The baskets of Jeremy Frey from the Passamaquoddy tribe in Maine have caught the attention of the art world.
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The museum has a collection of 19,000 objects and counting, and only a fraction are on display at any given time. We look at how these pieces get to the museum and where they go when they're not on display.
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Portland Museum of Art’s ‘+ collection’ expands narrative about curation and exhibition process.
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[Fragments of Epic Memory is] a celebration of kaleidoscopic talent and – with its companion display of 19th-century photography – extraordinary resilience.
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The city received 2,000 responses from the public during an uncommonly collaborative selection process. Much has been made of the selected plan’s homage to the Wabanaki and of its use of “mass timber,” an environmentally friendly category of wood product that the museum wants to source here in Maine.
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“This is a big shift,” said Shalini Le Gall, the museum’s chief curator. “I’m an art historian, but art history is not the only way to access art in a museum. We want to show people that art by its nature is not stable, and the scope of interpretation will always be changing.”
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Tours begin at the Portland Museum of Art, where patrons can look at some of Homer’s paintings. Then a shuttle bus whisks visitors to Prout’s Neck to take in the studio and the yard that slopes down to the ocean. It is a step back in time to a place that feels surprisingly relatable.
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When the French-born, Harlem-based artist Elizabeth Colomba starts an oil painting, she does so like the masters.
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The show reveals the untold stories of stewards and students, the shadowed innovation, and the profound impact a small school in Rockport, Maine has had on photography.
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A Portland Museum of Art exhibit takes a snapshot of a half-century of boundary-blurring photo workshops in Rockport.
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The Portland Museum of Art has expanded a program that showcases its collection to people enjoying the outdoors.
Read MoreTaken together, “Drawn to the Light” and “People Watching” provide an insightful selection of fine art photographs and make the point that Maine holds a significant place in contemporary photography.
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The PMA has placed more than two dozen replicas of its collection outdoors. Most of the original pieces can be seen inside the walls of the museum, and this project is a way for Mainers and tourists to enjoy some of the art the museum has to offer as they walk, run, jog, and enjoy the great outdoors.
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By bringing out the big guns, the show seeks to attract a wide audience, of course, but also show the outsized, cross-pollinating impact the little Maine school has had on the photographic world over the years.
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The show includes almost 100 photographs from nearly 80 photographers, as well as a selection of Workshops-related publications.
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It’s a show where labels really matter because they give new, contemporary context with which to consider the works on view. They really push us to think in new ways about who gets to write the history of art in America, who was left out of it and how that is – thankfully – changing.
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With a nod toward the Portland Museum of Art’s lasting influence on producer [Karlina] Lyons, the film is coming to Portland as part of a 10-city U.S. tour.
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