The Friends of the Collection creates an opportunity for you to directly support the addition of specific artworks to the PMA’s collection, and this year’s acquisition focus is The Sights and Sounds of Night by Vincent Smith.
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The Portland Museum of Art is thrilled to announce the opening of As We Are, an exhibition showcasing the work of 14 emerging artists with deep connections to Maine.
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The Portland Museum of Art and the International Union of Security, Police, and Fire Professionals of America (SPFPA) are proud to jointly announce the ratification of a contract for all security positions within the museum.
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The Portland Museum of Art is thrilled to announce the Maine Mass Timber Conference, taking place from November 13 to 15, 2024, in Portland, Maine. This groundbreaking event will bring together industry leaders, artists, innovators, and visionaries to explore the future of construction through mass timber technology.
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"Having already received many of the highest honors reserved for Native American artists including Best of Show at both the Heard Fair and Santa Fe Indian Market, Frey was adamant that the exhibition position his work as contemporary art. “I didn’t want to do a basket show,” he stated at the show’s opening. As he told Atlas Obscura, “I’ve spent my whole career trying to redefine what ash can be.” [1] Woven, therefore, represents basket weaving in an expanded sense. Rather than a retrospective display of finished works, it frames Frey’s longstanding weaving practice as a jumping-off point for explorations of new techniques and media."
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Now, the deCordova Sculpture Park and Museum has awarded Frey, an enrolled member of the Passamaquoddy tribe, the 25th annual Rappaport Prize, a $50,000 cash award to honor a contemporary artist working in New England.
“It’s overwhelming,” said Frey, 45, reached by phone in rural Maine. “I still haven’t processed it fully.”
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Taking up an ancient practice, Jeremy Frey carries it into the here and now.
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Accompanying the exhibition Jeremy Frey: Woven, in this iteration of The Workshop visitors can delve deeper into Frey’s creative process.
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“The museum's Blueprint expansion was borne of community involvement, a love of art and a commitment to making it available to as many as possible.”
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We’re halfway through the summer, yet there’s still so much in store. From Cig Harvey sharing how Maine influences her work to the Summer Party to a special Jeremy Frey themed Family Day, August at the museum is like an Aperol spritz for your soul.
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“His legacy is a new energy — a boldly contemporary take on an ancient woodland craft. ‘I’ve worked for more than 20 years reinventing this traditional art form,’ Frey says.”
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Frey wants to have it all: to be a contemporary traditionalist, an artist-artisan, an internationalist exponent of his own tribe. It hasn’t been easy. More than two decades of unremitting effort, willpower and imagination have been necessary to get him this far.
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From marquee programs such as the Nelson Social Justice Lecture to curator-led tours of Jeremy Frey: Woven to the first feature-length documentary of Jaime Wyeth—July is the season to visit your museum.
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While at the museum, you can see paintings by Winslow Homer and N.C. Wyeth, but don’t miss the work of artists who have broadened and deepened the legacy of Maine art in recent decades, including paintings by Reggie Burrows Hodges and Daniel Minter, and sculpture by Lauren Fensterstock.
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The artist has donated over 150 works from his foundation’s collection to the Portland Museum of Art, among other institutions in the state.
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“Passamaquoddy artist Jeremy Frey has become one of the most awarded and collected Indigenous basket weavers in the country for his contemporary mastery of the Wabanaki weaving tradition.”
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Summer is in full swing this month as we open Peggy Bacon: Biting, never Bitter revel in Jeremy Frey: Woven, and Celebrate Pride and Juneteenth with free community days.
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In conjunction with our new exhibition, Peggy Bacon: Biting, Never Bitter, PMA Films will be screening films throughout June that explore classic filmic representations of the young female artist scheming and striving to make it in the big city.
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“Wabanaki people originally wove baskets for functional purposes, but, over time, basketmaking has evolved into more of an art form. Today, some have taken the art of basketmaking to new levels--such as the renowned Passamaquoddy artist Jeremy Frey.”
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Frey, a celebrated seventh-generation Indigenous basketmaker, uses the traditional designs of the Wabanaki tribal confederation of New England and the Canadian Maritimes as takeoff points for bold departures.
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