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BRITTA KONAU
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Paper, ink, and pressure
Essential to printmaking, and non-digital photography, is the frustrating, annoying time lapse between the creation of the matrix and the final image.
Painting past and future
There are many different ways to talk about Lesley Vance's paintings, yet we don't really have the right words yet.
What is real?
Myths are inventions, not based on truth.
Pensive musings
Power and intellect don't need to be opposites but often appear locked in reciprocal suppression and propagation. Bates College Museum of Art shows an excellent selection of works by Chinese artist Xiaoze Xie in which he muses on this complex relationship.
What the future holds — or was it the past?
Although comprised of only six photographs, "Lori Nix: The City" at the University of Maine Museum of Art is a show not to be missed.
Drawing to an end
Throughout 2011, June Fitzpatrick has done more than her share in highlighting the medium of drawing in the context of the state-wide project "Where to Draw the Line."
Time and perspective
Commonly artists prefer to work away from public scrutiny, shielded from revealing the awkward phases of creation, to emerge with a finished work of art that will last, if not for eternity, at least for quite a while.
Complete in themselves
Geometric shapes like rectangles and circles have been the formal ingredients of some of the most sophisticated abstract art.
A show of hands
Abstraction is currently getting a lot of attention in Portland.
One beautiful head and another's questions
Dan Dowd's installation "Anna Hepler's Head" fills the cavernous space of the Coleman Burke Gallery with photographs and three-dimensional objects that light-heartedly ask serious questions about artistic observation and the transmission of visual information in general.
Unreliable past + imperfect present
Jason Larkin's photographs taken in 2008-2009 inside Egyptian museums have gained an aura of premonition in light of the country's recent turmoil.
Drawing on chaos + order
Drawings by Andrea Sulzer, Alison Hildreth, and Amy Stacey Curtis do not have much in common visually as they range from colorful exuberance to thoughtful layering of imagery to repetitive mark making.
An unlikely pairing
Paintings by Elizabeth Cashin McMillen and sculptures by Duane Paluska currently share the main gallery at the Center for Maine Contemporary in Rockport.
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