The Chart



The Chart is an online arts journal dedicated to tenderness, visibility, and urgency in arts writing. Through slow publishing from the edge of the continent, we support critical artistic dialogue from the margins in the forms of online publishing, annual printed anthologies, and visiting critic programming.

We aim to complement efforts of other publications by covering material that may be challenging or invisible to other outlets, with the goals of creating shared language; recognizing deep connections across borders and cultures; celebrating diversity in thinking, ideas, and lived experiences; and honoring the relevance of regionally-specific participation in matters that we grapple with together as a nation.

The Chart is particularly interested in new scholarship on emerging artists, conversations that prioritize cultural care, and work of all kinds that is rigorous, generous, and which prefigures a more equitable art world.

The Chart is a member of Common Field, a visual arts organizing network connecting contemporary, experimental, noncommercial artist-run and artist centered spaces and initiatives.

The Chart’s work in 2019 is supported by a project grant from the Ellis-Beauregard Foundation.

Thank you to the generous individuals who are supporting The Chart’s work in 2019: Jonathan Blatchford, Nicola Chin, John Coleman, Lance Dutson, Beth Finch, Eileen Gillespie, Carolina González Valencia, Alison “Wooly” Hildreth, Alexis Iammarino, Mark Jamra, Kelsey Johnson, Paul Koenig, Janna Añonuevo Langholz, Susan Larsen, Anne Marie Purkey Levine, Jessica Lynne, Carolyn and David May, Nat May, Suzette McAvoy, Tessa O’Brien, Tina Petra, Joshua Reiman, Aaron Stephan, Ellen Tani, Ian Trask, Leah Triplett Harrington, Grant Wahlquist, Mark Wethli, Jim Whitten, and anonymous donors.

The Chart’s third volume (2018) is supported by The Kindling Fund, a grant administered by SPACE Gallery as part of the Andy Warhol Foundation for the Visual Arts Regional Regranting Program, as well as by the Dorothea and Leo Rabkin Foundation.

The first volume of The Chart (2015–16) was supported by The Kindling Fund, a grant administered by SPACE Gallery as part of the Andy Warhol Foundation for the Visual Arts Regional Regranting Program, and the Maine Arts Commission.


The Chart Anthology: 2017–2018



Zanele Muholi, Julile I, Parktown, Johannesburg, 2016 © Zanele Muholi. Courtesy of Stevenson, Cape Town / Johannesburg and Yancey Richardson, New York
Hail The Dark Lioness: Zanele Muholi at Colby College Museum of Art by Dylan Hausthor, Vol. 4, No. 3: Spring 2019


Ruby Jackson, Untitled. Ceramic, bubble gum, foam. 14x20x17in. Photo by Joel Tsui. Food, Mundanity, Devotion: Flavor Profile at Border Patrol
by Olivia Canny, Vol. 4, No. 2: Winter 2019 



The Visiting Critic Lecture Series brings five arts writers and critics to Maine from June–September 2019. The 2019 Visiting Lecturers include Jacquelyn Gleisner (New Haven), James McAnally (St. Louis), Andy Johnson(Washington, D.C.), Leah Triplett Harrington (Boston), and Dr. Jordan Amirkhani(Washington, D.C.).


Carolina González Valencia, from How to Clean a House: a Family Album (2018, Orbis Editions)
Postcards from Home: on Art Practice, Immigration, & Domestic Work by Cornelia Cornejo Sotelo, Vol. 4, No. 1: Fall 2018


Gina Adams, Its Honor is Hereby Pledged: Broken Treaty Quilts, Dartmouth College
Ritual Insider/Ritual Outsider: Gina Adams on art & the archive
by Myron Beasley, Vol. 4, No. 1: Fall 2018



A View from the Edge of the Earth: Double Vision at the Headlands and Fort Gorges
by Rose Linke, in conversation with Francois Hughes, Yulia Pinkusevich, and Andrea Steves, Vol. 4, No. 1: Fall 2018



  Floating Through Silence and Noise: Anna Hepler & Jon Calame’s Trespasses by Hilary Irons, Vol. 4, No. 1: Fall 2018


Tending to the Haints of Malaga Island
by Jessica Lynne, Vol. 3, No. 3: Summer 2018


  Airing Out Ambivalence: on cultural care & the allure of judgment
by Ellen Tani, Vol. 3, No. 1: Fall/Winter 2018 



Gordon Hall, The Number of Inches Between Them, performance at Winter Street Warehouse, 2017
On Vulnerability & Heavy Objects: a reflection
by Gordon Hall, Vol. 2, No. 4: Summer 2017



Emilie Stark-Menneg, Summer in Maine, 2016, 70” x 70”, acrylic, oil and spray paint on canvas. Image courtesy Elizabeth Moss Galleries.
Emilie Stark-Menneg & the Sweet Cool of Material Nostalgia
by Julien Langevin, Vol. 2, No. 4: Summer 2017