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DTSTART;VALUE=DATE:20220923
DTEND;VALUE=DATE:20221231
DTSTAMP:20260405T131401
CREATED:20220815T162028Z
LAST-MODIFIED:20220815T162028Z
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SUMMARY:Anat Shiftan: Life & Still
DESCRIPTION:Anat Shiftan is a ceramic artist and professor at the State University of New York at New Paltz. She uses artistic and decorative motifs found throughout western art history–floral centerpieces and arranged still life vignettes–to explore her relationship to nature both as a human being and as an artist. Her exhibition at the Zillman Art Museum will be shown September 23 – December 30\, 2022.
URL:https://artinamericaguide.com/event/anat-shiftan-life-still/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220923
DTEND;VALUE=DATE:20221204
DTSTAMP:20260405T131401
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SUMMARY:Andrew Baron: All This I Give To You
DESCRIPTION:Andrew Baron was born in Cincinnati\, Ohio and currently lives in Newark\, New Jersey. The artist paints from a position of an abiding skepticism along with a faith in being able to find something from nothing. His paintings are meant to elicit a wide range of responses and are often introspective and emotional. \nAll This I Give To You will be exhibited at the Zillman Art Museum – University of Maine September 23 – December 3\, 2022. The Zillman’s hours are Tuesday – Saturday\, 10 – 5.
URL:https://artinamericaguide.com/event/andrew-baron-all-this-i-give-to-you/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220923
DTEND;VALUE=DATE:20221231
DTSTAMP:20260405T131401
CREATED:20220815T162027Z
LAST-MODIFIED:20220815T162027Z
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SUMMARY:Sydney Licht: Shelf Life
DESCRIPTION:Sydney Licht is a painter based in New York. Her still life paintings reveal the artist’s interest in domestic pattern and decoration and a regard for the boxes and bags that are the incidental detritus of a consumer culture. She focuses on shape\, pattern and color\, and works with restricted palettes\, limiting herself to only four or five colors per work. \nShelf Life will be exhibited at the Zillman Art Museum – University of Maine from September 23 – December 30\, 2022. Museum hours are 10 – 5\, Tuesday – Saturday.
URL:https://artinamericaguide.com/event/sydney-licht-shelf-life/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220124T100000
DTEND;TZID=America/Halifax:20220430T170000
DTSTAMP:20260405T131401
CREATED:20220126T161516Z
LAST-MODIFIED:20220126T161536Z
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SUMMARY:AGAINST THE GRAIN: WOODCUTS FROM THE COLLECTION   January 14 - April 30\, 2022
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 30\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nAGAINST THE GRAIN: WOODCUTS FROM THE COLLECTION\nJanuary 14 – April 30\, 2022 \nPrintmaking has been used for centuries and for a variety of purposes\, including printing texts\, advertisements\, patterns on fabric\, and fine art. The earliest form of printmaking traces back to the Han Dynasty in China\, around 206 BC to 220 AD. Johannes Gutenberg invented the first printing press in Germany around 1440\, enabling the mass production of printed products and revolutionizing how information was shared with a significantly wider audience throughout Europe. \nWoodcut\, the oldest technique used in fine art printmaking\, is a form of relief printing. Against the Grain highlights the diversity and history of woodcut prints\, including examples from as early as 1496. Woodcuts are one of many printmaking techniques and are created by carving into a block of wood\, traditionally basswood or cherry. It is a reductive process\, meaning that the carved areas do not receive ink. Once the surface is carved\, ink is transferred onto the block. \nFor traditional Western printmaking\, oil-based ink is rolled onto the surface of the block using a tool called a brayer. The block is then placed on a printing press\, with paper laid on top of the block. The woodblock and paper are then rolled through the press which applies even pressure\, thus transferring the image onto the paper. For traditional Japanese printmaking\, water-based inks are brushed on with a specialized maru bake brush. Paper is then placed over the block and hand-printed using a tool called a baren. By carefully rubbing over the whole block with considerable pressure\, the image is transferred to the paper. This method is called mokuhanga. \nThe selected works in this exhibition illustrate the vast range of styles and subjects that can be accomplished through the woodcut process. The styles range from classical to abstract and emphasize the wide-ranging influence of this form of printmaking on generations of artists. \nAngel of Death (1959) by Leonard Baskin shows the precision that can be accomplished with woodcut prints. His lines are smooth and appear as if the artist has drawn the image directly on the paper. Baskin’s work demonstrates a stark contrast to the approach employed by Matthias Mansen. In Halbfiguren (1983)\, Mansen’s print appears to be roughly carved. This style of quick\, broad mark-making illustrates the free nature of his carving\, as opposed to Baskin’s very controlled method. While both artist’s focus on the human form\, their finished images convey strikingly different outcomes. \nIn the print Untitled by an unknown Japanese artist\, the traditional method of Japanese woodblock printing is demonstrated. By comparing this early work to the contemporary piece Dialogue in Red (1975) by Hiroyuki Tajima\, the viewer can see the development of Japanese printmaking techniques over hundreds of years. Tajima’s work is completely abstract and relies on luminous color and biomorphic forms\, rather than representational figures. Modern printmakers actively experiment with traditional methods\, while also seeking new ways to achieve meaning in their work. The woodcut technique continues to be a process that artists explore as a way to enhance and expand their artistic practice. \nThe exhibition was organized by ZAM’s 2021-2022 Curatorial Intern\, Delaney Burns
URL:https://artinamericaguide.com/event/against-the-grain-woodcuts-from-the-collection-january-14-april-30-2022/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220124T100000
DTEND;TZID=America/Halifax:20220421T170000
DTSTAMP:20260405T131401
CREATED:20220126T161643Z
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SUMMARY:ALASTAIR O. FINLAY: THE FRACTURED NEGATIVE
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 21\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nALASTAIR O. FINLAY: THE FRACTURED NEGATIVE\nJanuary 14 – April 21\, 2022 \nThe Fractured Negative showcases a selection of black and white images by Alastair O. Finlay\, a photographer who passed away in 2009. Finlay was born in Venezuela in 1943 to English parents and was the grandnephew of Sir William Orpen\, a successful Irish Edwardian-era portrait painter. Finlay originally studied art in England and began his career in advertising and publishing. After discovering his affinity for photography at the age of 24\, he relocated to New York City to work as an advertising and editorial photographer for luxury brands. However\, Finlay was an artist at heart and began to fully explore photography’s creative potential. \nFinlay’s images were created by layering negatives during the photographic exposure process. He placed multiple negatives in the darkroom enlarger\, instead of a single negative which is most typical. This layering method produced the abstract\, fractured quality found in his images. Finlay then scanned the darkroom prints as part of his process so they could be made into archival ink-jet prints\, allowing the artist to more easily print in a range of large sizes. \nMany of Finlay’s photographs capture scenes and locations in New York City that are superimposed over each other. These layered images evoke mysterious and ethereal feelings\, and seem to portray random moments in time in the city. The moody style that Finlay achieves is heightened by the way in which he captures the fluctuating light on varied environments in NYC\, which invites the viewer to contemplate the random\, fleeting aspects of a bustling metropolis. \nNude Stardust\, 1996 depicts an array of architectural elements that Finlay artfully layered to create a cohesive composition. Perhaps with a nod to the Constructivist artists\, Finlay presents his version of an abstracted industrial modern world. This work contrasts with Palm Trees (1995)\, which also shows his ability to create an alluring scene—but rather than rigid structures the traditional setting seems to emanate a haunting glow. The two photographs below highlight Finlay’s skill in achieving a seamless integration of two different subjects in order to advance his creative vision.
URL:https://artinamericaguide.com/event/alastair-o-finlay-the-fractured-negative/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220114T100000
DTEND;TZID=America/Halifax:20220430T170000
DTSTAMP:20260405T131401
CREATED:20220124T180609Z
LAST-MODIFIED:20220124T180609Z
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SUMMARY:STELLA WAITZKIN: MATERIALITY January 14 - April 21\, 2022
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 21\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nSTELLA WAITZKIN: MATERIALITY\nJanuary 14 – April 21\, 2022 \nMateriality features a selection of works by Stella Waitzkin that were gifted to the Zillman Art Museum by the Waitzkin Memorial Library Trust and the Kohler Foundation. Waitzkin was a sculptor connected to the abstract expressionist movement in New York City\, and who worked alongside Jackson Pollock\, Franz Kline\, and Willem de Kooning. The works in this exhibition are created from cast polyester resin and a number are on display for the first time. Waitzkin famously commented “all words are lies”\, so it is paradoxical that the primary subject of her works were books. The artist’s sculpted books are unreadable slabs that seem to entrap narratives and ideas within the rough\, translucent pages. \nAdditional recurring subjects in Waitzkin’s work are birds and clocks\, both of which are represented in this exhibition. The rough surfaces and embedded materials\, such as silk flowers and assorted fabric\, evoke a feeling of uncomfortable nostalgia. The act of casting these everyday objects in the hardened resin material bestows the work with a sort of quirky permanence. In fact\, when viewed as isolated objects\, one might find them to be somewhat like fossilized relics. \nFrom the 1960s until the early 2000s\, the artist lived in the legendary Chelsea Hotel; a hotbed of creativity for artists\, musicians\, and writers who were drawn to the bohemian spirit that permeated its walls. Waitzkin found inspiration in the various objects she collected. She created a mammoth tableau in her apartment by stacking her sculptures en masse. In an article\, her son recounted: “Her entire place was a bedlam of sculpture and old books and wood\, garbage\, anything that she might make into art.” She was a collector and “put everything imaginable inside her books without words\, religious icons\, baby shoes\, faces of animals. She once embedded a dead bird in one of her sculptures.” \nAlthough Waitzkin’s sculpted books are without words\, they invite contemplation. The eccentric forms and the objects embedded within contain unique moments in time that are memorialized by the artist. \nAdmission to ZAM is FREE in 2022 thanks to the generosity of Birchbrook. \n###
URL:https://artinamericaguide.com/event/stella-waitzkin-materiality-january-14-april-21-2022/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220114T100000
DTEND;TZID=America/Halifax:20220430T170000
DTSTAMP:20260405T131401
CREATED:20220124T180455Z
LAST-MODIFIED:20220126T164139Z
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SUMMARY:DEBORAH DANCY: CIRCLING TIME
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 30\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nDEBORAH DANCY: CIRCLING TIME\nJanuary 14 – April 30\, 2022 \nCircling Time features nearly 30 paintings by Connecticut-based artist Deborah Dancy. Her gestural compositions\, often monochromatic and balanced with bright pops of vivid color\, are rooted in abstract expressionism. Some of Dancy’s works span six feet and embrace the large-scale format often favored by the early abstract painters. The artist uses a form of inventive biomorphic abstraction to evoke emotion and express an unbridled freedom. Opting not to begin a work with preconceived ideas\, the artist instead chooses to highlight the beauty of the unpredictable and the process of revision. Dancy embraces the idea of a “beautiful mess” expressing that “incompleteness—the unfinished fragment of what ‘almost was’ and ‘might become’—amplifies meaning.” \nDancy uses both additive and reductive processes in constructing her paintings. She adds painted passages that might later be scraped away as she searches to achieve a balance in the composition. The artist’s spontaneous process contributes to the sense of free flowing emotion found in many of her paintings. Dancy encourages various interpretation and formulation of meaning through the eyes of the viewer. The artist states “Experiencing a painting of mine can be like going to a country that is completely different. I want someone to embrace the different\, the difficult\, the frightening—even the ugly—in a culture that is vastly different from their own.” By not fully revealing her intention in the paintings\, the observer is inspired to experience a unique\, unrestricted\, and deeply personal encounter with a painting. \nAdmission to ZAM is FREE in 2022 thanks to the generosity of Birchbrook. \n 
URL:https://artinamericaguide.com/event/deborah-dancy-circling-time/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220114T100000
DTEND;TZID=America/Halifax:20220430T170000
DTSTAMP:20260405T131401
CREATED:20220124T180412Z
LAST-MODIFIED:20220315T134409Z
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SUMMARY:JEN WINK HAYS: VALLEY LOW
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 30\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nJEN WINK HAYS: VALLEY LOW\nJanuary 14 – April 30\, 2022 \nValley Low features a selection of paintings and wall-oriented sculptures by Jen Wink Hays who is based in Philadelphia\, PA. Hays’ paintings are populated by whimsical shapes painted in a hard-edged fashion. Bulging forms that seemingly reference cartoon-like anatomy\, chunky bent cylinders and other shapes\, evoke forms from both the built and natural world and share space on these canvases. They unite in a sort of organic growth that seemingly emanates from the bottom of the compositions. Hays comments that “the works in Valley Low are undeniably upbeat and sunny in appearance yet—as the title suggests—something more psychologically complex and nuanced is at play.” While the artist’s paintings employ simple\, block-like and “almost childlike shapes”\, her process encompasses multiple steps\, both additive and subtractive. Art critic and writer Nico Kos Earle comments that Hays’ paintings are built “through a series of increasingly controlled layers” and that the artist’s “zoom in\, zoom out” approach is also “procedurally connected to our constant toggle between the organic and the synthetic.” \nThe exhibition demonstrates the artist’s keen ability to work in all formats and sizes\, from works as small as\n18 x 24 inches to mammoth paintings that span ten feet. A focal point of the exhibition is the large-scale painting\, Blowback. The eccentric\, stacked shapes appear to originate from the left corner and are created in a most cheerful palette that includes vivid lime green\, mustardy yellow\, coral\, and chromatic grays. In some instances colors shift within the enigmatic forms—the bottom of some flesh-toned forms appear to be dipped in vivid flamingo-pink. Hays confidently integrates flamboyant and under-stated colors in her paintings\, reflecting her desire “to negotiate between gaudy and tasteful in my work”. Energy and movement are also evident in Blowback. The prominent green element that hugs the right side of the “shape pile” seems to cast off an array of eccentric shapes that range from kite-like diamonds and circles to smaller random shards. These forms seem to have been expelled from the larger mass and float on the blue-gray expanse. \nAs in Hays’ paintings\, her sculptural works are equally lighthearted. It is as if she plucked a few singular shapes from the canvases and gave them life in three dimension. The quirky sculptures Bobber 1 & 2 are fashioned from accessible\, arguably “low art” materials such as papier mâché and have a playful resonance. In this wall installation Bobber 1\, a two-toned bumpy shape that brings to mind microscopic cellular material\, awkwardly dangles from twisted natural rope\, while it’s weighty green and charcoal gray companion\, Bobber 2\, hangs alongside. \n 
URL:https://artinamericaguide.com/event/jen-wink-hays-valley-low/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200804T100000
DTEND;TZID=America/Halifax:20201223T170000
DTSTAMP:20260405T131401
CREATED:20200803T120321Z
LAST-MODIFIED:20200803T120321Z
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SUMMARY:Zillman Art Museum Announces New Exhibitions
DESCRIPTION:BANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, Maine\, opens three new exhibitions in August 2020. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year. ZAM’s summer/fall shows open to the public on August 4 and run through December 23\, 2020. Admission to the Zillman Art Museum is free in 2020 thanks to the generosity of Deighan Wealth Advisors.\n\nMAINE INSPIRED: ART LUMINARIES AT THE BICENTENNIAL\nAugust 4 – December 23\, 2020\nThroughout history\, artists have been attracted to Maine for its striking landscape\, quiet remoteness\, and resilient people. As we celebrate Maine’s Bicentennial in 2020 and the state’s rich artistic history\, the Zillman Art Museum (ZAM) showcases artists who have not only contributed to the cultural fabric of Maine\, but whose works of art are lauded internationally. \nFeatured in the exhibition are an assortment of works from the ZAM collection including two of Winslow Homer’s finest prints\, Eight Bells\, 1887 and Perils of the Sea\, 1888. John Marin\, whose studio in Maine was on a picturesque point in Addison\, is represented by two dynamic watercolors\, A Bit of Cape Split\, Maine\, 1940 and A Bit of Stonington\, Maine\, 1926—as well as a suite of etchings that attests to his skill in both representation and abstraction. \nOne of Maine’s most prominent artists\, Andrew Wyeth\, is featured in two lovely watercolors gifted in 1948 by Bangor’s Wing Sisters\, Adeline and Caroline. The exhibition also highlights three images by Berenice Abbott\, one of photography’s greatest practitioners\, who relocated permanently from New York City to Blanchard\, Maine in the 1960s. Also included are contemporary works by Alex Katz including Ann Lauterbach\, 1977 and Swimmer\, 1974—two pieces that illustrate his distinctive\, pared-down approach to portraiture. \nAdmission to the Zillman Art Museum is FREE in 2020 thanks to the generosity of Deighan Wealth Advisors.\n### \n\nBEING HERE: MARCIE JAN BRONSTEIN\nAugust 4 – December 23\, 2020\nBeing Here features a stunning selection of recent watercolor compositions by Maine-based artist Marcie Jan Bronstein. In this exhibition\, Bronstein beautifully harnesses the unique qualities of watercolor\, often thought of as a unforgiving medium that doesn’t lend itself to revisionist impulses\, in images that are both subtle in one instance\, and bold in another. \nA focal point of the exhibition is a dramatic grid of nine works titled Oasis. Marks that suggest ropes or swaged transparent drapery inhabit these works. In these works\, one may also see subtle references to architecture\, such as seemingly stylized stairways and open portals of expansive light. Seen as a unit or as individual panels\, the calming monochromatic colors employed in Oasis—ranging from pale blues\, lavender\, and buttery yellow—invite multiple interpretations for viewers. \nIn other compositions\, Bronstein depicts crystalline forms as if the objects are mutating under a microscopic lens. One also sees the artist’s web-like strands that reference occurrences at the cellular level or stretched ovoid forms that are reminiscent of polished beach rocks\, potatoes\, or pill-like capsules. Through Bronstein’s varied marks\, blooms of transparent watercolor\, and enigmatic forms\, she creates rich opportunities for reflection and interpretation. \nAdmission to the Zillman Art Museum is FREE in 2020 thanks to the generosity of Deighan Wealth Advisors.\n### \n\nWOOD NYMPHS: JOANNE CARSON\nAugust 4 – December 23\, 2020\nWood Nymphs\, features a selection of drawings and large-scale sculptures by JoAnne Carson. Splitting her time between Brooklyn and rural Vermont\, Carson is known for her quirky\, serio-comic works in painting\, sculpture and assemblage. \nCarson’s sculpture Chlorophylia (For a World Without Color)\, that rises eight feet tall\, is a focal point of the exhibition. The work is light-bleached and ghostly with its oversized\, pale colored flowers and branches that stretch to the ceiling. Varied plant species—some resemble stylized hydrangea while others are textural enlarged roses—are assembled in a whimsical manner on a trunk-like base that is perched atop a circular disk. \nWood Nymph\, 1999\, represents a major work in Carson’s career; a multi-armed\, female figure spins pies on the tip of her fingers as she emerges from a nine foot high trompe l’oeil log. The work is a tragic/comic comment on the gendered role of women as homemaker\, muse\, and force of nature. \nThe work Blue\, 2006\, is a quirky three-dimensional piece that is reminiscent of the amped up colors and forms found in a Dr. Seuss book. The flattened\, stylized leaves and pom-pom flowers emanate from a coiled electric-blue stalk whose origin is four curved legs that rest precariously on the plinth. Exhibited together these works orchestrate a chorus of invented forest creatures that aspire to transport viewers to a magical\, imaginative woodland.
URL:https://artinamericaguide.com/event/zillman-art-museum-announces-new-exhibitions/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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