Tag Archives: Reggie Burrows Hodges

Maine-ly Art

I’ve lived in eight states as an adult which, aside from the physical slog of moving house so many times, has honestly been one of the bigger privileges of my life.
Experiencing both the good, and even the less good, of a variety of communities across the country has been an awesome opportunity to stretch beyond the comfort of my Maine upbringing. All the same, being a Maine native remains a proud part of my core identity, and I’m grateful for any chance to return.

Arriving on the coast is a visceral homecoming that taps all the senses: the shifting colors of the ocean, the familiar smell of salt in the air, hearing the cries of seagulls while bracing against a brisk wind off the water, and always, always enjoying the taste of native treats from land and sea. Have you ever tried a Needham?

We were in Portland last week, experiencing all of the above, and of course lots of art as well. Visits to the Portland Museum of Art and Cove Street Arts were a mid-winter chance to refill my cultural cup to the brim. What follows are a few of the beauties that caught my eye and that I thought you might enjoy as well.

The exhibit “As We Are” at the PMA showcases 14 emerging artists, each with strong Maine ties.

Adams Every Morning

Rachel Gloria Adams, Every Morning, 2024, Acrylic, corduroy, linen, cotton and wool     It was delightful to see Adams’ large scale quilts upon entering this exhibit – on purple walls, no less! The vibrant variety  of colored walls throughout the museum showed off the work in each gallery beautifully, adding immeasurably to my experience .

Ibsen Top Carrot

Jenny Ibsen, Top Carrot, 2024, Terracotta, underglaze and luster  This is one of a series of trophies that “explores ideas of sustenance and care, labor, and play”. As a gardener (who happened to experience a top notch carrot season last year) I love Ibsen’s sense of whimsy.

Stern Past Present Future

Jay Stern, Past, Present, Future, 2024, Oil on Canvas  I was swept away by Stern’s paintings – both in their execution and by his nod to the quotidian. In his statement, he compared them to portraiture in that they show clear evidence of human presence and experience.

Stern Detail

Jay Stern, Past, Present, Future, detail  Purely from a rendering standpoint, I found myself happily getting lost in Stern’s patchwork of color and paint.

O'Brien, Posted

Tessa Greene O’Brien, Posted, Cape Elizabeth, 2024, Oil, bleach, wax resist on dyed canvas   I have seen plenty of O’Brien’s work on Instagram, but rarely in person. This time I had the “aha” moment of realizing her work’s close relation to batik. Her use/reference to textile techniques creates a wonderful fusion that straddles genres.

Foley, Divers

James Parker Foley, Divers Approaching Infinite Density, 2023, Oil on linen  The striking color and bold imagery of this piece commands the gallery in which it is hung.

And from elsewhere in the PMA:

NC Wyeth, Georges Islands

Newell Convers Wyeth, Georges Islands, Penobscot Bay, Maine, 1928-29, Oil on canvas  Myriad artists have captured Maine in as many ways. While this was painted on Penobscot Bay, and I grew up on Casco Bay, this work portrays the essence of what I think of as “Maine”.

Frey 3 Baskets of Wisdom

Gabriel Frey, Nohonul Posonutiyil Kcicihtomuwakon (Three Baskets of Wisdom) 2023, Black Ash   There is visual poetry between this beautiful piece and its setting: white oak and granite flooring against the charcoal gray wall. So lovely.

Hodges, Bathers

Reggie Burrows Hodges, Bathers and the Cleansed, Pearl, 2021, Acrylic and pastel on canvas  After first becoming acquainted with Hodges work at the Center for Maine Contemporary Art in 2022, I was happy to meet up with him again via this stunning piece.

Joffe, Jessica

Chantal Joffe, Jessica, 2012, Oil on linen. While there were several John Singer Sargents to enjoy on a lower floor, it was this monumental portrait (almost 8 x 6 feet) that spoke most strongly to me.

Cove Street Arts, on the opposite side of Portland’s peninsula, is a beautiful warehouse-esque building that incorporates 4 separate gallery spaces within a greater whole, accommodating art of every scale and genre.

Cove Stree Arts

One view within Cove Street Arts

Stasiuk, Lady with Pearls

Michael Stasiuk, Lady With Pearls and a Red Purse Walking Her Dog, 2024, Baking pan, lemon reamer, bowling pins, old ironing board, assorted fragments.  Humor and inventiveness best describe Stasiuk’s work that is oh-so-relatable and human.

Stevensen, Slip Between

Jeffrey Stevensen, Slip Between Custom House Wharf and Portland Pier, August 1982, Archival inkjet print on cotton paper. Such a beautiful moment of calm on the working waterfront.

Smith, Gull Rock(s)

Kathi Smith, Gull Rock, Monhegan (top), Gull Rock II, Monhegan (bottom), Oil on panel. While Stevensen’s photograph above uses black and white to best advantage, the colors of these two paintings make them sing.

Lynch, Stepping Out

Fred Lynch, Stepping Out, Watercolor on paper. I find work that skews to the abstract, while maintaining its figurative underpinnings, intriguing on numerous levels. The colors of this piece are unexpected and joyfully satisfying.

McConnell, In Out

Kelly McConnell, In Out, 2022, Oil on canvas  I keep coming back to this painting and wondering what it is about it that keeps grabbing my attention. The layers? the colors? the sense of space? Perhaps it’s that I somehow find it calming despite its chaos.

To have been able to see such a diverse selection of work while visiting only two venues is rather remarkable.
When I was growing up, my mother used to say in regard to Portland’s Maine Medical Center that we were beyond fortunate to have access to such great care and expertise in a relatively small and removed city. Portland has grown by leaps and bounds since then and is no longer so removed. And yet, while Maine has always attracted artists, I think Mom’s characterization could now be applied to the city’s art scene as well – it’s definitely hitting above its weight.

Inspiration Time

Travel time is often inspiration time.
With that in mind, mid-coast Maine has a wealth of artistic options to scratch the itch.

Words to Live By

How many times have I thought the above? Relatable words on a poster that hangs in Laurel’s Dolce Vita in Thomaston, ME. Stop in for a treat – I highly recommend the Raspberry Puffin – a sugar bomb for sure, but worth every bite!.

As I get back into the saddle after a week’s vacation in my home state, how can I help but share a heaping handful of artworks that caught my eye while away? Created by artists both familiar and new to me, this fresh serving of work will undoubtedly feed my creative hunger in one way or another in the weeks ahead.

Langlais Sculpture Preserve & Art Trail

It doesn’t get much better than experiencing art preservation and land conservation in one package on a beautiful August day in Maine.

Bernard Langlais (1921-1977), native to Maine and a painter turned sculptor, studied art far and wide, including in Norway on a Fulbright grant. After living in New York, he and his wife moved to Cushing, Maine in the mid 1960’s, bought an old summer cottage and began renovating it. The experience of working with wood turned the tide, so to speak, and he soon abandoned painting for abstract wood reliefs and large free-standing sculptures that often pay homage to animals. His work, frequently site-specific, can be found all over the state of Maine.

See more of his work in the Collection of Colby College

Langlais - Bear Sculpture

©Bernard Langlais

Langlais - Wall relief of animals

Zoom in to catch the details of this Langlais wall relief.

Langlais Studio

The half-worked sculptures in Langlais’ studio give hint to how prolific he was. The organized chaos and cocooned rustic feel of this space reminds me a lot of my grandfather’s, then father’s, & now brother’s under-the-house workshop in the almost 100 year-old family cottage on Orr’s Island.

Langlais - Interior painting

An example of a Langlais painting

After Andrew Wyeth by Langlais

Considering how close the Langlais Sculpture Preserve is to the Olson house depicted in “Christina’s World”, it’s no surprise that Langlais made this piece after Andrew Wyeth’s iconic painting.

Olson House

The home of Alvaro and Christina Olson is now a national historic landmark under the stewardship of the Farnsworth Art Museum. Since we were so close, I had to swing by.

 

Center for Maine Contemporary Art

A smattering of the exciting work from the current exhibits at the Center for Maine Contemporary Art:

Hilary Irons

Hilary Irons,”Saint Anthony Abbot & Satan (after the Master of the Osservanza Triptych)2022, Oil, acrylic and marble dust on panel.

I had to look up the painting that was the inspiration for this piece after my visit – follow the link above if you’re curious too. The side-by-side comparison is worth it. This work is part of the CMCA exhibit “The View From Here” that has the unifying concept of unique and dynamic ways of looking at the world.
Hilary Iron’s use of color and pattern give the impression of batik fabric. Her reference to the Maine woods and the insertion of what I read as commonly-seen detritus on a Maine forest floor: white pine tassels and assorted tree litter, give this piece a sense of grounding and of place. Saint Anthony and Satan are represented by a dandelion and ghost pipe fungus, respectively – also common to Maine flora, though I’m not sure what, if any, meaning those representations carry.

 

Lois Dodd

Lois Dodd, “Sunlight on Spruce at Noon”, 1974, Oil on linen

I have become quite fond of Lois Dodd’s work after initially learning more about her in another Farnsworth exhibit in 2019  and after listening to the nonagenarian talk about her work on a Zoom presentation offered by the Princeton Art Museum last November. This piece is also part of “The View From Here”.

 

Reggie Burrows Hodges

Reggie Burrows Hodges, “Father’s Self-Portrait”, 2017-19, Acrylic and pastel on canvas

The text accompanying Reggie Burrows Hodges work in his exhibit “Hawkeye” references how Hodges merges memory and surveillance in his paintings. I found myself appreciating the formalities of the way he breaks up space, creates depth through color, and (although hard to see in this particular piece) adds dynamism via lines drawn with pastel on top of the paint.

 

Veronica Perez

Veronica Perez, “you make me feel”, 2022 artificial hair, bobby pins  The name of Perez’s exhibit is “voices, whispering”.

Excerpted from the accompanying literature: “The works are monuments to feelings of love, loss, and grief and are catalysts for exploring the forgotten and stolen histories of the Latinx diaspora. Veronica Perez’s practice is both introspective and community-oriented. Much of the work in this show is built in, and by, communities in Maine through Braiding Circles: artist-organized gatherings that use the act of hair-braiding to discuss identity, experience, and belonging.”

Quilting bees, knitting circles, braiding circles – there is much to be said for and learned from the discussions that arise while sitting within a group and using ones hands. For a timely and local example in which you can participate, look into Eve Jacobs-Carnahan’s Knit Democracy Together, a project that addresses the US electoral system in a series of knitting circles.

 

Dowling Walsh Gallery

Scott Kelley’s flock of large watercolor paintings of Great Blue Herons reads beautifully from afar and up close. “Test” swatches of paint were included in many of the finished pieces, an unusual and somehow satisfying addition, maybe because they are usually an unseen aspect of watercolor painting. These pieces call to mind the work of traditional Chinese paintings, John James Audubon, and Walton Ford.

Scott Kelley drawing

Scott Kelley, “Fourth Aucocisco Drawing”, Ink and watercolor on paper, 8-1/4″ x 10-1/2″

Scott Kelley painting

Scott Kelley, “Study for Winter”, Watercolor and gouache on paper, 40″ x 30″

 

Farnsworth Art Museum

I’ve said it before and will say it again, the Farnsworth Art Museum is a gem. If you are ever near Rockland, Maine, be sure to visit.

Ashely Bryan

Ashely Bryan, “Untitled (Laundry in the Garden)”, oil on canvas, Collection of the Ashley Bryan Center

Their current retrospective of Ashley Bryan’s work “Ashley Bryan: Beauty in Return” hinges on Bryan’s belief “If you put art into the world, you will get beauty in return”. A comprehensive display of “the artist’s work from throughout his long career, including paintings, illustrations, puppets and stained glass, the exhibition is a joyful celebration of the enduring power of art and the human spirit over adversity.”
There is so much about this piece that I find exquisite. Exuberant color, pattern and brushstrokes are irresistible. That fact, paired with the elevation of such a commonplace sight as hanging laundry that is holding its own within the landscape, speaks to Bryan’s virtuosity in finding and giving us beauty.

 

Wyeth By the Light of the Moon

Andrew Wyeth, “By the Light of the Moon, Second Version”, 1987, Watercolor on paper, Collection of the Wyeth Foundation for American Art

When I was young, I was in awe of Andrew Wyeth’s extraordinary ability to portray realism. Now I find myself much more attracted to the abstraction within his work. This piece is a perfect example.

 

Wyeth - Charlie Ervine

Andrew Wyeth, “Charlie Ervine”, 1937, Tempera on Panel, Collection of the Wyeth Foundation for American Art

This is a striking portrait – not just of a man, but of the house behind him. The weathered clapboards convey as deep a story as Ervine’s craggy features. Studying the painting up close, you can suddenly see subtle passages of color, within seemingly neutral areas, that are absolutely lyrical.

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Jamie Wyeth - Shorty

James Browning Wyeth, “Shorty”, 1963 Oil on canvas

Working on portraits of aging subjects as I have been lately, I am entranced by the individual features of this man and Jamie Wyeth’s handling of and reverence for them. Then, pulling back to absorb the piece as a whole, I’m delighted by the contrast between Shorty’s weather-beaten, scruffy appearance ensconced in the sumptuous fabric and luxury of the chair, coupled with the rich color and light of the piece. What a study!

So many inspiring works, so much to think about. Thanks for hanging in there with me for the tour!

I’ll leave you with a parting shot of iconic Maine

Sprucehead Island, Maine

The working harbor off Sprucehead Island, settled for the evening. Notably, there’s not a single pleasure vessel in sight.