April 14, 2013

In The Arts: Bowdoin gives Kirkeby well-deserved due


The Per Kirkeby show at the Bowdoin College Museum of Art in Brunswick is an exhibition of the work of a painter of remarkable influence in Europe. In addition to his esteem as a painter, Kirkeby is also known as a sculptor, writer, geologist and filmmaker.

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“In Flight,” a silver gelatin print by David Brooks Stess.

Courtesy of VoxPhotographs and Portland Museum of Art, © David Brooks Stess

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“Hangers On,” a silver gelatin print by David Brooks Stess.

Courtesy of VoxPhotographs and Portland Museum of Art, © David Brooks Stess

Additional Photos Below




WHERE: Bowdoin College Museum of Art, 9400 College Station, Brunswick. 725-3124; bowdoin.edu/art-museum

HOURS: 10 a.m. to 5 p.m. Tuesday to Saturday; 1 to 5 p.m. Sunday

CLOSES: July 14 



WHERE: Portland Museum of Art, 7 Congress St. 775-6148; portlandmuseum.org

HOURS: 10 a.m. to 5 p.m. Tuesday to Sunday (until 9 p.m. Friday)

CLOSES: May 19 


PHOTOGRAPHS BY GARY GREEN," presented by Maine Museum of Photographic Arts

WHERE: University of Southern Maine, Glickman Family Library, 314 Forest Ave., Portland. 780-4270

HOURS: 7:45 a.m. to 11 p.m. Monday to Thursday; 7:45 a.m. to 8 p.m. Friday; 10 a.m. to 8 p.m. Saturday; 10 a.m. to 11 p.m. Sunday

CLOSES: May 31

After seeing the show, which includes a 48-minute explication on a major work, I believe Kirkeby deserves the kind of recognition that the college has accorded him. He is Denmark's paramount artist, and is much watched throughout Europe and, among other places, New York.

For all practical purposes, the museum has turned the place over to this effort on Kirkeby's behalf. In one room, there are six large paintings including one ("Unbilled," 2009) that may have set the world record for a Maine show. It's very big. There are a variety of additional rooms, plus a room for large sculptures and an additional space for eight splendid small bronzes.

The show represents all phases of Kirkeby's career. It begins with the Pop Art aesthetics of the 1960s and moves on to his engagement with the human body; gorgeous, bronze models; and quite wonderful explorations of the human condition.

Their outbursts of color are the strength of the show. As we're told, this artist sees art as constantly in flux, from the progression of humanity to the scientific evolution of the world.

Kirkeby's observations are often based on the observation of the visible world, and contain references to recognizable shapes that are emblematic of biographical narratives. They inspire curiosity, and generate an opened process of discovery and expression. Much of the foregoing is from the excellent statement of Joachim Homann that introduces the show.

This is a big moment for Bowdoin, and a remarkable moment for Maine. It is an opportunity to see an event of the kind that only Bowdoin offers. 

I DON'T SUPPOSE that Waterville has more than its share of unloved spaces than any other place of its size, but some of those that it does have are caught by the work of Gary Green.

Green's black-and-white photographs of unloved places reflect on lost dignity and on unfulfilled promises. They speak of wistfulness and disappointment and suggest that time, poor use and intrinsic ugliness are perpetual in all communities. They are remarkable in that they help us define who we are.

A couple of dozen or so of his elegant images are on view at the University of Southern Maine Glickman Library in Portland, and while those of Waterville and its environs stick in my mind, his net is much wider.

The photos cover parking lots adjacent to junk piles, old steel fencing consumed by brambles and vines, and rough backyards, all in a swath that leads on to South Portland.

The impulse behind Green's work is the concept that there are pauses in the cohesive patterns of cities that have characters of their own and serve as counterpoints to the logic of town grids. Those pauses show us post-industrial sites, undeveloped housing areas, underpasses and places that we have trained ourselves not to see.

In all of this, the photographer describes a sense of longing and disappointment that, I suppose, defines his view of the times. That gloom, when expressed through the elegance of his touch, becomes a soft elegy for our time. It leaves me sad. 

DAVID BROOKS STESS' photographic images of the harvesters of our blueberry fields, featured in "Blueberry Rakers" at the Portland Museum of Art, have evolved into a Maine classic. He knows whereof he speaks. They exemplify his brotherhood with his co-workers on the barrens, a relationship established over a period of two decades.

(Continued on page 2)

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Additional Photos

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Photograph by Gary Green from “Terrain Vague."

Courtesy of the artist

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Photograph by Gary Green from “Terrain Vague.”

Courtesy of the artist

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“Untitled” by Per Kirkeby, 2009, tempera on canvas.

Courtesy Michael Werner Gallery, New York and Berlin

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“Earthquake” by Per Kirkeby, oil on canvas.

Carnegie Museum of Art, Pittsburgh. Gift of Mr. and Mrs. Stanley Gumberg

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Photographer David Brooks Stess raking blueberries.

Ed Beem photo


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