JULY 19 - 31, 2018
CULT OF WOMANHOOD, AN EMERGING ARTIST EXHIBITION WITH PHOTOGRAPHER TABITHA BARNARD
Cult of Womanhood is an in-progress body of work that begins to explore the female gaze and the mysticism often associated with sexually empowered women.
Tabitha Barnard was born in Freedom, New Hampshire, in 1994. She is a photographer who grew up in rural Maine with three sisters. Growing up in a very Christian female-dominated family has had a huge influence on her work. She works primarily in digital and analogue color photography, exploring themes of femininity, religion, and ritual. She received her Bachelor of Fine Art from Maine College of Art in the Spring of 2016. She currently works as the media technician at the Maine College of Art.
PAST THE POND, SETTING FIRES, AN EMERGING ARTIST EXHIBITION WITH PHOTOGRAPHER DYLAN HAUSTHOR
A few weeks ago, Dylan Hausthor’s friend lit another friend’s barn on fire. She set the blaze out of spite, simultaneously incited by gossip and provoking gossip. After a few minutes of watching the fire creep up old barn wood she–who was 7 months pregnant–felt her water break, going into labor six weeks early. She ran across the street to the property-owner’s house demanding a ride to the hospital as the proof of her arson was smoking right behind her.
In Past The Pond, Setting Fires, Dylan Hausthor manipulates landscapes that are simultaneously autobiographical, documentary, and fictional: a weaving of myth and symbol in order to examine the chaos of storytelling. Sun-bleached beer cans, waterlogged ferns, and moonlit deer paths seem to be traces left by these stories–field recordings of instability told by an even more precarious narrator.
The often disregarded underbelly of a post-fact world seems to be the simultaneous beauty and danger of fiction. Small-town gossip, elementary humanity, relationships to the land, and spectacle inspire the images in Past The Pond, Setting Fires, as he tells stories filled with tangents and nuances–echos of the gossip that he hopes that he hopes to both reflect and provoke.
Dylan Hausthor is an artist raised in southern Vermont. He became distracted by the shouts that heard in the woods and the incessant babbling of the river and now resides on a small island off the coast of Maine. He received a BFA with honors in Photography from the Maine College of Art in 2015. His work has been exhibited and showcased nationally and internationally by the Druid Film Festival, the Anamorphosis Prize, Photo Emphasis, Aint Bad, and select galleries. He founded Wilt Press in the Spring of 2015 and currently works as a cinematographer, bookmaker, photographer, and chief editor of Wilt Magazine.
His work was once described as “Having too many pictures of deer”.
SOLO SHOW WITH PAINTER GARRY MITCHELL
A show of new work by Garry Mitchell featuring multi-media on large scale tarps and canvases. More information will be be announced at a later date.
A graduate of University of Hawaii and Pratt Institute, Garry Mitchell has exhibited his work nationally and internationally. He has received fellowships from Yaddo, The MacDowell Colony, the Edward Albee Foundation, and the Provincetown Fine Arts Work Center, among other places, and grants from the Ford Foundation, the Massachusetts Arts Council, the Arizona Arts Commission, and the Maryland Commission on the Arts. He’s exhibited in many cities, including New York (Barbara Toll Gallery, The Hyde Collection, Damon Brandt Gallery, The Drawing Center, Claudia Carr Gallery, Nancy Margolis Gallery, and Art in General); in Boston (Alpha Gallery) and Tokyo (Japanese International art Expo, and Zephyrus Contemporary Art.). In Maine, he’s been included in Biennials at the Portland Museum of Art, and Maine Center for Contemporary Art. He has had solo exhibitions with the Colby College Museum of Art, University of Maine-Farmington, Maine Center for Contemporary Art, and ICON Contemporary Art. (ICON represents Mitchell’s work in Maine).
Garry teaches studio art at Colby College and lives in North Yarmouth, Maine, with his wife and son.
SOLO SHOW WITH ALISON HILDRETH
Alison's sources are often derived from literature and history. In her current body of work she has been combining disparate ideas concerning migrations, refugees, medical drawings, astronomy, architectural traces, and more. Visual representations of these interests appear as a shape shifting progression where one image morphs into another, changes but still holds the prior imprint.
After graduating from Vassar College with a B.A. in Art History, Hildreth worked in New York and went to night school at the Art Students League and the National Academy of Art. Hildreth then moved to Maine where she continued her studies in studio art and graduated from the Maine College of Art in 1976. She taught for a number of years as a non-resident instructor at the Maine College of Art, Vermont College and Lesley University. Since that time Hildreth has had several studios in Portland and is now located at the Bakery Studios at 61 Pleasant Street. Her practice includes mixed
media drawing, painting, printmaking, and installation work. Her work is included
in numerous collections and has been featured in exhibitions nationally and internationally.
LATE FALL 2018
TRACES, TRACKS, AND PATHWAYS - MAKING MIGRATION VISIBLE
Traces, Tracks, and Pathways is a group exhibition on Immigration in collaboration with the Institute of Contemporary Art at MECA and Colby College.
Artists and content will be announced at a later date.
FIRST FRIDAY, DECEMBER 7, 2018
THE BAKERY PHOTO COLLECTIVE'S ANNUAL PHOTO A GO-GO
We are delighted to once again host the Bakery Photo Collective's Annual Photo A Go-Go auction and event. This is a wonderful night featuring live music and photography from artists in Maine and abroad.
4-REAL? FOUR VIEWS
Four Views is a group show which includes four artists taking formally distinct paths to re-imagine known subjects. Mary Behrens, Vico Fabbris, Mary Louise Geering, and Jan Lhormer employ unlikely combinations of visual means to highlight ambiguities in perception and challenge belief systems. All four artists emerged from the 1980s, a decade in which visual artists often veered away from being defined by a particular school and rather embraced a more complex development of intersecting and sometimes overlapping styles. These artists appropriate aspects of these 1980s idioms in varying ways - aspects embedded within the formal and conceptual choices of each.
(There will be a gallery talk accompanying this exhibition with at least two of the artists discussing their work and answering questions from visitors).