Out of town, Brunswick's expansive COLEMAN BURKE GALLERY, Maine's Mount Olympus of installation space, hosts three two-month-long installs in the first half of 2013. It starts with reconstituted 2D and 3D maps by Cindy Davis; in April, a sculpture and public art-in-progress exhibition by Aaron T. Stephan; in summer, a performance-based piece by Boston artist Emilie Stark-Menneg. Kenny Cole's signature explorations of war culture infiltrate the UNIVERSITY OF MAINE MUSEUM OF ART in Bangor in a solo installation titled "Parabellum," after the college gathers a spring troika of photographer Michael Troika, Robert Rivers's postmodernist canvases of corporeal studies, and the diaphanous installation work of Candice Ivy. And those who travel come summer might check out the photographic retrospective of Belfast by longtime art-scene fixture Richard Norton, whose work is the mainstay of WATERFALL ARTS June through August.

Outside the white box, CREATIVE PORTLAND launches a Business Basics for Artists series of monthly discussions in MECA's Osher Hall. They each cost $10, discussing working with galleries, registering and licensing, managing a website, and more. And June sees the release of MAINE ART NEW, the sequel to Ed Beem's definitive 1993 round-up of the local arts scene Maine Art Now, which collects essays and profiles of more than 100 contemporary artists by several local arts writers (including this one).

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ARTICLES BY NICHOLAS SCHROEDER
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    Ostensibly, the first feature film by Spencer McCall seeks to provide a portrait of a San Francisco organization called the Jejune Institute, whose mission hovers somewhere between the poles of self-help, performance art, disinformation, and an alternate-reality game. But if this is a portrait, we're not in art class anymore.
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