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ANNIE LARMON

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Stand-alone sketchbook

Drawings illustrate Moore's varied influences
Widely considered to be one of the most influential sculptors in the formation of British and international modernism, Henry Moore (1898-1986) drew from classical traditions, surrealism, and primitivism in his obsession with capturing the female form in all of its dimensions.
By: ANNIE LARMON  |  August 04, 2010

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Out of this world

Found objects and items rise into new life in Anna Hepler's solo show at the Portland Museum of Art
"The Great Haul" plunges from the 22-foot-high clerestory of the Portland Museum of Art's entryway, a tear-dropped fishnet that resolves just before it touches the ground.
By: ANNIE LARMON  |  July 28, 2010

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Game changer

Noh Seokmee at June Fitzpatrick and SPACE
Korean artist Noh Seokmee celebrates the mundane and the playful in "you are so brave!", an exhibit of recent work currently on view at June Fitzpatrick's High Street Gallery and in the front window at SPACE Gallery, both praising and challenging the pursuit of meaning beyond simple pleasures.
By: ANNIE LARMON  |  July 07, 2010

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Something borrowed

Beth Lipman and Kirsten Hassenfeld at MECA's ICA
"Bride" stands tall as the leading lady at the Institute of Contemporary Art's current two-woman exhibit "A Meticulous Ferment," a five-tiered pastry of sculpture glittering with as much opulence, self-importance, and fragility as the title might suggest.
By: ANNIE LARMON  |  June 29, 2010

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Regier's NuPenny hits Portland

Roving installations
The latest incarnation of Randy Regier's NuPenny Toy Store installation is sequestered in Portland's Bayside neighborhood, tucked under an overhang behind the white-washed New System Laundry building on Parris Street.
By: ANNIE LARMON  |  June 16, 2010

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Endless inquiry

Ghostly shapes and images at 37-A Gallery
Mikael Kennedy’s portraits of his maunderings through the American landscape harness a transcendental concurrence of vastness and intimacy.
By: ANNIE LARMON  |  June 09, 2010



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Moving forward

The CMCA Biennial balances past and present
The Center for Maine Contemporary Art is back in full swing after an unexpected winter hiatus.
By: ANNIE LARMON  |  June 01, 2010

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Toys are us

Randy Regier’s alternative histories at Whitney Art Works
Stepping into Randy Regier’s occupation of Whitney Art Works is like entering a parallel-universe 1950s FAO Schwartz showroom gone awry.
By: ANNIE LARMON  |  May 12, 2010

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An expanding world

Americans look at European modernism
Housed in two galleries at the Bowdoin College Museum of Art, “Methods for Modernism: Form and Color in American Art, 1900 to 1925” presents a healthy survey of works by artists featured in the two most definitive venues for introducing European modernism to America.
By: ANNIE LARMON  |  May 05, 2010

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Printing matters

Vinalhaven Press artifacts at June Fitzpatrick
An aged poster hangs framed in Patricia Nick’s apartment bearing a handwritten mantra. In faded blue marker, the author scripted “An original print is NOT a reproduction. It is an original work of art conceived and drawn or cut on the plate, block or stone by the artist, the printing of which is either done by him or under his direction or supervision.”
By: ANNIE LARMON  |  April 14, 2010

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Infrastructure bias

Exploring humans + landscapes at Colby
“Experimental Geography” surveys the recent work of 19 international contemporary artists and artist collectives seeking to provide new frameworks for understanding various aspects of human interaction with the environment.  
By: ANNIE LARMON  |  April 07, 2010



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Re-structuring

A Frederick Lynch introspective at the PMA
Three large oil paintings overwhelm the lobby at the Portland Museum of Art, introducing the show "Division and Discovery: Recent Works by Frederick Lynch," a beautiful and meditative collection found on the fourth floor of the museum.
By: ANNIE LARMON  |  March 17, 2010

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Self design

William Pope.L is very present at 37-A
"The Process Show" is neither a recreation of Pope.L's studio, nor an explanation of his practice; rather, its aim is to be a portrait of the artist's headspace.
By: ANNIE LARMON  |  March 10, 2010

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Interplay

The ICA’s concept-driven show
Caitlin Berrigan’s 2009 video Transfer is simple and elemental.
By: ANNIE LARMON  |  February 17, 2010

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Community building

Mayo Street Arts opens the doors
"This is the vestibule," Blainor McGough says, gesturing at the entryway as she welcomes me into the former St. Ansgar's church on Mayo Street. She then explains that the purpose of the vestibule was to heighten people's experience as they enter the church, preparing for worship.
By: ANNIE LARMON  |  February 10, 2010

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Site-specificity

37-A Gallery opens with Hannah Barnes
Wharf Street is quickly becoming a hotbed for the esoterically minded. Building on early pioneers such as clothier Rogues Gallery and smart seafood at Street and Company, the original waterfront is being bolstered with the recent opening of Brook There, Brook DeLorme's sustainable-clothing design studio and shop, and 37-A Gallery, opened in a conjoined space.
By: ANNIE LARMON  |  January 20, 2010



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What is this place?

Participatory performance art at Whitney Art Works
Bertolt Brecht asks, "In the dark times, will there also be singing? Yes," he answers, "there will be singing. About the dark times."
By: ANNIE LARMON  |  January 13, 2010

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Hope and energy

Looking ahead to Maine's art scene in 2010
As we launch into the next decade with a collapsing economy and apocalyptic themes bleeding into every facet of culture, it's particularly hard to be optimistic about the arts, as yes, they are often the first to go.
By: ANNIE LARMON  |  December 30, 2009

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Jack of all trades

Ken Greenleaf moves from the word to the walls
Ken Greenleaf is a pretty familiar name around here. His byline has accompanied art reviews for this paper and others dating back to the late '70s. Among other things, I have heard him touted as an "authority on modernism."
By: ANNIE LARMON  |  December 16, 2009

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Hot for teacher

MECA faculty re-imagine the natural world and play with nostalgia
MECA faculty re-imagine the natural world and play with nostalgia
By: ANNIE LARMON  |  December 02, 2009

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Deep cuts

Kara Walker's emotional film at Bowdoin College Museum of Art
The beauty of Kara Walker's silhouettes lies in their concurrent brutality and daintiness, and in her unabashed exploration cutting to the meat of the black-and-white binary in American contemporary culture.
By: ANNIE LARMON  |  November 24, 2009


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