When Peggy Golden began the Portland Show in 2002, she envisioned it as a one-time celebration of her art gallery’s 25th anniversary. The exhibition proved so popular that Golden decided to bring it back as an every-other-year extravaganza.

Today, Greenhut Galleries opens its sixth Biennial Invitational Portland Show. More than 50 established Maine artists will show paintings, frescoes, collages, glass and ceramic sculptures, and works on paper that offer realistic and abstract views of Maine’s largest and most creatively inspirational city.

“We have a great artistic community in Maine, and a lot of artists from across the state look forward to participating in this show,” said Golden. “We think it’s great for the community, because it celebrates our city and our home. It’s a city that is vibrant and growing.”

Golden will keep the Portland show on view for two months, through April 28. An exhibition of that duration is unusual for a commercial gallery, which typically changes out its shows on a monthly basis.

But this one is so large, it demands more time and attention, she said.

The range of artists and work is vast. Many of Maine’s most established artists are involved, including Linden Frederick, John Imber, Sarah Knock and Robert Shetterly. It also includes many younger artists who are working to establish themselves. They include folks like Roy Germon, Lori Trembley — both Greenhut employees — and Jeff Woodbury, a former graphic artist with The Portland Press Herald.

Because this is an invitational, Greenhut can be choosy about whose work it shows. About a year ago, Golden began extending invitations to artists across Maine. She asked them to create a new work specifically inspired by Portland, but otherwise gave them a blank canvas.

It’s interesting to see what folks came up with.

Shetterly made a portrait of Gerald Talbot, the first president of the NAACP in Portland. Barbara Sullivan made a fresco of fries from Duckfat, which are served in an iconic cone-shaped paper wrapper.

Germon offers a loosely abstracted view of the city skyline, while C. Michael Lewis painted a near-photo realistic image of the old Custom House reflected in the glass membrane of a modern office building across the street.

Alison Goodwin painted a stylized colorful view of the Clapp House on Spring Street, while Thomas Connolly came up with a dimly lit view of homes and cars on Pine Street in the West End.

Golden sees the Portland Show as an educational moment.

“We hope that people come into the gallery to look at this show and learn something about art,” she said. “It’s an opportunity for artists to help people better understand abstract and conceptual art, and also a chance for people to get an idea of how artists see things — because artists do see things differently.

“It’s interesting to take a single point of inspiration and see what they come up with, and how different artists handle the same or similar subjects.”

Staff Writer Bob Keyes can reached at 791-6457 or:

bkeyes@pressherald.com

Twitter: pphbkeyes

 

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