Between 1974 and 1980 the Cuban-American artist Ana Mendieta (1948–1985) created more than one hundred Siluetas, photographic and filmic records of the “earth-body sculptures” she enacted in Iowa and Mexico. In this Silueta and other early works in the series, Mendieta mobilized her body as actor, site, and space, incorporating it into a variety of natural environments.More »
Featuring the extraordinary Bien Edition of The Birds of America (1858–60) by John James Audubon, Bird Watching: Audubon and Ornithology in Early America reveals the mind of a nineteenth-century artist and ornithologist at work.More »
The 2017 Faculty Biennial features recent work by Colby’s teaching artists. This exhibition encompasses the diverse range of media explored by art department faculty members Bradley Borthwick, Bevin Engman, Gary Green, Amanda Lilleston, and Garry Mitchell.More »
How long can we tolerate this? An incomplete record from 1933–1999 (2016) is an
assemblage by Leah Modigliani comprising facsimile press photographs of evictions. As
the artist notes, the installation reads as both skyline and timeline, functioning as “a
historical archive and a representation of working and middle-class material
This exhibition will explore Marsden Hartley’s complex, sometimes contradictory, and visually arresting relationship with his native state—from the lush Post-Impressionist inland landscapes with which he launched his career, to the later roughly rendered paintings of Maine’s rugged coastal terrain, its hardy inhabitants, and the magisterial Mount Katahdin.
The exhibition is made possible by the Henry Luce Foundation, Bank of America, Betsy Cohen and Edward Cohen/Aretê Foundation, the National Endowment for the Arts, and the Everett P. and Florence H. Turner Exhibition Fund.
A grant from the Wyeth Foundation for American Art has supported the Colby College Museum of Art’s scholarly contributions to the exhibition catalogue published by The Metropolitan Museum of Art. The catalogue is made possible by The Andrew W. Mellon Foundation.
Marsden Hartley’s Maine is organized by the Colby College Museum of Art and The Metropolitan Museum of Art.More »
In 1978, facing eviction from his long-time studio in lower Manhattan, Robert Indiana (born 1928) relocated to the island of Vinalhaven, located in Maine’s Penobscot Bay. Robert Indiana: Placeholder features select prints from this moment that navigate the intersections of history, autobiography, and personal memory, including work inspired by Marsden Hartley’s German Officer paintings. It is organized as a complement to Marsden Hartley’s Maine.More »