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ANNIE LARMON

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Lauren Fensterstock brings the outside in

Black gardens
A saturated plot of Lauren Fensterstock's obsidian growth is planted in the Sculpture Gallery of the Ogunquit Museum of Art, an uncharacteristically heavy installation in the otherwise light space.

By: ANNIE LARMON | May 18, 2011

Review: Iain Kerr examines truth, reality, and the human way

Dislocative measures
Confronting and denying conventional aesthetics and modes of exhibition, Iain Kerr: artist, writer, educator, and founding member of spurse, an international peripatetic collective and experimental consultation service, intimately reinvents the project space at Gallery 37-A.

By: ANNIE LARMON | May 11, 2011

Review: August Ventimiglia at the June Fitzpatrick Gallery at MECA

Line tensity
August Ventimiglia isolates simple gestures and records their impact and reverberations, magnifying the grace of the adjusting and settling physical world, and implying larger social and philosophical commentary.

By: ANNIE LARMON | April 06, 2011

Review: R. Crumb illuminates the Bible at the Bowdoin College Museum of Art

Biblically speaking
The Book of Genesis seems like inherently good fodder for R. Crumb's satirical debasement.

By: ANNIE LARMON | March 16, 2011

Review: Video art meets minor-league hockey

Codes of play
Last Tuesday the crowd at the Portland Pirates game against Worcester sipped soda and munched on pretzels and popcorn as Canadian artist Graeme Patterson's two-minute video "Ten Point Game" was announced.

By: ANNIE LARMON | March 09, 2011

Review: Greta Bank’s ‘Cashmere Roadkill’ in ‘Storytellers’ at USM

Ode on Grecian carrion
"Cashmere Roadkill" stretches its flaccid bloat of a body over about 10 feet of bookshelf on the seventh-floor reading room at USM's Glickman Family Library.

By: ANNIE LARMON | February 16, 2011

Celebrating the insignificant with Fun-A-Day

Daily doings
What happens when you dedicate time every day for a month to one creative endeavor?

By: ANNIE LARMON | February 10, 2011

Looking deeply into the everyday with aa//ee's Broadsheet

Targeting ‘To Go’
The Dixie cup is the first object investigated in aa//ee's inaugural issue of Broadsheet , a quarterly newsletter exploring the historical narratives behind mundane objects of industrial design.

By: ANNIE LARMON | January 19, 2011

Daniel Meiklejohn contemplates the female form

Variations on a theme
There is unlikely any subject more explored in the art-history continuum than the female form.

By: ANNIE LARMON | January 18, 2011

A chat with MENSK about those mobile shows

The truck stops here
The gripe I hear most regularly about the Portland art scene laments the lack of alternative or DIY art spaces that really invite experimentation.

By: ANNIE LARMON | December 15, 2010

Raymond Pettibon's 'Repeater Pencil'

Last words
"Was he a cynic, an enthusiast, or merely an aesthete of rough seas?" Rhetoric scratched across a cresting wave sets the dissonant tone of "Repeater Pencil," Raymond Pettibon's 14-minute single-screen animation, which wavers between a decorated apathy and dire fatalism.

By: ANNIE LARMON | December 08, 2010

Take a seat and consider the chair

Form + function
Richard Prince's 2008 "Nurse Hat Chair" sits next to a gothic French "Joined Chair" in the first gallery of the extensive "Sit Down!" — book-ending the six centuries of chairs represented in the exhibit.

By: ANNIE LARMON | December 08, 2010

Cinematic excess

Matthew Barney's seven-hour Cremaster Cycle descends in the Portland Museum of Art
Eight years after its completion, The Cremaster Cycle , Matthew Barney's interminable multi-media opus, continues to befuddle and intrigue audiences.

By: ANNIE LARMON | November 10, 2010

Art review: 'Trompe L'oeil: False Documents & Other Illusions'

Closer inspection
In the art of deception lies the potential to destabilize perceptions of reality, if only momentarily.

By: ANNIE LARMON | November 03, 2010

Art review: Four word-based artists at Whitney Art Works

Text messaging
Adriane Herman recategorizes our most ephemeral and disposable documents as relevant cultural artifacts.

By: ANNIE LARMON | October 20, 2010

Amy Stacey Curtis's Sixth Solo Biennial Exhibit

Time out
Jorge Luis Borges wrote, "Time is the substance from which I am made. Time is a river which carries me along, but I am the river; it is a tiger that devours me, but I am the tiger; it is a fire that consumes me, but I am the fire."

By: ANNIE LARMON | October 12, 2010

Five artists address intimacy at MECA’s ICA

Taking vows
The largely performance-based offerings in "Mind-bending with the Mundane" inspect the confusing grayscale of modern relationships and family structures, addressing what contemporary domesticity looks like in a society of convenience and prerogative with diluted and outmoded institutions.

By: ANNIE LARMON | September 22, 2010

Fall Art Preview: Rising to the challenge

Museums, galleries, and artists ready for fall shows
Last weekend’s Block Party was a charming and invigorating celebration of Portland’s art community. The interactive evening, spearheaded by SPACE Gallery, set an ambitious standard for what’s to come on the art front rounding out this year.

By: ANNIE LARMON | September 15, 2010

Review: Karen Gelardi's 'botanical propaganda' at Perimeter Gallery

Color fields
Two recent groups of Karen Gelardi's studies of nature (she calls it "botanical propaganda") harness a bold and painterly craft aesthetic among the rough wood benches and baskets of lush melons and gourds in the open industrial space that also serves as a popular restaurant and farmers' market in downtown Belfast.

By: ANNIE LARMON | September 01, 2010

Whitewashed

Examining Jeffrey Clancy's craft theories
Jeffrey Clancy plays with craft theory through the lens of a metalsmith working with traditional techniques and decorative motifs.

By: ANNIE LARMON | August 25, 2010

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