Saturday, October 30, 2010
Sunday, October 24, 2010
And here is one of the prints made on September 12th using a steamroller, printed on canvas 50" x 48" hanging up on my studio wall. A tentative title is The First Seven.
Friday, October 15, 2010
The second drawing is a donut shape about 18 inches wide drawn with white pencil on black paper, and it's internal patterning looks a lot like that in my big steamroller print. I really like the immediacy of drawing with dry media and I'm so happy I found a brand of colored pencil that does not break every 5 seconds (Prismacolor Verithin), because I have to press pretty hard to get these lines.
Friday, October 8, 2010
Thursday, October 7, 2010
A full series of 7 of my drawings were chosen for inclusion in the upcoming Biennial Exhibition, I'm so excited! Below was taken directly from the museum's website.
2011 Portland Museum of Art Biennial
April 7 through June 5, 2011
After receiving more than 900 entries for the 2011 Portland Museum of Art Biennialexhibition, the Portland Museum of Art is pleased to announce that 66 works by 47 artists have been selected for the show. This past summer, artists submitted more than 3,600 works of art to be considered by a panel of three jurors: Jim Kempner, Owner and Director, Jim Kempner Fine Art, New York; David Row, a painter based in New York and Maine; and Joanna Marsh, the James Dicke Curator of Contemporary Art at the Smithsonian American Art Museum, Washington, D.C. The jurors spent a weekend in September viewing images and selecting the work for the upcoming Biennial.
Each Biennial is uniquely formed by the jurors' collective vision and the work presented to them. As a series, the Biennial exhibitions create a visual record of Maine's evolving contemporary art scene and testify to the profound influence that the landscape, traditions, and people of Maine continue to have on living artists. Maine has nurtured artists for centuries, and its influence reaches far beyond its borders.
The majority of Biennial artists are full-time Maine residents and a number of them are part-time or have spent significant time exhibiting, making work, and studying in Maine. Of the 47 artists chosen, only nine have participated in previous Biennial exhibitions. Their work is created in media ranging from painting, drawing, printmaking, and photography to sculpture, installation, and video. This blend of influences and experiences enriches the state's artistic community and defines its art scene as one that reflects a diversity of traditions-both established and new.
A full-color catalogue will be published in conjunction with the exhibition and will be available in the Museum Store next spring.
2011 Biennial List
47 artists selected
9 artists have exhibited in previous Biennials
*denotes participation in previous Biennials
*Mary Aro (Sargentville, ME and Grosse Pointe Park, MI) (2009, 2007, 2001, 1998)
Carol Aronson-Shore (Portsmouth, NH)
Jeremy Barnard (Friendship, ME and Georgetown, MA)
Kim Bernard (North Berwick, ME)
Natasha Bowdoin (Lyman, ME and Houston, TX)
Philip Brou (South Portland, ME)
David Caras (Portland, ME)
Avy Claire (Blue Hill, ME)
Thomas Connolly (Portland, ME)
William Cox (Auburn, ME)
Jon Edwards (South Freeport, ME)
Alicia Eggert (Portland, ME)
Sarah Faragher (Stockton Springs, ME)
Clint Fulkerson (Portland, ME)
*Kathleen Galligan (Bristol, ME) (2001)
Marissa Girard (York, ME and Goffstown, NH)
Carly Glovinski (Berwick, ME)
*Alisha Gould (Kennebunk, ME) (2005)
James Groleau (Sorrento, ME and Oakland, CA)
Tyson Jacques (Providence, RI)
Michael Kahn (Coatesville, PA)
Rachel Katz (Portland, ME)
Siri Kaur (Los Angeles, CA)
John Kelley (Cumberland Center, ME)
Mark Ketzler (Kennebunk, ME and Scarsdale, NY)
Selena Kimball (Brooksville, ME and Brooklyn, NY)
*Colleen Kinsella (South Portland, ME) (2005)
*Sarah Knock (Freeport, ME)
Lesley MacVane (Portland, ME)
Robert Monroe (Portland, ME)
Lauren O'Neal (Vinalhaven, ME and Cambridge, MA)
Heath Paley (Arundel, ME)
Michael Penney (Durham, NH)
Beverly Rippel (South Easton, MA)
Rebecca Rivers (Searsport, ME)
*Liv Kristin Robinson (Belfast, ME) (1998)
Gavin Rouille (Portland, ME)
*Michael Shaughnessy (Windham, ME) (1998)
*Robert Shillady (Brooklin, ME) (2007, 2005)
Suzannah Sinclair (Greenville, ME and Brooklyn, NY)
Andrew Thompson (Farmington, ME)
Richard Veit (South Portland, ME)
August Ventimiglia (Gorham, ME and Wellesley, MA)
Don Voisine (Brooklyn, NY)
*Mark Wethli (Brunswick, ME) (2003)
Ellen Wieske (Deer Isle, ME)
Deborah Wing-Sproul (Cape Elizabeth, ME)
Focus and Eligibility
The 2011 Portland Museum of Art Biennial is the seventh in an ongoing series of exhibitions showcasing new work by living artists connected to the state of Maine. All artists who have spent significant time in Maine during the last two years (since January 1, 2008) were invited to submit images in any medium for consideration by the jurors.
If you would like to be added to the Biennial mailing list, please email Sage Lewis with your mailing address.
The Portland Museum of Art Biennial is made possible by the William E. and Helen E. Thon Endowment Fund.
The announcement on the Portland Museum of Art Website, www.portlandmuseum.org.
The press release in the Portland Press Herald, www.pressherald.com.
Wednesday, October 6, 2010
During my scheduled 20 minute time slot, Lori Waxman looked at 10 pieces of artwork, then sat down at her laptop to write. The review was projected behind her as she wrote and when she was done, an assistant posted a printed version on the wall.
Feel free to review this review in comments or e-mail me.
Here it is:
Clint Fulkerson draws and paints and prints geometric abstractions. That sounds simple enough. Yet his works are anything but. Imagine Bucky Fuller’s geodesic domes as if they were viral structures gone wild. Picture a sprawling city seen from above, at night, dotted with glowing centers and crisscrossed by the lines of endless roadways. Fulkerson’s forms cluster and spread, multiply and divide, pop an recede. They’re organic and mathematical, precise but improvised, flowing but utterly tight. In all these contrasts, his forms prove themselves as complex and dualistic as living things—despite looking, at first, superficial glance, to be the repetitive doodles of a scientific hand. Which they may be, in part, but what, after all, isn’t worth at least a second glance? That’s one lesson of these works, though it’s not the pleasure of them. That should never be a lesson, but rather an experience to have, for oneself, thanks to the generous nature of artists like Fulkerson who put such strange, surprising work out for the looking.
You can read All 30 reviews written during the 3 day performance at the Portland Phoenix Website.
Friday, October 1, 2010
Lori Waxman is a Chicago-based critic and art historian whose reviews and articles have been published by The Chicago Tribune, Artforum, Modern Painters, Gastronomica, Parkett, Tema Celeste, as well as the sadly defunct Parachute.
In her three-day performances as the 60 wrd/min art critic, Waxman makes herself available on a first-come-first-serve basis to local artists seeking succinct and opinionated reviews of their work. While a receptionist processes each artist’s submission, Waxman churns out one review every twenty minutes, the texts of which are displayed live on a nearby monitor for artists and observers to read. As each one- to two-hundred word review is finished, the receptionist will “publish” a physical copy to a nearby wall. Eventually all or some of the reviews are published in a magazine or newspaper.
The format of the 60 wrd/min art critic brings artist, artwork and review into the same space simultaneously. The performance raises questions about the interaction of critic and artist, the value of on-demand criticism, and the effect of a solitary writer working in public. What emerges from the experiment is a literal and comical grappling with the idea that there are too many artists and galleries, and not enough critical venues to cover them all.
While the reviews aren’t guaranteed to be positive, Waxman insists they are thoughtful, critical and informative. For artists who have been reviewed carelessly, who have never been reviewed, or live in a city where there is little local criticism, the performance presents an opportunity for honest, informed criticism at the same time it questions the role of criticism itself.