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ANNIE LARMON

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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

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

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

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

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

Behind the walls

Museum L-A synthesizes history and art
Museum L-A is sequestered in the far end of the Bates Mill Complex in downtown Lewiston, with a bold red and yellow awning announcing its presence and trumping its otherwise unassuming facade, which might otherwise be lost in the sea of industrial brick and concrete.

By ANNIE LARMON | November 04, 2009

They’re crafty

A bright three-person show at ICON
While each of the artists exhibiting at ICON this month is stylistically distinct and refined, the relationships between the work of Joe Kievitt, Meghan Brady, and Andrea Sulzer provide a welcome cohesion, and a unique peek into the practice of three individual artists who have a dialogue outside the gallery.

By ANNIE LARMON | October 28, 2009

Plotting experience

Kendra Ferguson and Noa Warren at June Fitzpatrick
Kendra Ferguson and Noa Warren are deftly paired at June Fitzpatrick’s Congress Street gallery this month, as an established and emerging artist each compulsive explore the subjective and human potential of minimalism.

By ANNIE LARMON | October 14, 2009

A mill grows in Biddeford

Six artists wax hyper-real at the North Dam Mill
'We're responding every step of the way to our environment. And to each other.'

By ANNIE LARMON | September 30, 2009

Topographic musings

MECA's second Alumni Biennial
"Aggregate" is Maine College of Art's second themed Alumni Biennial at the Institute of Contemporary Art, showing work chosen by a jury from among recent work by BFA and MFA graduates. While the artists represent a range of mediums, graduating class ('97 to '08), and experience, the integrity of the selected works is consistently impressive.

By ANNIE LARMON | September 09, 2009

Revisionist whims

Karen Lewis purges her obsession at the CMCA in Rockport
The story of Johann Christian Woyzeck goes like this: A German man born into poverty in the late 18th century tries his hand in several professions. Handicapped by a schizophrenia unrecognized by most at the time, he eventually becomes a soldier.

By ANNIE LARMON | September 02, 2009

Found, and created

Rebecca FitzPatrick and Owen F. Smith illustrate the present
While aesthetically there is little to compare between Rebecca FitzPatrick's "Thread" show and "Multiples" by Owen F. Smith, together on view at Whitney Art Works this month, both artists appropriate found materials, are impressively prolific, and identify with a post- or anti-war movement of the previous century.

By ANNIE LARMON | August 12, 2009

Everybody poops

Greta Bank talks priorities and realities
Recently selected as one of 17 regional artists to exhibit at the DeCordova Museum and Sculpture Park's Biennial in January 2010 (alongside fellow Mainer Randy Regier), and awarded a grant from the Maine Arts Commission in support of her interactive sculpture "The Cashmere Iron Maiden," Greta Bank is struggling to find studio time on top of being a mother of two.

By ANNIE LARMON | July 29, 2009

Good vibrations

Kate Beck's abstract minimal drawings and paintings hum
As Rothko's color fields can absorb a viewer, and Lewitt's painstaking wall drawings entangle, Kate Beck's experiments with the emotional and abstract potential of line demand a certain amount of submission.

By ANNIE LARMON | July 22, 2009

Under scrutiny

MECA visiting faculty at the ICA
Portland summers can be a time of scarcity for art lovers seeking conceptually challenging artwork, or a selective sampling of widely exhibiting international artists. Cue the annual visiting-faculty lecture series and accompanying exhibit at the Institute of Contemporary Art at Maine College of Art.

By ANNIE LARMON | July 01, 2009

Your own personal Darwin

Dorothy and Elliott Schwartz meditate on the man behind the theory
Dorothy and Elliott Schwartz meditate on the man behind the theory

By ANNIE LARMON | June 24, 2009

Rural vernacular

Contemplating Linden Frederick at CMCA
A documenter of the contemporary American experience with portraits of our most mundane infrastructure, Belfast-based Linden Frederick has been chosen as this year's distinguished artist by the Center for Maine Contemporary Art in Rockport. In the show honoring his selection, 35 oil paintings explore 23 years of Frederick's observations.

By ANNIE LARMON | June 03, 2009

Structural integrity

A group show at the Whitney
The five artists featured in "Stratum," now on view at Whitney Art Works, are diverse in background, medium, and scale, but they comfortably crowd the gallery's two rooms with sculptures, paintings, and drawings that respond to the relationships exposed by stripping back layers and how meaning and interpretation shift when new layers are presented.

By ANNIE LARMON | May 27, 2009

Infinite eights

Duncan Hewitt skates on thin ice
"The Smallest Eight I Can Skate," Duncan Hewitt's interactive imagining of the Coleman Burke Gallery in Brunswick's Fort Andross, is as elegant and introspective as its diminutive title.

By ANNIE LARMON | May 06, 2009

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Today's Event Picks

[ART] “New Acquisitions 2009: In Black and White” at Portland Museum of Art