“Kendall at Beauchamp,” from the Cig Harvey exhibit “Eating Flowers.” Photos courtesy of Ogunquit Museum of American Art

Every summer, the Ogunquit Museum of American Art brings to life the mission of its founder, Henry Strater, with innovative modern and contemporary shows from May through the end of October.

That means, if you haven’t seen the current exhibits yet this summer, now’s the time to get in before the doors shutter for the season.

Right now, you can still catch exhibits such as “Eating Flowers,” by Maine artist Cig Harvey. The mixed-media presentation includes self portraits and autobiographical photography, videos, and writing, and is inspired by Harvey’s life in Maine, which its literature describes as “vividly colored images and seductive vocabulary combine to suggest dreamlike narratives informed by sensations of touch, taste, sight, sound, smell, and memory.”

“Icon IV: Sam the Eagle,” a sculpture by Sebastian Martorana.

Meanwhile, contemporary artist Sebastian Martorana presents “Subject Matters,” a compilation of 10 years of his 21 sculptures, drawn from his studio and private collections, and the artist’s first solo exhibition in New England. Martorana’s stone sculptures are frequently done from observation, and are known for their textures and complexity. “Where elements of his work appear forthright and effortless,” the museum says, “they are in fact the result of a skillful approach to artistic traditions, reveling in passages of texture, pattern, volume and form that are by turns humorous, familiar and politically charged.”

There’s also “The View from Narrow Cove,” a second installation of the museum’s permanent collection. It spotlights new and recent acquisitions, plus American modernist pieces and works that highlight the deep history of Ogunquit as an art colony.

This exhibit’s paintings, prints, drawings and sculpture hail from the late 19th century right up through present day, and are not just impressive works in their own right, but also depict the important role Ogunquit has had in American art, effectively functioning as a history lesson.

“During the early decades of the 20th century,” explains the museum, “American artists established their own creative communities while actively resisting academic and aesthetic traditions, which came to define American Modernism. Today, the view from Narrow Cove and the history associated with the Ogunquit art colony continue to compel artists, connoisseurs, and sightseers to the seacoast.”

Alexandra Hall is a longtime New England lifestyle writer who recently moved to Maine.


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