In the "Gauge" series, Greenleaf arranges trapezoids and triangles in intricate and resonant configurations of color and shape. For me these drawings' most compelling aspect are the points of contact between the individual geometric shapes, their length (one could almost say duration), angle, intrusion, or near misses. This is where energy is transferred and interaction becomes concrete, making the works incredibly intimate, almost vulnerable.

"Counterpoint III: Anne Neely and Tom Chapin" + "Samantha Appleton: Here from There" + "Intercept: New Works on Paper by Ken Greenleaf" | through September 22 | at the Center for Maine Contemporary Art, 162 Russell Ave, Rockport | 207.236.2875 |  cmcanow.org

< prev  1  |  2  | 
  Topics: Museum And Gallery , Center for Maine Contemporary Art, Ken Greenleaf, Tom Chapin,  More more >
| More


Most Popular
ARTICLES BY BRITTA KONAU
Share this entry with Delicious
  •   SUPERFICIAL SURREALISM  |  April 09, 2014
    For this show, the Museum’s already impressive holdings of surrealist and modernist photography are augmented by loans from galleries and major institutions.
  •   PHOTOGRAPHY IN MANY GUISES  |  March 14, 2014
    Bryan Graf's protean vision
  •   PIECING TOGETHER MEANING  |  February 12, 2014
    That collage can involve a lot more than bits of paper and glue is currently demonstrated at the Bates College Museum of Art.
  •   BACK TO BASICS  |  January 16, 2014
    A smart show at the Bowdoin College Museum of Art reminds us that nature is more than green stuff.
  •   OTHER CULTURES AND TIMES  |  December 12, 2013
    Aucocisco Galleries’ current show touches on highly problematic issues like aesthetic colonialism, unqualified homage, and cynical appropriation with Alice Spencer referencing ethnic textiles and Heather Perry Victorian mourning jewelry.

 See all articles by: BRITTA KONAU