"The closer the connection we feel to nature, the more we're likely to stand up and defend it." - Charles Johnson How do hundreds of sawn discs hanging from a ceiling evoke a…
Outdoor Palette
November 26th 2014
Autumn 2014
What is the definition of environmental art? The simplest, shortest explanation is that it is art that addresses environmental or ecological concerns. Historically, environmental art grew out…
August 25th 2014
Summer 2014
My visit to Thom Egan’s Hardwick, Vermont, studio this early spring came at the end of a very long, gray winter. It felt like my rods and cones – the retina’s receptors for…
February 24th 2014
Spring 2014
Fifteen years ago, on its centennial anniversary, The National Audubon Society recognized 100 “Champions of Conservation” in the twentieth century. All are individuals who have…
November 22nd 2013
Winter 2013
Thomas Crotty, a Massachusetts native, moved to Maine in 1964, drawn by the power and beauty of its coastal landscape. At the solo retrospective of his work at the Portland Museum of Art, then…
November 19th 2013
Autumn 2013
Riki Moss looks into the forest and imagines another world; a world filled with spirits and ambiguous life forms. For years, she has been engaged with her ever-growing, ever-shifting…
August 14th 2013
Summer 2013
Craig Mooney is a master of atmospheric perspective. He manipulates his oil paints to reflect the effect that weather, atmosphere, and shifting light have on the appearance of a place. Mooney…
May 23rd 2013
Spring 2013
Many of us are familiar with Rebecca Merrilees’ work from the indispensable field guide Trees of North America, which she illustrated 34 years ago. It is probably on all of our…
November 20th 2012
Winter 2012
Those of us who live in the Northeast are familiar with the vicissitudes of winter. We know firsthand that not every day sparkles with rime ice or delivers fluffy drifts of sun-dappled snow.…
November 20th 2012
Autumn 2012
Bryan Nash Gill, Leader, 2011 30.5" x 21.5", relief print on Okawara paper We often come to understand things by isolating them. We pluck something from its environment, look at it…
August 15th 2012
Summer 2012
Dianne Shullenberger, Yellow Peony, 12” x 11”, fabric and thread, 2006 The surprise in Dianne Shullenberger’s work is that her “paintings” are not made with…
May 21st 2012
Spring 2012
Betsey Garand Hark II 17 3/4” x 15 5/8”, Lift-ground aquatint monoprint and monotype, 2010 Hark: v. to listen attentively, to pay close attention. Hark is an apt word to describe…
November 22nd 2011
Winter 2011
Mark Wiener Spiral 45” x 36” acrylic and sumi ink on vellum, 2008 Mark Wiener keeps the door of his studio open seven hours a day, six days a week. Working in the Chelsea neighborhood of…