glass ceiling, Renee Cordes, Mainebiz

7/23/18

A 70-year-old gift helped transform a gritty Maine city into an arts destination, Lauren Abbate, Bangor Daily News

7/20/18

The Ticket: What’s happening in the local arts world, Cate McQuaid, The Boston Globe

7/17/18

Jocelyn Lee, Jean Paul Gavard Perret, Carnet d’Art

7/17/18

Tuesday Night Talk Radio Club with Jocelyn Lee, Chris White, WMPG

7/15/18

Art review: Rockland exhibits are upside down, in the water and all over the place, Daniel Kany, Portland Press Herald

7/13/18

Sculptor John Bisbee is back with nails and a message, Rob Caldwell, News Center Maine

7/9/18

10 reasons you need to travel the Maine Art Museum Trail, Lois Alter Mark, USA Today

7/5/18

Maine’s Mini-Mecca: Contemporary on the Coast, Greg Morell, Artscope Magazine

news.

7/5/18

Bathing in Images: The Maine art season celebrates the cultural dominance of photography, Portland Phoenix

7/4/18

Jocelyn Lee: The Appearance of Thing, L’Œil de la Photographie

7/3/18

Nailed Down: John Bisbee’s New Work at the Center for Maine Contemporary Art, Lisa Cavanaugh, New England Living

7/1/18

June: Sailing into Summer, A Traveling Life

7/1/18

Sculptor John Bisbee adds message to metal, Bob Keyes, Portland Press Herald

Jul 2018

John Bisbee | American Steel, Maine Home + Design

6/29/18

Jocelyn Lee : The Appearance of Things, Lou Tsatsas, Fisheye Magazine

6/28/18

Best Photo Picks for Summer 2018, Elin Spring, What Will You Remember?

6/25/18

The Center for Maine Contemporary Art Presents American Steel, an Exhibition of Work by Sculptor John Bisbee, Hyperallergic

6/25/18

Jocelyn Lee: The Appearance of Things, Photograph Magazine

6/21/18

Center for Maine Contemporary Art presents life-size, walk-in installation by Tom Burckhardt, ArtDaily

6/18/18

Jocelyn Lee explores the cycle of life in photography exhibition in Rockland, Bob Keyes, MaineToday

6/15/18

Jocelyn Lee’s Painterly Portraits of Nudes Immersed in Nature, Rebecca Bengal, The New Yorker

6/15/18

The Ticket: What’s happening in the local arts world, Cate McQuaid, The Boston Globe

6/15/18

Art To See This Summer, Greg Cook, Wonderland

6/8/18

John Moore’s Fabricated Realities, Carl Little, Hyperallergic

6/5/18

Jocelyn Lee: The Appearance of Things at the Center for Maine Contemporary Art, Aline Smithson, Lens/cratch

Jun 2018

Art Spots, Brian Kevin, Down East Magazine

Jun 2018

John Moore: Looking Beyond, American Art Collector

5/27/18

Art review: John Moore’s paintings find crossroads of real, imagined, Daniel Kany, Portland Press Herald

5/25/18

Blanco live on WRFR, Village Soup

5/20/18

In ‘American Steel,’ politics finally penetrate the art of John Bisbee, Bob Keyes, Portland Press Herald

5/16/18

Architect Toshiko Mori on her work teaching and path to Harvard, The Harvard Gazette

5/14/18

Maine markets arts and culture in bid to entice visitors to look beyond lobsters and lighthouses, Mainebiz

5/11/18

Breaking Down Boundaries Through Poetry and Photography, Carl Little, Hyperallergic

5/9/18

John Bisbee hammers steel into dark truths, Isabelle Hallé, The Bowdoin Orient

5/3/18

Capsule Previews, Brian Goslow, Artscope Magazine

4/16/18

Best of Maine | 2018 Editors’ Choice Awards, New England Today, Travel

Apr 2018

Financing the Construction of Creative Economy, Leah B. Thibault, New England Museum Association

3/29/18

Art From Maine Combines Beauty and History for a Visual Feast, Mark Thompson, MetroSource

3/9/18

Gelah Penn’s Dynamic, #FollowerFriday, Peripheral Vision

2/28/18

Boundaries, Natalia Kapacinskas, Southwestern University

2/18/18

A poet and a photographer break down barriers to create ‘Boundaries’, Bob Keyes, Portland Press Herald

1/3/18 Jan 2018

Prepare + Present: Dr. Bethany Engstrom unwraps the importance of collaboration for individual and creative growth, CultureVOLT Main Stay, Rockland, Sandy Lang, Maine Magazine

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image credits.

Inside of front cover: Photo by Andrew Estey.

p. 22: Jocelyn Lee, The Cove, 2017, archival pigment print, 40 x 50 inches.

Courtesy of the artist.

p. 2: Photo by Carol Eisenberg. p. 7: Jacob Bond Hessler, Declaration of Interdependence, digital photograph on aluminum, 40 x 60 inches. Courtesy of the artist. p. 8: Jacob Bond Hessler, Complaint of the Rio Grande {for Aylin Barbieri}, 2017, digital photograph on aluminum, 40 x 60 inches. Courtesy of the artist. p. 9: (top to bottom) Jacob Bond Hessler, Cloud Anthem, 2017, digital photograph on aluminum, 40 x 60 inches; Dreaming a Wall, 2017, digital photograph on aluminum, 40 x 60 inches. Courtesy of the artist. p. 10: John Moore, Six O’clock in Mill Town, 2014, oil on canvas, 50 x 62 inches.

Courtesy of Hirschl & Adler. Photo by Kevin Johnson. p.11: (bottom left) John Moore, Turnstile, 2012, oil on canvas, 70 x 68 inches.

Courtesy of the artist. Photo by Will Brown. (bottom right) John Moore, Night Studio in Frankford, 2015, oil on canvas, 62 x 70 inches. Courtesy of Hirschl & Adler. Photo by Kevin Johnson. p. 12: John Moore, Sunday Morning Sunlight (detail), 2017, oil on canvas, 70 x 60 inches. Courtesy of the artist. Photo by Matt Wheeler. p. 13: KJ Shows in her studio. Photo by Gary Lowell, Chasing the Sun Creative Media. p. 15: (top to bottom, left to right) KJ Shows, Anna Hepler, 2016, oil on canvas, 20 x 20 inches; Frida Kahlo, 2016, oil on canvas, 24 x 20 inches; Alan Neider, 2017, oil on canvas 24 x 30 inches; Kim Bernard, 2012, oil on canvas, 24 x 24 inches. Photo by Gary Lowell, Chasing the Sun Creative Media. p. 16-18: Installation shots of John Bisbee’s American Steel. Photo by Andrew Estey.

p. 23: (top to bottom) Jocelyn Lee, Pearl Behind Glass, 2014, archival pigment print, 50 x 40 inches; Dark Matter #3 (Wedding Flowers), 2015, archival pigment print, 40 x 50 inches. Courtesy of the artist. p. 24: (top to bottom) Jocelyn Lee, Barberry and Joyce, 2016, archival pigment print, 40 x 50 inches; Raw, 2010, archival pigment print, 40 x 50 inches; White, 2015, archival pigment print, 50 x 40 inches. Courtesy of the artist. p. 29: (top to bottom, left to right) Heather Lyon, LINE, 2017, live performance, 2 hours; MILK, 2017, video, 10:05; ROLL, 2017, video, 4:01; WRAP, 2017, video, 9:17. Coutesy of the artist. p. 30: (top and bottom) Adam Lampton, CMCA in Three Alternative Landscapes, 2017, 3-part digital video with audio, 3:00; (middle) Give Me a Place to Stand, 2016, digital video with audio, 2:00. Courtesy of the artist. p. 31: (top to bottom) B. R. A. C. E., B. R. A. C. E. | MASS MoCA (Part II), 2018, video, 6:25; B. R. A. C. E. | MASS MoCA (Part I), 2018, video, 4:07. Courtesy of the artist. p. 33: Katie Kehoe in Washington, DC. Courtesy of the artist. p. 34: Camp Solong. Courtesy of the artists. p. 35: National Museum of African American History and Culture. Photo by Alan Karchmer. p. 37: Still from A Shared Space. Courtesy of the artist.

Back cover: Artist Freedom Baird viewing Tad Beck’s photographs in the 2018 Biennial Exhibition. Photo by Carol Eisenberg.

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