In antiquity and in the Renaissance there was an inherent sensuality to being able to visually consume a sculpture from every angle.
The Bowdoin College Museum of Art is exhibiting memento mori objects from Renaissance Europe, often grotesquely designed to startle viewers into recognizing mortality.
The stated goal of New York City-born, Portland, Maine-based painter Elise Ansel is “re-creating, re-visioning, and re-presenting” paintings from the past.
Nighttime darkness compresses space and alters colors, making ordinary places both more terrifying and more freeing, changing the social dynamic of those who walk in them.
Space exploration and the science fiction imagination of alien encounters out in the stars reached their peak of optimistic possibility between the 1940s and 1970s, culminating with the first moon landing in 1969.
I left Katherine Bradford’s first museum show, August, at the Bowdoin College Museum of Art, Brunswick, Maine (June 29 – September 1, 2013) wishing for an in-depth survey. As it is, there are eight paintings ranging from 10 x 10 inches to 68 x 80 inches — a sumptuous sampling — exhibited in one gallery. While the curator, Joachim Homann, and the museum are to be applauded for making this show happen, they should also be chided for appearing to hedge their bets. Bradford deserves more, much more. A second room and eight more works would have been a good start.