Commercial galleries – Balazo Gallery Fri, 17 Sep 2021 05:00:13 +0000 en-US hourly 1 Commercial galleries – Balazo Gallery 32 32 Unlimited ambition in the Art Basel section for non-standard works Fri, 17 Sep 2021 04:01:00 +0000

Newsletter: FT Weekend

One of the pleasures of a visit to Art Basel in its Swiss home is to stroll through the Unlimited section. Located in the huge Hall 1, Unlimited houses anything that is too big for a stand in the aisles of the main part of the fair. Unexpected and unusual pieces deliver small shocks at every turn: the artists stretch their imagination and their dimensions, without limits.

Installations the size of a modest house can fit here, as can large ‘flat’ works of art such as (this year) David Hockney’s huge photographic drawing, ‘Pictures at an Exhibition’ (2018 -2021), or similarly sized pieces by Gilbert and George or Michel Parmentier, as well as substantial sculptures (Barbara Hepworth) or light works (James Turrell) and much more.

“Unlimited has always been very eclectic, from young artists to very established stars – it’s the mix that makes it interesting,” says Giovanni Carmine, director of Kunst Halle St Gallen and curator of Unlimited. His tenure – he was appointed two years ago – has covered pandemic shutdowns.

The opening of Unlimited display next week is, he says, the result of two years of work and change: [Unlimited] is more international than ever – except, perhaps, that we miss Asia a bit. But it is understandable. Global logistics are so complicated. But we were able to bring 62 projects to the fair.

Giovanni Carmine, curator of Unlimited, says the section is “a chance for people to meet in front of art”

There is no thematic framework as such. “It’s a dialogue with the galleries,” he says. “They come up with projects, and then I start to get a feel for the works that will work together and the audience’s experience in the space.”

Digital work is included, along with sound installations that might disturb neighbors in a conventional fairground booth. When I ask if Carmine has spotted any particular trends – for example, a rush for more digital works – he doesn’t engage. “Young artists are obviously moving more towards digital or non-object-based works, but there are also a lot of young artists who paint and make traditional sculpture.

Multicolored human figures fly across the room in a vat

‘HolyHellO’ (2018) by Kris Lemsalu © Mark Blower 2018

Obviously, in a commercial setting, the simple question arises: who buys them? Bringing massive pieces to a fair is a serious investment for galleries: do they hope to attract mainly institutional clients? “You should ask the galleries,” Carmine answers judiciously, “but I don’t think it’s just the classic institutions. There are visionary collectors who are interested in stimulating art, ambitious and interesting projects.

And of course, with the growth of private museums, there are collectors with a lot of space to fill in search of powerful work on a large scale.

Carmine is, however, a curator, not a merchant, and he’s more interested in talking about his section’s experience. “This is one of the interesting parts of the fair for art lovers, a special place where people gather – a chance for people to meet in front of art.”

A black and white photo of many pieces of tracing paper with markings on it hanging on a wall

‘February 14, 1990’ by Michel Parmentier is a long sequence of tracing paper strips

He also believes that this adventurous large-scale work is “a mirror of what’s going on in the art world – at least for a certain type of work.” Some projects are totally connected to what’s going on, artists responding to the situation we find ourselves in.

Speaking of the situation we find ourselves in, I have to ask the thorny question, that of the environmental impact of art fairs. Carrying such huge and complicated projects over a long distance, just for a few days of exposure, is quite controversial. Is this a concern now and for the future?

“Absolutely,” he replies. “There have been a lot of discussions but our discussions are not over because there are no easy solutions. I would say the pandemic in one way accelerated the discussion, in another, stopped the discussion altogether. “

A woman looks at a large dark blue and purple painting

“A Brief History of Known” (2020) by Nari Ward © Courtesy of the artist, Lehmann Maupin and Galleria Continua. Photo by Elisabeth Bernstein

It is an admirably frank and very realistic admission. We agree that the urge to get back to normal is currently the dominant sentiment. There are “sincere efforts,” he says, but “for now the main focus has been to make sure that artists and clients can continue to work and that the fair can take place. We are a cosmopolitan community, an international community, always connected, and it is so important to see the works of art in real life.

We’re talking little things – more sustainable transport, more digital works – but it is not fair to corner a curator with this still intractable question. “The solution is not easy,” he said, “but we all need to do more.”

Finally, when asked which of this year’s Unlimited works is particularly remarkable or of which he is particularly proud, he points out to me Marion Baruch (with the Urs Meile gallery), a Romanian artist based in Italy who, at the age of 87, did a job in textiles, using the remnants of Milan’s fashion industry. A convinced believer in the future.

September 23-26,

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The Kitchen launches $ 28 million fundraising campaign to secure the future Thu, 16 Sep 2021 15:52:43 +0000

New York-based arts association The Kitchen is launching a five-year, $ 28 million fundraising campaign to raise money for the renovation of its historic home in the Chelsea neighborhood and to secure its future. The organization, which supports artists working in a range of practices and is particularly known for encouraging the city’s experimental and performance music scenes over the past decades, has scheduled the effort to coincide with its fiftieth anniversary, which takes place this year. The campaign is overseen by Director Legacy Russell, who took over the kitchen last June after the departure of Tim Griffin, who had led the organization for a decade, and by President and Board President Greg Feldman and Mia Tuttle, respectively. administration of the association. President.

Restoration of the West Nineteenth Street home, a former 1920s icehouse that it has occupied since 1986, is slated to begin in spring 2022 under the aegis of New York-based architects Rice + Lipka. The start of the renovation was made possible by the fact that the kitchen had already secured a pledge of $ 19 million to meet its goal and approved a design plan, both under Griffin’s direction. The restoration will provide a more accessible hall, a new studio for artist residencies and education programs, and a new gallery, as well as a closed roof and more rentable spaces, allowing the organization to diversify its sources of income. In particular, the kitchen will commit to using electrical energy as part of its efforts to go green.

“The Kitchen, which has been both artist-focused and forward-looking from the start, is well equipped to navigate the myriad of questions our field faces about the future of art and the role that institutions should have to shape it. Looking inward too, on the 50th anniversary of the Kitchen, we ask ourselves not only “Who has been part of the history of the organization and how can we celebrate this presence and this contribution?” “, But also” Who has not is part of the story that brings us to this point – or the story that we are building – and in what ways can this next chapter make room for their stories to be told? “Our building renovation helps us support a wider range of avant-garde artists, in new ways, as they lead the way,” Russell said in a statement.

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Norman Ives, artist who played with and against type, featured in a new exhibition at UMass Dartmouth Gallery Tue, 14 Sep 2021 16:29:56 +0000
Norman Ives “Centaur”, a 1973 silkscreen.Norman S. Ives Foundation

DARTMOUTH – “Seeing is more compelling than reading,” artist and designer Norman Ives wrote in a 1960 edition of Industrial Design magazine.

But for Ives, who died in his mid-fifties in 1978, the impulse to read was a way of seeing. Using letter shapes as building blocks, he achieved work that opens synaptic pathways between symbol and image. The artist is the subject of “Norman Ives: Constructions & Reconstructions,” curated by John T. Hill, author of a book of the same name, at the CVPA Campus Gallery at the University of Massachusetts at Dartmouth.

Ives was a freshman graduate at Yale in 1950, the year Josef Albers arrived to revolutionize the university’s art department with Bauhaus notions marrying aesthetics with utilitarianism. Such thinking elevated commercial art to the realm of graphic design, and Ives stood out. In 1967, the Museum of Modern Art celebrated him, with Massimo Vignelli and Almir Mavignier, in “3 graphic designers”.

Norman Ives' hand-stamped 1951 untitled print depicts a Victorian house.
Norman Ives’ hand-stamped 1951 untitled print depicts a Victorian house.Norman S. Ives Foundation

The tension between letter and image fascinated Ives from the start. This exhibit begins with a 1951 print of a Victorian house made with hand-stamped 19th century wooden typefaces – “S” watermarks along the eaves, an “A” forming the roof . In the end, Ives left pictures behind and let the letters speak for themselves. They roared and chattered, never turning into words.

His method was simple, reassembling letter shapes on grids, changing their sight reading context, left to right on a page with a more holistic image plane.

An untitled work by Norman Ives from 1963.
An untitled work by Norman Ives from 1963.Paul Rodolphe

In a painted facsimile of a 1963 mural, pieces of black lettering fill squares, interlocking with the off-white background. The familiar wheelbases, angles and curves are so magnified that they’re impossible to read. Yet the brain strives for – an invigorating effort. In the 1973 “Centaur” silkscreen print, Ives features the sans-serif letters on a spiral set on a grid. They rock, tilt and overlap, the colors changing where they intersect. It’s breathtaking, alphabetical tumbleweed.

Ives understood the power of symbols. His 1960 book, “8 Symbols,” details his thinking behind eight logo designs, visible here. They add layers of visual nuance to the letters, creating meaning. In his art, he strips the meaning. The shapes of the letters cling to their symbolic significance like strangers in a foreign land, and a new type of reading is born.


At the CVPA Campus Gallery, University of Massachusetts Dartmouth, 285 Old Westport Road, Dartmouth, until October 23.

Cate McQuaid can be contacted at Follow her on Twitter @cmcq.

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Film music at the Academy Museum: film composers deserve better Fri, 10 Sep 2021 16:00:53 +0000

The Los Angeles Philharmonic will dedicate a weekend in November to three film music programs. The orchestra calls the project “Reel Change: The New Era of Film Music”.

It seems pretty natural. No one needs to be told about the allure of film music, right? Show me an orchestra that doesn’t play film music these days. John Williams triumphantly conducted the august Vienna Philharmonic!

On its website, the LA Phil notes that although music was first used in a movie to muffle projector sound, it quickly “took on a life of its own.” This cutting-edge orchestra is right. The real reel change, we learn from the Academy Museum of Motion Pictures, is precisely that film music must have a life – and presumably a home – of its own.

So go ahead, browse gallery after gallery devoted to all aspects of filmmaking. Cinematography, editing, scriptwriting, staging, acting, scenography, sound design, costumes, make-up. They are all there. All that’s missing is the history of on-site catering.

And, of course, film scores.

It doesn’t mean that there is no music. With movie clips showing all over the building, it would be very difficult to remove all the music, but the academy said it was at least making an effort to reduce the sound, lest too much music bleed out. one space to another. another. It’s fucking music for you.

While there is no gallery for movie scores, there is one room with a surround sound setup. From time to time, film composers will be shaken by being commissioned to create a sound installation piece. The first is by Hildur Guonadottir, who wrote the soundtrack for “Joker”. Excited museum goers can come in for a minute to check it out and relax.

The museum also has a state-of-the-art 1,000-seat movie theater with speakers ready to handle whatever Dolby can throw at them. Even more impressive is the inclusion of a small stage for an orchestra, in case the museum wants to bring in musicians to accompany the silent films, just like in the movie palaces of old. It’s even called David Geffen Theater, after the philanthropist who made his initial fortune in – don’t you know? – the music business.

More and more curious, the academy chose as museum architect Renzo Piano, passionate about music, who said that everything he builds yearns for music. Piano’s contribution to music includes the computer music center, IRCAM, next to the Center Pompidou in Paris, where Pierre Boulez created his surround sound masterpiece, “Répons”, which later inspired the spectacular London Piano Tower known as the Shard.

Furthermore, Piano’s friendship with the two greatest and most influential Italian composers of his generation, Luciano Berio and Luigi Nono, had historical consequences. In collaboration with Berio, Piano designed Rome’s great musical complex, the Parco della Musica. For the staging of Nono’s visionary opera “Prometo”, Piano invented a “musical space” which revolutionized the whole notion of immersive opera (apparently a little too immersive for the museum’s “immersive” music gallery. ).

When I heard that Piano had been hired by the Academy Museum, my first thought was that he would also be asked to repair the Dolby Theater as part of the Hollywood & Highland renovation. When the Film Academy opened it as the Kodak Theater in 2001, it pitched its new home for the Oscars as a fake opera featuring a fake opera. “I break my memory to remember a concert in which the music was less well served,” I wrote then.

Studios, of course, have a long and famous history of ignorance when it comes to soundtracks. They threw countless original scores in the trash to reduce clutter. Could it be that a compelling reason for not devoting galleries to sheet music is that there aren’t enough musical memorabilia to display?

Enough ridiculous things that studio managers – sitting in their desks with their feet on their desks, blowing on big stogies – have said and done to composers could fill a fun book. André Previn liked to tell about a first mission he had as a novice film composer when he left high school in the early 1950s. Listen, kid, he was told, this is a picture taking place. in Paris, so make sure you have enough French horns.

Either way, one cannot talk about the history of music over the past 120 years without considering the influence of music on cinema, and vice versa. It is not always positive. “Hollywood” has been derogatory in some serious musical circles, to belittle, to sell, but isn’t that also part of the complex and meaningful story?

Devoting an entire museum to emigrant composers who came to Los Angeles in the 1930s to escape Nazi persecution, at the very moment when talking cinema was taking off, is not excluded. They invented the symphonic score. In the process, they made music such an important part of cinema that the “vow of chastity” for the short-lived Dogme 95, the Danish movement to free films from studios and commercial cinema, included the edict according to which no music could be used. unless he’s already part of the live scene at the time of filming.

It turned out that Dogme 95 co-founder Lars von Trier couldn’t comply for long. Realizing how powerful music can be, he made indescribable and unsettling use of music in the scene that opens his “Antichrist”. Infant is killed by falling from window while parents distracted by lust sex, and in the background is quite heavenly Handel.

Music is sure to find its place in the museum here and there. It is not possible to exclude music from its exhibitions. Musicians still sneak around every corner of the museum and its activities. Sophia Loren, the museum’s first Visionary Award recipient, has a little secret: her son is a conductor with his own orchestra in LA (luckily the academy doesn’t pay attention to concerts).

“The Wizard of Oz” and “Citizen Kane” were selected as iconic films deserving a museum spotlight. It would be hard to think of either without music. But they will find something. Of course, Orson Welles and Alfred Hitchcock’s favorite composer Bernard Herrmann is worth showing on his own.

Yet for me the most fallacious aspect of the Academy Museum is its claim to chronicle the troubled history of Hollywood by dealing with issues of diversity. What could be more Eurocentric than letting music in only through the back door, as musicians had to use the entrance of servants in European courts in the 18th century?

The music, however you frame it, is irrelevant, but we should have understood that from the start. The Museum of the Academy of Cinema is officially called, for short, the Museum of the Academy, and not the Museum of Cinema. It is not, and it cannot claim to be without film music, a cinema museum. It is an Academy museum. It’s not the same thing.

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The real story of the impact of COVID on regional QLD galleries Tue, 07 Sep 2021 21:00:59 +0000

One thing we have learned about this pandemic is that its impact is uneven.

A clear illustration of this is the Queensland museum and gallery sector. While this state hasn’t faced blockages like Victoria and NSW, its tourism experiences have presented their own challenges.

ArtsHub met Rebekah Butler, Executive Director of Museums & Galleries Queensland (M&G QLD), who said “times have not been easy for our industry”.


While Butler remained supported by the ability of Queensland museums and galleries to adapt to new working practices and develop new initiatives to support their communities, she said that “visitor confidence has been affected in many communities “.

“A lot of visitors don’t feel comfortable going back to the premises,” she explained. And while “some museums and galleries have anecdotally reported increases in retail sales…

Butler continued that one of the biggest concerns is “pivot fatigue” across the industry, as well as pressures for increased delivery to resource-constrained sites as domestic tourism has increased, in some. triple case.

She warned that “staff workloads have increased exponentially due to the need to respond to instant locks, changing health guidelines and occupant density rules.”


Domestic tourism across the country has skyrocketed over the past year and some arts organizations, particularly QLD inland, have seen record numbers of tourists.

But with this apparent success comes apprehension, as the record number of visitors has not been matched by the record workers to serve them. Daily visits in some cases have tripled, but these small galleries and museums are still run by the same number of volunteers.

The Mount Isa Underground Hospital and Museum are feeling the impact of increased tourism on volunteers. Image provided.

The volunteer-run Mount Isa underground hospital and museum, which saw a record number of visits in 2021, is a case in point.

Erica Shaw, Mt Isa Volunteer Coordinator, said: “The museum has grown from two volunteers present to four at all times, as the museum visit is a guided experience. Many older volunteers have chosen not to return after COVID, which puts additional pressure on current volunteers.

“The Museum cannot keep up with recruiting and training volunteers quickly enough to meet the volume of visitors,” Shaw continued.

“Visitors appear to be tourists making ‘long trips’ and staying in regional and remote areas of Australia in order to avoid COVID hot spots,” she said.

Read: Regional artistic audiences evolve with the pandemic

Butler added that “funding to help develop audio-visual accompaniments, which could relieve current volunteers,” was one way to make these fluctuations and pressures more manageable, but that depends on government investment.

Unlike Mount Isa, Cairns – which before COVID attracted more than 2.7 million tourists a year – is struggling, not only because of the halt in international travel, but also the impact of the border closures by the states.

Dr Jonathan McBurnie, Creative Director, Townsville City Galleries, reported that “Since the pandemic, the overall numbers have been dropping. On average, current visits are about 1/3 of what they were before COVID (a 66% decrease).

But in a glimmer of good news, the Cairns Museum reports that school visits to their space have increased significantly.

“It was an unexpected result, but a positive one. Schools from places like South East QLD that traditionally traveled between states on school trips went to Cairns instead, ”the museum said.


But it’s not just about the number of people, the dollar numbers are the key to this story as well.

Butler explained, “Some museums and galleries have anecdotally reported increases in retail sales. Although people may not be able to travel, they still want to spend money and do so locally – they are looking for tailor-made gifts that are not commercially available.

“In contrast, others in our industry are reporting significant revenue losses due to the decline in retail and trade activities,” she continued.

The Abbey Museum of Art and Archeology, located in Caboolture, is a unique collection comprising the most important collection of stained glass and painted in Australia, as well as prehistoric objects, ceramics, ironwork, woodwork, sculptures, rare books, paintings and frescoes from the Renaissance and Baroque periods.

To support its operations, it presents the Abbey Medieval Festival each winter – Australia’s largest celebration of medieval arts and culture attracting more than 800 medieval reenactors, jousters, musicians, actors and street performers.

Medieval Abbey Festival, 2019. hoto Brett Croese.

Around 30,000 visitors from across Australia typically attend, contributing more than $ 2 million to the economy of the Moreton Bay area. But the festival had to be canceled for a second consecutive year in 2021, one week before delivery.

“The organization’s staffing levels have been affected. In particular, their paid manager is now working on a voluntary basis, which is not sustainable, ”said Butler.

“To its credit, the abbey has implemented many innovative fundraising initiatives in an attempt to recoup their lost income, but additional support is urgently needed.”


Butler warned that overall, support is desperately needed, especially for the volunteers in this space. “Many volunteers have not returned to their volunteer roles after last year’s major lockdown or, when volunteers have returned to the workplace, they feel more comfortable doing return duties. the House.”

“The sector depends on volunteers, but many don’t feel comfortable returning to places where people come and go frequently.”

Rebecca Butler.

She also notes that “programs need to be redesigned; visitor expectations must be managed; communications and messages need to be continuously updated – this takes a lot of resources and keeping pace with these pressures has negative consequences for people’s mental health and well-being.

“The government has focused on jobs,” she continued. “Which is important, but so are volunteers in the area and creating safe environments for them to return to work.”

“The small to medium-sized public museums and galleries sector is in urgent need of operational support for expenses such as staff, overhead and programming,” she continued. “Expenses that pre-COVID would be covered by an organization’s income-generating activities.”

Butler therefore argues that “the local government [who often manage these small-to-medium galleries] should be included in all funding programs. ‘

She observed that “there is greater financial support for the performing arts and music industries, and while there is no doubt that this support is essential to sustaining the performing arts sector, there is an imbalance ”.

Data from Museums & Galleries QLD’s 2019 Annual Statistical Survey shows that overall, Queensland’s public galleries supported around 8,000 living artists that year.

“So supporting our industry, supporting our artists,” said Butler.

In Queensland, there are around 300 collections run by organizations run by volunteers. Many of these collections contain elements of national, national and, in some cases, international importance.

Read: Frontline pressure points are different for the regional arts sector

But one organization that has already closed is the volunteer-run association Adderton: House and Heart of Mercy, closed to the public on Sunday September 5, 2021.

Museums & Galleries Queensland is doing what it can to help the sector in need, partnering with the Australian Museums and Galleries Association to deliver the $ 3 million grants program for culture, heritage and the arts regional tourism (CHART). But in the end, Rebekah Butler believes that additional government funding is needed to help the sustainability of the sector to emerge from the pandemic.

In the meantime, the CHART grant program will allow organizations to apply for up to $ 3,000 in 2021-2022 to support community arts organizations such as local museums and galleries as well as historical societies.

“We hope there will be a strong scope of applications from Queensland,” she said.

Gina Fairley is the National Visual Arts Editor for ArtsHub. For a decade, she worked as a freelance writer and curator across Southeast Asia and was previously the regional editor for the Hong Kong-based magazines Asian Art News and World Sculpture News. Prior to writing, she worked as an artistic director in America and Australia for 14 years, including in regional galleries, biennials and commercial sectors. She is based in Mittagong, regional NSW. Twitter: @ginafairley Instagram: fairleygina

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The Week That Has Been: Harrisburg News & Articles Fri, 03 Sep 2021 20:02:03 +0000

Artist Gloria Jean Martin finished her mural for Sprocket Mural Works in Patrick Alley Pocket Park.

It looks like some of the hottest, rainiest days are behind us, Harrisburg. The cooler days are coming just in time for the long weekend. Before heading to the Kipona Festival, check out this week’s local news below.

Ana White has been appointed Harrisburg’s new director of community relations and engagement for the police office, our article reported online. White, from Harrisburg, is replacing Blake Lynch, who held the job for three years before recently leaving.

The wide street market has achieved its fundraising goal and may move forward with replacing its iconic sign, according to our reports. The sign has been damaged in two windstorms in the past year.

Friends of Central Pennsylvania Jazz will be holding Jazz Walk in Midtown on September 10, our article reported online. Musicians will play in venues in the neighborhood, giving participants the opportunity to sample local talent.

The Republic hosted a COVID-19 vaccination clinic at the Riverfront Office Center last week, our article reported online. They hoped to increase accessibility for those who haven’t yet received the blow.

Our community corner has all the notable local events in September for your reading. Jazz & Wine Fest, Gallery Walk, Restaurant Week, we have all the details here.

Federal ban on deportation shut down last week, leaving activists for local tenants wondering what’s next. As Dauphin County distributes millions of dollars to tenants in need, some activists are not sure it will be enough to prevent a possible eviction crisis, our report said.

Harrisburg Mid-Year Financial Position looks strong, with a healthy budget balance, according to a mid-year budget update. Our article online has more information on what the Intergovernmental Cooperation Authority for Harrisburg discussed at a recent meeting.

Harrisburg Mural Festival moving on to its next project, the Mulberry Street Bridge, according to our report. This will be the largest mural by organizer Sprocket Mural Works to date.

Harrisburg Redevelopment Authority has chosen local developers Chris and Erica Bryce and entrepreneur Harrisburg Commercial Interiors to complete the development of MarketPlace in Midtown, our article reported online. The land consists of 67 lots distributed between Reily Street and the Broad Street Market district.

The local Make-A-Wish chapter will host a food truck festival on City Island on September 18 to provide support for children with serious illnesses, our story reported online. They hope to raise enough money to grant the wishes of three children.

Many Methodist churches in Harrisburg were forced to close and were put on the market for sale two years ago. Our magazine article tells the story of what happened and the current situation of the congregations.

Street parking rates in Harrisburg were recently brought up, and our editor has something to say about that. Who thought $ 4 an hour parking was a good idea?

For the month of September, our editor reflects on the resilience of Harrisburg’s arts community during the pandemic. He encourages people to continue supporting local theaters, museums and galleries.

Sara bozitch has lots of fun ways for you to spend your Labor Day weekend. Find them here.

Significant precipitation and flooding hit Harrisburg earlier this week, prompting the city to take safety measures, according to our reports. They erected barricades in low-lying areas prone to flooding and cleaned up storm sewers.

Are you getting TheBurg Daily, our daily digest of news and events straight to your inbox? Otherwise, register here!

Support quality local journalism. Join the Friends of TheBurg today!

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San Francisco galleries look to the post-pandemic future – Tue, 31 Aug 2021 20:54:00 +0000

Last year when the the pandemic has struck, Closed arts institutions around the world were forced to turn to the internet – it was the only way to maintain connection with their audiences. Museums held online lectures and tours with curators, while auction houses broadcast live sales. Art fairs have set up exhibition halls, as have their clients, galleries, in some cases collectively. Today, as the pandemic fades in some places and persists in others, questions remain about how shopping malls will survive, especially small and medium-sized businesses that struggled to remain viable before the global health crisis. and its closure. The answer to the long-term support of galleries and their local art scenes may, in fact, lie in these collective digital initiatives.

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A first effort to keep galleries in business during Covid was born in May 2020, in Los Angeles: Gallery Platform LA, organized by a group of local dealers, highlights exhibitions in online viewing rooms every week and also offers editorial content, including video tours of artists, gallery owners and collectors in LA. This initiative served as inspiration for key members of an arts scene located more than 300 miles to the north, a smaller scene that arguably needed such a project even more. Last October, a group of art professionals in San Francisco launched 8 bridges, named after the eight structures that connect the land masses of the Bay Area. “The hope,” said merchant Jessica Silverman, one of the founders, “was to really expand what people know and understand about the Bay Area, both locally and outside of it.”

With less than a quarter of the number of galleries in Los Angeles, San Francisco’s commercial scene has never had the same volume as its neighbor to the south, nor has it attracted quite the same level of attention. The goals of 8 Bridges, said co-founder Kelly Huang, artistic advisor and former co-director of the Gagosian Gallery in San Francisco, were not just to “find a way to support our community during an incredibly difficult time filled with uncertainty.” . but also to find “a way to support each other more formally and to support the wider network of galleries in the Bay Area”. To this end, the site has started offering a rotation of eight different galleries each month, hosting exhibitions from the Fraenkel Gallery, Anthony Meier Fine Arts, Robert Koch Gallery and others.

A dense and colorful design with various layered elements including a clock, vases, chair, a person's hands, a bowl of fruit, glasses and a floor lamp that shines from the upper left to the lower right.

Bay Area artist Woody De Othello’s Steppin through the night (2021).
Courtesy of Paulson Fontaine Press, Berkeley

“There was something about the pandemic that led to a lot of collaboration, and nothing like this has ever really happened before,” said gallery owner Claudia Altman-Siegel, another co-founder. “I’m friends with all the other founding members, but we’ve never joined forces like this. It’s a really positive thing that came out of the pandemic – that kind of urgent need to collaborate
for the greater good. “

The group is also committed to supporting local nonprofits such as the African Diaspora Museum and the Headlands Center for the Arts, and is highlighting a different one each month. Alison Gass, director of ICA San José, said her institution saw “a huge stretch within reach” by sharing details about her ongoing Ebony G. Patterson exhibit, which was covered by the fashion website. of Bay Area life and culture. 7 × 7 following a promotion on social networks at 8 Bridges. Arts nonprofit Root Division was able to attract “a huge audience that we generally wouldn’t have had, in terms of a higher and more established collector base, or perhaps a higher price interest” for its event. Spring 2021 fundraiser and its coincident exhibition, “Fate of the Senses,” said Michelle Mansour, executive director of the Root division.

“The space between the for-profit and non-profit art worlds is not that far away,” Gass said. “We all work together, showing each other’s artists and working with collectors, whether they buy the work or are philanthropic. This is really something the art world needs to think about more.

A color photograph of a large mountain island.  The skyline is almost indistinguishable, and the overall color is a pale, hazy yellow-orange.  Two figures and an animal are slightly visible at the bottom left.

1987 photograph by Bay Area artist Richard Misrach Swimmers, Pyramid Lake was presented at the January 2021 “4 × 8 Bridges” online exhibition, held in lieu of this year’s FOG Art Fair.
Courtesy of the Fraenkel Gallery, San Francisco

The members of 8-bridges also thought about how to present the art world of the Bay Area to an international audience who, even in ordinary and non-pandemic times, could make it to San Francisco at most once. per year, for the FOG Art Fair or a major museum exhibition. (Last February, 8 bridges stepped in to fill the void left by the cancellation of FOG by hosting a digital presentation, “4 × 8-bridges”, which included 36 galleries from northern California, with lectures, webinars and Zoom tours.) Since its launch, the platform has developed a series of podcasts that featured prominent figures such as Gass, art advisor Mary Zlot and collector Pamela Hornik. He also curated a panel series titled “Bridging the Bay Area Art World,” which in one iteration brought Neal Benezra, former director of the San Francisco Museum of Modern Art, into a conversation; Lori Fogarty, director of the Oakland Museum of California; and Mari Robles, Executive Director of the Headlands Center for the Arts.

There’s another reason people walk through the digital door: A website can be more welcoming and less intimidating than an IRL art gallery, and therefore can attract more young people. It can be read in the numbers: Millennials represent the largest segment of users of 8 bridges. “I think platforms like this make entering the arts community a little more democratic,” Huang said. It helps that many of the works of art for sale on the site are priced under $ 20,000, a range in which emerging and more seasoned collectors are comfortable shopping without seeing the art in person.

The platform is also starting to experiment with organized formats. In May, to mark Asian and Pacific American Heritage Month, it featured an exhibition of works by historical, mid-career and emerging artists from the Asian Diaspora. This exhibition was curated by Huang and Aleesa Pitchamarn Alexander, Assistant Curator of American Art and Co-Director of the Asian American Art Initiative (AAAI) at the Cantor Arts Center.

Installation view of a gallery exhibition with, from left to right, a blue glass sculpture on a pedestal, a grid of 16 works and two colored wall sculptures.

Installation view of the 2021 exhibition “Spell of the Senses” at the Root Division association, whose work has been highlighted on 8 bridges.
Photo Zhang Mengjiao / Courtesy of Root Division, San Francisco;

Like the cities of the world are starting to open up and ease restrictions related to the pandemic, the 8 Bridges team envisioned new ways to reach their growing audience. Current projects include resource pages for local artists looking for scholarships or grants, and local merchants looking for art managers, framers, photographers or other services. to support their businesses.

“I am just very excited to guide the platform in this new phase of life,” said Silverman, adding that the other gallery owners among the founding members are “excited about how the platform can support this reopening. It’s going to be very collaborative and the way we organize ourselves right now is so much stronger than when we started. ”

Gass believes that the platform and its underlying ethics are already helping to cultivate a greater spirit of camaraderie. “This is starting to minimize the possibility of intense competition between institutions,” she said. “8-bridges helps us realize that we are all talking to each other and to the same people. As for the programming highlights in the Bay Area arts community, she said, “high tide really lifts all ships.”

A version of this article appears in the August / September 2021 issue of ARTnews, under the title “Site by the Bay”.

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Best Art Exhibitions For Fall 2021: Obama Portraits, Smog Art Fri, 27 Aug 2021 20:21:08 +0000

The Los Angeles County Museum of Art is working with limited gallery space, having recently demolished most of its eastern campus to begin construction on a new building. Considering the impact on its fall exhibition schedule, it may be time for LACMA to initiate a name change.

How about the Los Angeles County Museum of Primarily Modern and Contemporary Art?

LACMMM + CA for short unpronounceable.

That would seem to reflect what lies ahead for us this fall – and at least for the next 18 months. Of 14 ongoing and planned special exhibitions, only one looks at pre-modern art.

“Mixpantli: Space, Time and the Indigenous Origins of Mexico” (opening December 12) is the only historical exhibit among the five fall shows, marking the 500th anniversary of the fall of Tenochtitlan, the Aztec capital. The timeline for the remainder of 2021 features a modern exhibit (on old photography), while everything else is contemporary art.

Beyond that, for the whole of 2022 until spring 2023, six other exhibitions are now on the program of the LACMMM + CA – and all are also contemporary art. I expect several. Yet for the largest museum of encyclopedic art west of the Mississippi, such a narrow and lopsided agenda is frankly absurd.

As I noted when the pandemic shutdown was finally lifted in April, the museum has acted more like a kunsthalle (or contemporary exhibition hall) for years. At least 80% of its exhibitions since 2017 have featured art from the 20th and 21st centuries, and even that bloated percentage is increasing.

The money of the art world is lodged in contemporary art these days, which may help explain the irresponsible calendar. But given all the other contemporary museums in town – the Hammer, the Museum of Contemporary Art, the Broad, the California African American Museum – as well as a vibrant and extensive network of small community museums, university galleries, others kunsthalles and shopping malls, all showcasing the art of our time, do we really need a LACMMM + CA?

Former LACMA has a large collection of impressive art spanning thousands of years of global creative history. So why do most languish in storage?

Here’s a selection of what’s coming this fall:

September 8-March 20

“LaToya Ruby Frazier: The Last Cruze”

The black working class has been a central subject in the work of LaToya Ruby Frazier, born in 1982 just outside the faded industrial powerhouse in Pittsburgh. “The Last Cruze” features 67 photographs, a video, and an architectural installation that examine the social effects of a closed Chevrolet auto factory. California African American Museum, 600 State Drive, Exposition Park, LA Closed Mondays. To free. (213) 744-7432.

“LaToya Ruby Frazier: The Last Cruze”, a collection of photographs, videos and more by the artist at the California African American Museum.

(From LaToya Ruby Frazier and Gladstone Gallery, New York and Brussels)

September 9-April 3

“The modern chair”

In the mid-19th century, when German furniture maker Michael Thonet developed an industrial technique to safely vaporize wooden slats, bend them into curves, and laminate the layers together, the modern chair was born. For more than 150 years, some 50 million Thonet bentwood chairs have been produced. We will begin this study of fifty examples of what followed. Palm Springs Art Museum Architecture and Design Center, 300 S. Palm Canyon Drive, Palm Springs. Closed Monday to Wednesday. $ 5.

Heart Cone Chair by Verner Panton

The Palm Springs Art Museum Architecture and Design Center looks at the design of the chairs in “The Modern Chair.” Verner Panton (Danish, 1926-1998), Heart Cone Chair, 1958.

(Center for Architecture and Design of the Palm Springs Art Museum)

Sep 12-Jun 6

“Pipilotti Rist: big heart, be my neighbor”

The investigation into the video installations and sculptures by Swiss media artist Pipilotti Rist was set to open last year when the coronavirus pandemic closed the museum. Finally opening, the show will also launch a new audio-video installation. The Geffen Contemporary at MOCA, 152 N. Central Ave., Little Tokyo, Downtown LA Open Wednesday through Monday. $ 8 to $ 15 (includes same day admission to MOCA); members, jurors and children under 12 are free; Thursdays after 5 p.m. are free. (213) 626-6222.

An image from the 2000 video by Pipilotti Rist "Open my clearing": A woman's face and hands are facing the camera, pressed against the glass

The Geffen Contemporary at MOCA will present a survey of the works of media artist Pipilotti Rist.

(© Pipilotti Rist. By the artist, Hauser & Wirth and Luhring Augustine)

Sep 14-Jan 2

“Fluxus means change: the avant-garde archives of Jean Brown”

Jean Brown, a former insurance agent living in a small town in western Massachusetts, became fascinated with Fluxus, the loose international assembly of artists of the 1960s that included George Maciunas, Dick Higgins, Yoko Ono and Wolf Vostell. Six thousand books, pamphlets, notebooks, multiples, and other artifacts later, Brown’s archives helped establish the Getty Research Institute in 1985. Getty Center, North Sepulveda Boulevard and Getty Center Drive, LA Closed Mondays. To free; Admission tickets in advance required. (310) 440-7300.

18 Sep-Dec 18

“Kim Abeles: Smog Collectors, 1987-2020”

For more than 30 years, Los Angeles artist Kim Abeles has made art with one of urban planning’s least admired found objects: smog. She transforms the foul mixture of particles and ground-level ozone into paintings, drawings and ornaments for plates, baby high chairs, books and relentlessly spinning clocks. Begovich Gallery, Cal State Fullerton, 800 N. State College Blvd. Closed on Fridays and Sundays. To free.

10 October-Jan. 9

"Dinner for two in a smoggy month, 2011" consists of white porcelain tableware and linens colored by air pollution.

Los Angeles artist Kim Abeles’ artwork focused on air pollution heads to the Begovich Gallery in Cal State Fullerton. “Dinner for Two in a Smog Month”, 2011, consists of smog (particulate matter) collected on porcelain tableware and linen.

(Kim Abelès)

“No humans involved”

From the Reagan era “greed is good” to the “I’ve got mine” philosophy of Trumpism, concepts of benevolent humanism have been put to the test over the past 40 years. Seven emerging artists and collectives look askance at some of the ramifications. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. Closed on Mondays. To free; reservations required. (310) 443-7000.

Las Nietas de Nonó "Mechanical illustrations," 2016–19, performances

“Ilustraciones de la mecanica” by Las Nietas de Nono, 2016-19, which will be presented at “No Humans Involved” by Hammer.

(Paula Court)

October 14-16

“Sun & Sea”

For just three days, up to 20 tonnes of sand will transform MOCA’s Geffen warehouse into an indoor beach for an opera performed by 13 singers. Big draw at the Lithuanian pavilion at the last Venice Biennale, the current MOCA production by Rugilė Barzdžiukaitė, Vaiva Grainytė and Lina Lapelytė is co-presented with the Hammer Museum and the Center for the Art of Performance at UCLA. Geffen Contemporary at MOCA, 152 N. Central Ave., Little Tokyo, LA $ 20, $ 25.

19 October-Jan. 9

“Holbein: Capturing Character in the Renaissance”

First in Basel, Switzerland, then in London at the court of Henry VIII, German artist Hans Holbein the Younger made a name for himself with highly refined portraits of members of the royal family, courtiers and d other people of 16th century society, dealing with aspects of the Northern European Renaissance. The show is billed as the first major Holbein exhibition in the United States. Getty Center, North Sepulveda Boulevard and Getty Center Drive, LA Closed Mondays. To free; Admission tickets in advance required. (310) 440-7300.

November 7-Jan. 2

“The Obama Portrait Tour”

The portraits of Barack and Michelle Obama commissioned from Kehinde Wiley and Amy Sherald, respectively, for the National Portrait Gallery in Washington, DC, stop on a nationwide tour of Wiley’s hometown. A selection of black American portraits from the museum’s permanent collection will also be on display. Los Angeles County Museum of Art, 5905 Wilshire Blvd., LA Closed Wednesdays. $ 10 to $ 25; children 2 and under are free; discounts for LA County residents. (323) 857-6010.

10 Nov-Jan 24

Portrait of President Obama by Kehinde Wiley

Kehinde Wiley’s Portrait of President Obama for the National Portrait Gallery will join Amy Sherald’s article on First Lady Michelle Obama at LACMA as part of “The Obama Portraits Tour”.

(Marc Gulezian)

“Rubens: Antiquity in pictures”

When the young Peter Paul Rubens (1577-1640) converted to Catholicism and entered the Latin school, he received extensive training in the classics. A selection of drawings, oil sketches and monumental paintings by the Flemish artist and diplomat will be juxtaposed with Greek, Roman and Etruscan art from the Getty Villa collection. Getty Villa, 17985 Pacific Coast Highway, Pacific Palisades. Closed on Tuesdays. To free; prior reservations required. (310) 440-7300.

"The Calydonian boar hunt" by Pierre Paul Rubens

Getty Villa will host “Rubens: Picturing Antiquity”. “The Calydonian Boar Hunt”, Peter Paul Rubens (Flemish, 1577-1640); Belgium; c. 1611-1612; oil on panel.

(The J. Paul Getty Museum)

11 Nov-Feb 27

“Sahara: acts of memory”

The works of Ismet and Amir Berbić, two generations of displaced graphic designers, are examined in an exhibition focused on the father’s creation of a graphic identity for Sahara, a Bosnian refugee camp in Denmark, and the memory of his childhood there. Benton Museum of Art, Pomona College, 120 W. Bonita Ave., Claremont; Open Tuesday to Saturday. To free; reservations required.

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The exhibition no one has seen – artists talk about managing closures Tue, 24 Aug 2021 22:01:22 +0000

Digital artist Deborah Kelly raised her hand for six; painter Ben Quilty raised his hand for two. For glass artist Brenden Scott French, it was zero, and so it is for ceramist Honor Freeman. This is the number of days the works of these artists have been shown, before their exhibitions are closed due to lockdowns.

For Caroline Rothwell, the magic number was five – but it’s not five days, it’s five exhibitions.

Although disappointed with the closures, Ben Quilty described himself as “lucky”.

“It’s really sad that people don’t see the work, but I feel lucky that it opened for two days; so many people’s shows have just been completely ruined, ”he told ArtsHub.

It was a sentiment shared by Honor Freeman. “You just have to change your expectations and put everything aside. I was lucky to have a project in the studio. ‘

Although Freeman’s exhibition at the Sabbia Gallery in Sydney is unlikely to be lived, it did have what she describes as a “strange window” between closures when a previous exhibition managed to stay open for its entire duration. at the Hugo Michell Gallery in Adelaide.

“I hang on to that and think how lucky I was,” Freeman said.

Kelly is in a similar situation with the perpetual “closed sign”. His and Rothwell’s work were included in the major multi-site investigative exhibit, The National. It was due to end in late August, but the Sydney lockdown cut it short by a month.

“I haven’t exhibited at the Museum of Contemporary Art Australia (MCA) for 15 years, so this is very important to me,” Kelly said. “And I’ve never exhibited at ACMI (Australia Center for Moving Image) before, so having a solo show – and them to build this amazing setting for my work – was a huge moment.”

Kelly’s exhibition The gods of little things is a large-scale animated collage.

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“I haunted people on Instagram for the eight days it was open – maybe it was only six? I watched children immersed in my room; it was so exciting. I just hope I can see it, ”she added.

Sadly, while the Melbourne lockdown may open, borders with NSW will likely remain closed for the remainder of the show, meaning Kelly will never be celebrating that #irl moment.

This is a situation Rothwell can relate to. “These last two years have potentially been the most important of my career – my first solo regional gallery show was supposed to open in April, but Hazelhurst (Hazelhurst Regional Gallery and Arts Center) then moved it to open on July 26 – the day we came into custody in Sydney – so he’s still there in space, ”Rothwell explained.

“They really supported its reopening, but who knows if, when and how,” she added. Horizon is expected to continue until September 19.

For Rothwell, however, it wasn’t just his Hazelhurst show and The National. She was due to have her first solo exhibition in Asia with the Yavuz Gallery – which had been postponed from last year and was due to take place in April but was closed. No longer a project at the Calyx space of the Royal Botanical Garden, Infinite herbarium, also closed, and a solo exhibition with Tolano Galleries in Melbourne is due to open on September 4 – its first exhibition with the mall since 2017, which has also been postponed from 2020 and is not expected to be open to the public.

It is five projects that have had the carpet drawn.

Installation view by Brenden Scott French Time loop exhibition, Sabbia Gallery, Sydney. Image provided.


There are clearly benefits to being part of a gallery’s artist stable – especially for their collector base right now – but you are one artist among many they represent. This is a solo show, that means your chance to participate in a solo show may only come every two or three years.

One of the problems with expanding exhibitions taken in blockades is that the galleries – whether commercial or public spaces – have a tightly choreographed program.

“They just can’t block the program; maybe they could slow down and hang in there – that’s what happened last year – but they can “hold back indefinitely,” Rothwell said.

With this career opportunity stifled by ‘locked in’ exhibitions, artists must once again join the queue.

Quilty said: “It’s problematic – and the most salient point of all. These exhibits allow conversations with a much larger audience and for curators to see the work. Good curators – they attend these exhibitions to get involved in the work and find ways to put it into a bigger purpose.

He continued, “When I look back on my career, you are not really aware of making a breakthrough, but only in hindsight can you recognize that a body of work has crossed certain boundaries and found. a unique way of telling a story.You can only know when you can assess how the audience reacts to this job and [how] conservatives [react], and none of this can happen.

“We are caught in a stasis. But I still can’t help but think that this is a first world problem, ”Quilty added.

It is a blow to her career that Kelly also feels. “I had curators from four states who came to see Creation at the MCA, all waiting for the situation to change, but they couldn’t see the work.

Kelly had been working on the play for two and a half years. “It’s very, very difficult to hold your head up high. Creation is supposed to tour a number of other sites, but it just might end up all wrapped up in a freight truck that won’t get anywhere. It is set to open at the Newcastle Lock-up next month.

Another key step that an exhibition offers to artists is peer review. “It’s a really nice way to celebrate the work you have done for months and months alone in the studio,” Freeman said of the timing of the show openings.

‘You are sweating and you feel completely nervous about it [unveil]. But when I have these openings again, I think I will go there differently, not with so much trepidation, ”she added.

Scott French continued, “The exhibit is a celebration, but you’re talking about long-term impact. I didn’t struggle with it at the start. Then it was “who’s going to see it and am I going to make sales?” It was a relief when they came. But that impact of not having audience engagement didn’t hit me until the series ended. I didn’t have that benefit of witnessing audience engagement and talking to people about what they were interested in about the job. This halted the momentum of the celebration from its establishment.

Scott French said that although he was told he had a solo show about 18 months ago, in the last eight months he ‘was seriously engaged – that was all I did … He There are still things going on outside of these gallery shows, but it’s just that the workload that a show requires is about the one for this time. ‘

Do we dare to consider a ratio of time, cost, result in a pandemic? And what alternative artists really have?


Quilty told ArtsHub, “At the start of COVID, I took a few orders that I would usually say no to. At that point, we just didn’t know what it would look like in six months. But I haven’t had a big drop in sales. Right now people are still buying my work. A lot of people have money to spend on art. But for emerging artists, it’s much more difficult.

Scott French said the one-week difference would have been a totally different situation for him. “But I’m really lucky to be with a gallery that has a great relationship with its clients to make the show a success.”

He told ArtsHub: “I probably wouldn’t be so optimistic without this financial success – I had a great job for this space, for the show, and their trusted clients responded to it.” In conclusion, “There is always optimism about the industry. “

Freeman said of his next show: “My work could go both ways – it’s a really specific piece of art to remember a particular moment, but it could also be too much for someone who don’t want to be reminded – it’s a little too close to the bone. ‘

Freeman used the moment to “pivot” in a different way. “This show was in the works before COVID, but what I was going to do was different. I would be crazy to give up [my use of ceramic] now know – it’s about that moment and a chance to reflect on the history and relevance – so I returned to thinking and researching the history of handwashing. ‘

Detail, the work of Honor Freeman will soon be exhibited at the Sabbia Gallery, Sydney. Image courtesy of the artist.

Like Freeman, Rothwell knows the challenges of sculpture in the marketplace. She added, “It’s great to be working this last year and a half and having these amazing opportunities, but on the other hand, I have nothing next year. It kills you to broadcast these shows in one. white cube with no audience And it’s especially depressing with the sculpture given the three-dimensional relationship with the form – you don’t have a clue of that online or with social media.

She continued the sales: “My income has practically stopped.

“Basically the internationals couldn’t make it to Singapore, and the local Singapore market is interested in supporting their own artist in times of crisis, so the people they hoped to support my work couldn’t. Getting There.”

“I installed it through Facetime with the gallery staff, which was a weird experience,” Rothwell added.

In conclusion, Rothwell said of The National: “It was really exciting working for a show like this on lockdown – being ambitious when you’re locked in your space is a real gift.”

“And to be honest, I feel lucky enough as a mid-career artist, to be able to continue to really explore ideas in depth, so to use the time to research them.” , she added.

Freeman told ArtsHub that she ultimately remained optimistic. “To be completely honest, I’m not a big Internet absorber. I feel saturated with all the material available so I’m afraid it will get lost. But people have pointed out to me that they are “going to see it [digitally] when they usually can’t go anyway ”.

Ben Quilty and Caroline Rothwell are represented by Tolano Galleries. Honor Freeman and Brenden Scott French are represented by Sabbia Gallery, while Deborah Kelly’s project can be supported by Creation Projects. Honor Freeman’s exhibition opens with Sabbia Galleries from September 8 to October 2.

Gina Fairley is the National Visual Arts Editor for ArtsHub. For a decade, she worked as a freelance writer and curator across Southeast Asia and was previously the regional editor for the Hong Kong-based magazines Asian Art News and World Sculpture News. Prior to writing, she worked as an artistic director in America and Australia for 14 years, including in regional galleries, biennials and commercial sectors. She is based in Mittagong, regional NSW. Twitter: @ginafairley Instagram: fairleygina

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Arts calendar: August 25-Sept. 4 Mon, 23 Aug 2021 14:50:07 +0000

The history of art

“Passing the Time: Artwork by WWII German Prisoners of War in Aroostook County,” is on display at the Maine Historical Society, 489 Congress St., Portland, until December 31. Here, German prisoner of war Franz Bacher painted this scene from Mont Saint-Michel, an island town in Normandy, France, for the commander of Camp Houlton during Bacher’s internment there. Contribution / Aroostook County Museum of History and Art

Exhibitions / Galleries

“365 days: a catalog of tears” photographic series, Bowdoin College Museum of Art, Brunswick.

“Alison Goodwin: Tradition and Generation ”, September 2 to October 2, Greenhut Galleries, 146 Middle St, Portland.

Center for the Arts of the Chocolate Church, 804 Washington St., Bath, eight 8-by-8-inch works of art by eight artists, through September 29.

“From a woman’s point of view” Richard Boyd Art Gallery, 15 Epps St., Portland, until September,

Maine Art Collective, multimedia experience led by 14 artists from Maine using media ranging from sculpture to jewelry, painting to photography. Maine Art Collective, 18 Exchange St. Portland.

“Maine Masters of Modernism”, Elizabeth Moss Galleries, 251 US Route 1 in the Falmouth Mall. Featured artists include Will Barnet, Dahlov Ipcar, Lynne Drexler, Rockwell Kent.

“The kneeling art photography project”, UMVA Gallery inside Portland Media Center, 516 Congress St., 3 p.m. to 6 p.m. Thursdays, Fridays and Saturdays through August 27.

“Taproots: offspring of printing origins”, by Rebecca Goodale and Christopher Patch, The Chocolate Church Arts Center Gallery, 804 Washington St., Bath, until September 25.

The Sebascodegan artist group, exhibit at Centennial Hall, Route 123, Harpswell, opposite the Harpswell Historical Museum. Open from 11 a.m. to 5 p.m. until August 28.

Sunday 08/29

“Fairy observation”, Gathering Resilience series from Tempo Art, Fish Point, Portland, free and open to the public,

Friday 9/3

First Friday Art Walk, Portland, 5-8 p.m.,

In progress

“Starting again to reckon with intolerance in Maine”, Maine Historical Society, Congress Street, Portland, until December 31. To schedule an in-person visit to the exhibit and learn more, visit

Elizabeth Moss Galleries, 10 a.m. to 5 p.m. Wednesday to Saturday, US Route 1 in the Falmouth Mall.

Gallery at Widgeon Cove, 31 Widgeon Cove Lane, Harpswell, paintings, jewelry, handmade paper. Call 833-6081 for an appointment or watch for the open flag.

“Passing the Time: Works of Art from WWII German Prisoners of War in Aroostook County, ”Maine Historical Society, 489 Congress Street, Portland, through December 31,

«Re | frame the collection: New Considerations in European and American Art, 1475-1875 ”, Bowdoin College Museum of Art, Brunswick, December 31,

Space gallery, 538 Congress Street, Portland.

“The Advent of Green Acre, a Bahá’í Learning Center: Selections from the Eliot Bahá’í Archives, ”Maine Historical Society, Congress Street, Portland, through October 2,

“Transformations: new acquisitions of contemporary world art”, Bowdoin College Museum of Art, Brunswick, as of January 30.


In progress

Apohadion Theater, virtual screenings via


Jewish Museum of Maine, current exhibitions: “Trees of Life”, Victoria Elbroch; “Close to Hand”, Anne Ireland; “Shalom, sisters”, Phyllis Graber Jensen. 267 Congress Street, Portland.

In progress

Bowdoin College Art Museum, Brunswick, opening times on

Joshua L. Chamberlain Museum (226 Maine St.), Skolfield-Whittier House (161 Park Row) and Pejepscot History Center (159 Park Row), Brunswick. For hours, lectures, and presentations, see

Maine Antidote Museum of Photographic Arts online at

Peary-MacMillan Arctic Museum at Bowdoin College, Brunswick, collections and exhibitions online at

Portland Art Museum, Rue du Congrès,

Portland Observatory, 138 Congress St., open 9:00 a.m. to 6:00 p.m. Thursday through Monday, last admission 5:00 p.m. Access by pre-purchased and timed tickets only,

Tate House Museum, 1267 Westbrook St., Portland, guided tours inside the historic house every hour from 10 a.m. to 3 p.m. Thursdays, Fridays and Saturdays through October 1. Tickets must be pre-purchased at; $ 15 adults, $ 12 seniors, $ 7 12 and under.


317 Main Community Center Summer Concert Series, Railroad Square Pavilion, Yarmouth, 7 p.m., August 26 and September 23.

Freeport Artistic and Cultural Alliance Summer concert series, noon on September 5, $ 20 to $ 50. Parking behind Meetinghouse Arts, 40 Main St., Freeport.

Darling Corey, 6 p.m. first Friday of the month through December, Port City Blue, 650A Congress St., Portland.

Gazebo concerts at Library Park, at 7 p.m. Tuesday to August 31, 890 Washington St., Bath,

Music on the mall, 6 p.m. Wednesday to September 1, Brunswick Town Mall. To free.

Live summer sunsets, 4 p.m. Thursdays and Fridays through Sept. 10, Thompson’s Point, Portland. Variety of live music, food trucks, games, beers,

Really Sam summer musical series, 5 p.m. to 7 p.m., live music on the Portland Harbor Hotel Terrace, August 26-28. Portland Harbor Hotel, 468 Fore Street, Portland. Free,

Waterfront Park Concert Series, 6:00 p.m. Saturday to August 28, 61 Commercial St., Bath,

Wolfe Neck Center, live music from noon to 4 p.m. on the second Thursday of the month and the third Saturday in September at the tent in front of the Little River Farm in Freeport.

Wolfe’s Neck Center Mini-Fest Musical, noon, third Saturday in August and September, Freeport.

Thursday 8/26

311 – Live tour of the ride, 6 p.m. Thompson’s Point, 4 Thompson’s Point, Portland, $ 49.50.

Happy people, The Dogfish Company, 128 Free St., Portland,

Karaoke, 10:00 p.m. to 12:30 a.m., Sea Dog Brewing Company, 125 Western Ave., South Portland,

Keep Flying + dancer + Savor + Arcuates, 8 p.m., Portland House of Music, 25 Temple St., Portland, $ 8 / advance, $ 10 / day for, 21 and over,

Lee Sykes, Noble Kitchen + Bar, 6 p.m., Noble Street, Brunswick.

Friday 8/27

Jack in tatters, 4:00 p.m., The Hublot Restaurant & Pub, 20 Custom House Wharf, Portland.

Sara Trunzo + Tiffany Williams, 6 p.m., Blue, 650A Congress St., Portland.

Saturday 08/28

80s retro party, Flask Lounge, 117 Spring St., Portland. The last Saturday of each month,

Cherry Aqua, 6 p.m., The Thirsty Pig, 37 Exchange St, Portland, reggae.

Beatles 1964, 9 p.m., Aura Maine, 121 Center St., Portland. $ 15- $ 29.50,

Pan-Seared Steel, 6 p.m., Kennebec Concerts at Waterfront Park, Bath, steel drum band, free.

Philippe Crettien Trio, 8 p.m., Blue, 650A Congress St., Portland.

Sam Luke Chase and his friends, 12:30 p.m. to 3:30 p.m., Portland Lobster Company, 180 Commercial St., Portland.

Alley of sapphires, 7 p.m., Cadenza, 5 Depot St., Freeport. $ 18.

Slygo Road, 7:00 p.m., The Hublot Restaurant & Pub, 20 Custom House Wharf, Portland. Southern Maine blues, rock, soul and R&B group,

Soggy Po ‘Boys, 7 p.m., St. Lawrence Arts, 76 Congress Street, Portland. New Orleans Jazz and Music Conference, $ 12 to $ 15,

Thursday 9/2

Apolojeesus, HYHT, said John Earl, 8 p.m., Sun Tiki Studios, 375 Forest Ave., Portland. $ 10 to $ 12.

Friday 9/3

Chicken coop walkers, noon, Thomas Point Beach and Campground, 29 Meadow Road, Brunswick. $ 35 to $ 150,

The ghost of Paul Revere: Almost Ghostland, 7:00 p.m., Port City Music Hall, 504 Congress St., Portland. $ 86 to $ 121,

Saturday 9/4

Kesha with special guest Betty Who, 8 p.m., State Theater, 609 Congress St., Portland. $ 59.50.

Sam Luke Chase and his friends, 12:30 p.m., Portland Lobster Company, 180 Commercial St., Portland. Free,

“Tales of bells and drums”, 5.30 p.m., Auditorium Merrill, Portland, drumming, dancing and singing from Rwanda and Burundi, East Africa and Guinea, West Africa. Tickets via PortTix.

Sunday 9/5

Super-wolves with little wings, 6:30 p.m., co-presented by SPACE, outdoor at the Maine Maritime Museum shipyard, Bath, $ 32 / advance, $ 40 / day, show for all ages.

Tribute to Elton John with the Yellowbrick Road Band, Music on the Kennebec, Waterfront Park, Bath, $ 35,

Friday 9/17

Schooner price, 7:30 p.m., The Chocolate Church Arts Center, 804 Washington St., Bath, Original and Traditional Maritime Songs, $ 24 in advance, $ 26 on the day of.


“Apollo to the Moon”, various show dates and times through August, Children’s Museum & Theater of Maine, 250 Thompson’s Point Road, Portland. $ 10, some shows pay what you can.

“Jersey Boys”, September 1-11, presented by the Maine State Music Theater at the Westbrook Performing Arts Center, 471 Stroudwater St., Westbrook. $ 57 to $ 73.

“King of Crows VIII”, 7:30 p.m., September 2-5, Saint-Laurent Arts Center, 76 Congress Street, Portland. A live TV show goes horribly wrong. Pizza making becomes a way to reveal deep feelings. $ 20,

“Ring of Fire: The Musical Show of Johnny Cash”, through August 29, Portland Stage, 25A Forest Ave., Portland,

“The She Shed,” 7 p.m. Tuesday through Thursday through September 2, Footlights Theater, 190 US Route 1, Falmouth. Comedy that celebrates women of all ages (and the brave men who love them)! $ 20,

Friday 8/27

Scorching nights, 7 pm, a sultry evening of burlesque and dance to benefit St. Lawrence Arts, 76 Congress Street, Portland. $ 20 to $ 23,

In progress

Stroudwater comic series, 7-10 p.m. Thursdays, Stroudwater Distillery, 4 Thompson’s Point, Portland. $ 10, reservations required through

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