Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116 Page 117 Page 118 Page 119 Page 120 Page 121 Page 122 Page 123 Page 124 Page 125 Page 126 Page 127 Page 128 Page 129 Page 130 Page 131 Page 132 Page 133 Page 134 Page 135 Page 136 Page 137 Page 138 Page 139 Page 140s e p t e m b e r 2 0 1 6 4 9 inspiration rising Cairn by Celeste roberge, Courtesy photo a Catalog Curated by anne zill, andres verzosa & bruCe brown renowned American abstract expressionist Barnett New- man once sniped, “Sculpture is what you bump into when you back up to see a painting.” However, if only Newman and his wife Annalee could relive their 1936 honeymoon in Ogunquit 80 years later, they’d discover that sculpture is now a marquee event. You need only look to recent shows in Portland for evidence of the shifting focus toward this often-over- looked art form: the TEMPO Arts Project breathing new life into Lincoln Park with the installation of Judith Hoffman’s precari- ously stacked steel houses; the lively discus- sion surrounding the Congress Square Park centerpiece; and the recent announcement that Portland Museum of Art is opening its gates to the sculpture garden for full, free public access, thanks to a grant from Idexx founder David Shaw. “The PMA has long dreamed of mak- ing the garden accessible and free of charge to the public,” says assis- tant curator Andrew Eschel- bacher. The cost of making the space ADA accessible had long delayed the pro- cess, meaning one could only glimpse Celeste Roberge’s Rising Cairns, or Hearsay, the striking new installation by John Bis- bee, from behind the iron fenc- ing that borders High Street. “Mr. Shaw’s enthusiasm for sculp- ture and public art vastly accelerat- ed this project into reality,” says Eschel- bacher. The sculpture garden will be named “The David E. Shaw and Family Sculpture Park” and will welcome the pub- lic through its long-closed gates in Sum- Multidimensional Art Transforms Our Landscape & Grabs Center Stage.