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 14050 p o r t l a n d monthly magazine from left: courtesy of the artist; david wade; diane hudson(2); courtesy John Bis Beew mer 2017. Great news for art enthusiasts or those just looking for a pleasant spot to eat their lunch. “The exciting thing about sculpture is that it creates both a visual and physical experience. It becomes part of the geogra- phy of the city and fundamentally changes the way you interact with your surround- ings,” says Eschelbacher. ‘It’s something both public and personal.” ur panel of experts has selected 30 sculptures that shape the way we view sculpture in Maine. This is by no means a final or definitive list, but rath- er a door opening into a conversation. By in- troducing the following artists, we seek to provoke a dialogue about sculpture that can carry on long after you’ve turned the page. As stated last year, we show the work and also the dynamic of price at a giv- en instant, because the works themselves are priceless and will live forever, while the prices give us a mirror on ourselves as an index of desire, and even, fleetingly, of taste. Prices are from Artnet, Arcadja, AskArt, various galleries, the artists themselves, and other sources. Images are from the artists, auc- tion galleries reporting sales, and online gal- lery pricing. Celeste roberge, (1951- ) Biddeford Previous page: Rising Cairn #4, 2000, 58" x 54" x 40", welded galvanized steel and glacial granite cobbles. Portland museum of art collection. Left: Walking Cairn #3, 2015, 105", welded galvanized steel and river rocks. Private collection. “The nature of her work captures the human form. Rising Cairns is instantly recognizable.” –Bruce Brown Meet the Curators Dreamhouse (below), 29.5" x 21", a 1983 sculpture in steel, lead, wood, copper, aluminum, and glass, sold in 2012 at Barridoff galleries for $2,160. anne Zill is Art Gallery Director for the University of New England Portland Campus. She holds a Congressional Fellowship from the American Po- litical Science Association in Washington D.C. She has mounted several national exhibitions, two of which went on display at the United Nations Headquarters. Her traveling exhibition, Women on War, has been shown around the country. andres Verzosa opened Aucocisco Gallery in Portland in 2000 and ran it for 14 years. He was a founder of Portland’s First Friday Art Walk, and he is a board member of Maine College of Art, the Maine Historical Society, and the Tides Institute in Eastport. He is currently the Interim Executive Director and Curator at Ogunquit Museum of American Art. Portland native bruce brown is a retired educator who has been collecting art for decades. His own collection has been exhibited at the Portland Museum of Art and Colby College Art Museum. He’s a cura- tor emeritus of the Center for Maine Contemporary Art and presently a co- founder of PhoPa Gallery in Portland.