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 »
A summer resident of Maine since the mid-1950s, Alex Katz (born 1927) considers Marsden Hartley a “visionary painter” who has exerted a strong influence on his own career. This exhibition, curated by Katz, brings together an array of works by international artists to further illuminate Hartley’s legacy in postwar and contemporary art.More »
In the summer of 2015, Anna Jermolaewa traveled throughout Ukraine documenting empty or repurposed pedestals that had once displayed statues of Vladimir Lenin. Leninopad, or “Leninfall”—a term coined to describe the systematic toppling of monuments to the revolutionary leader—was the most visible manifestation of the state-instituted process of “decommunization” introduced in Ukraine by government decree in May of 2015. Anna Jermolaewa: Leninopad focuses on the video component of Jermolaewa’s Leninopad project.
Anna Jermolaewa: Leninopad is presented in conjunction with the 2016–17 theme of “Revolutions” organized by the Center for the Arts and Humanities.More »
Of the more than 170 lithographs that American artist George Bellows (1882–1925) produced between 1916 and 1924, twenty belong to his “War Series.” Graphic Matters reflects on the centennial of American entry into World War I by reexamining Bellows’s prints for the timely questions they raise about representation, aestheticized and institutionalized violence, nationalism, and masculinity.More »