+++Sountrack to the Ant Girls exhibition Ant Farm out now on LP!!!!!

Elliott Schwartz & Big Blood - Ant Farm 

Released by Feeding Tube Records   

Get it HERE 



LP Edition of 300. Numbered.

Soundtrack to the exhibition "Ant Farm:At the Nexus of Art & Science" by Rebecca Goodale, Colleen Kinsella, Vivien Russe & Dorothy Schwartz.
Review by Byron Coley

An incredible album of music, conjoining two different sonic aspects of Maine’s Strangeness. Big Blood are well known to fanciers of contemporary sub-underground sounds. The duo of Colleen Kinsella and Caleb Mulkerin have been conjuring up rural-experimental ghosts for over a decade. Feeding Tube has previously released their double LP set, Radio Valkyrie (FTR 103) to rapturous acclaim. Their music embodies the mysteries of the deep woods better than any othe artist we can name.
Elliott Schwartz, meanwhile, has been composing and playing brilliant (often keyboard based) music for decades. His 1973 duo album with saxophonist Marion Brown (released by Bowdoin College, where he has been based for many years), is often cited as one of the primest examples of a free jazz/avant classical hybrid. And all of his records are quite killer.
This LP came together as the soundtrack for an exhibit called Ant Farm, organized to showcase the work of Maine-based art quartet, The Ant Girls. This visual arts group included Ms. Kinsella and the late Dorothy “Deedee” Schwartz in its ranks, so it’s perhaps is this collab less surprising than it might initially appear.
But surprising or not, the work is an incredible syncretic fusion. Although there are certain instrumental parts we might ascribe to one artist or the other, as the music unwinds these divisions melt and become all-but-imaginary. The blend of Big Blood’s psych-tinged free-folk improvisations and Schwartz’s aleatory work on keys and percussion is a ver righteous blast.
300 numbered copies exist on our planet. Don’t delay.


!!Ant Farm iBOOK!! Download for Free

If you have an apple computer, iphone, or ipad you can now download for free our Ant Farm exhibition catalogue. Please tell everyone you know!
Go here

This was made possible by Brynmorgen Press and Rebecca Goodale. 


ANT FARM on View at UNE Biddeford Gallery SEPT - DEC 2015

UNE Art Gallery in the Ketchum Library on the Biddeford Campus hosts a new installment of  ANT FARM: AT THE NEXUS OF ART & SCIENCE, a eusocial collaboration by Rebecca Goodale, Colleen Kinsella, Vivien Russe, and the late great Dorothy Schwartz.

Opening Reception Thursday Sept. 17th 4:30 - 6:30
The exhibition will run September through December 2015.

BIG thanks to Calley, Katherine, Kevin, Elana, Maine Women's Writers and UNE.


Ant Girl Rebecca Goodale selected as the MCA Master Craft Artist Award!!

The Maine Crafts Association Announces the MCA 2015 Master Craft Artist Award Recipients: Rebecca Goodale, Book Artist, Arts Administrator and Educator; and 
Sam Shaw, Jeweler and Sculptor, Craft Community Advocate and Leader.

Join the celebration: Haystack Mountain School of Crafts, Friday May 15th, 7:00pm

The Maine Crafts Association (MCA), a statewide non-profit organization promoting the work of Maine's craft artists, has named book artist Rebecca Goodale of Freeport, Maine and jeweler Sam Shaw of Northeast Harbor, Maine and as the 2015 recipients of the MCA Master Craft Artist Award.  Recipients are selected for demonstrating excellence in craftsmanship, inspired design, a singular voice or style, and a career of service to the field.
Rebecca Goodale, Book Artist, Arts Administrator and Educator

The 2015 MCA Master Craft Award process began with nominations submitted from past award recipients. The 2015 recipients were selected by Carl Little, a writer, expert, administrator and advocate of art and craft in Maine and recipient of the 2009 MCA Craft Award awarded to supporters of craft in Maine.

Rebecca Goodale has been creating innovative and sublimely-made artist's books for many years and frequently does collaborative work with other artists as well as public art installations. In addition to being artistically active, she is the program coordinator for the Kate Cheney Chappell '83 Center for Book Arts at the University of Southern Maine, where she inspires artists at all levels. Goodale's books can be found in many institutional collections, including the Bowdoin College Library, the Maine Women Writers Collection, Library of
Ilex laevigata (male and female), 2013, screen printed interlocking artist's book, edition of 3
Congress, Portland Museum of Art, State Art Museum of Hawai'i, and the Fogg Museum Fine Art Library, Harvard University. Her awards include a New Forms Regional Initiative Grant from the New England Foundation for the Arts and a Mellon Grant for the Humanities at Bates College. In 1995 she was a Resident Scholar for the Island Institute in Sitka, Alaska. Goodale teaches design and book arts for the USM Art Department.

Goodale's current body of work consists of a series of artist's books about the more than 200 plants and nearly 50 animals currently listed as threatened or endangered by the State of Maine. Her intention is not to become a scientific illustrator; instead, Goodale wants to inspire sensitivity for these rare flora and fauna by using her background in book arts and textile design to interpret color, pattern, rhythm, and transition.


Ant Girls Roundup: OCTOBER 4th Ant Farm at L.C. Bates Museum Hinkley,Maine and Rebecca Goodale solo exhibition

L.C. Bates Museum is hosting part of the ANT Farm exhibition by us Ant Girls. 
Opening on October 4 with a family program.
The exhibition runs through Dec. 14. 

   Below are photos from our trip to the 
L.C. Bates Museum with Deedee Schwartz in 2014.


Threatened and Endangered Artist's books 
Rebecca Goodale

October 28, 7:00 PM She will be giving a talk about her work at the Kresge Auditorium at the Bowdoin Visual Arts Center with an exhibition reception to follow. 


Bug-Maineia Photos of Vivien Russe and Mary Hart at the Maine State Museum

 Ant Girl Vivien Russe and honorary Ant Girl Mary Hart(who assisted us in making the giant Ant scrolls for our Ant Farm exhibition last April), worked all day long at BUG -Maineia, a project that merged art and science at the Maine State Museum on Sept. 13th!  
Parents, teachers and kids were very involved and enthusiastic. Participants use pre-made Ant Girl stamps to make a new scroll of leafcutter ants.  Mary Hart was a champ not only providing materials, good ideas and a lot of enthusiasm.  Mary had the good idea of take-away index cards(see below). Thank you to Vivian and Mary Hart for their hard work!

The Bug Maine-ia project helped create a new ant scroll!



SEPT. 10th Ant Girl Vivien Russe at BUG-MAINE-ia + Maine State Museum 9am -3pm

SEPT. 10th  9am -3pm

 Don't miss out on Vivien Russe's workshop on leaf cutter ants.
Click here for questions and directions.
The leaf cutter ants and humans are two species that are farmers. The leaf cutter ants cut leaves and carry them back to the colony to be used as a substrate to grow a fungus that is the food source for the colony.

At Bug-Maine-ia, kids can participate in making an ant scroll to capture this activity. Using soft block images of ants, they will print a column of ants on a long roll of paper and will then attach the leaf fragments to each ant. At the end of the day, the scroll will show just how busy these ants and these kids can be.

A similar activity was done by Ant Girls of Maine, as part of Ant Farm; at the nexus of Art and Science, a multimedia installation supported by the Maine Arts Commission.


ANT Farm Closing Celebration Thursday JUNE 5th 5-8 and more excellent press about the show...

‘Ant Girls’ triumphantly take over USM art gallery in Lewiston

Dorothy Schwartz, Rebecca Goodale, Vivien Russe and Colleen Kinsella have loosed their artistic depictions of leafcutter ants all over the Atrium.

By Daniel Kany
The sign for the Atrium Art Gallery at the University of Southern Maine’s Lewiston-Auburn College has been pirated by a large woodcut-printed paper ant so that it now reads “Ant” instead of “Art.” Inside, hang three huge scrolls of white paper covered in many thousands of printed leafcutter ants who, unlike their insurrectionist colleague, are going about their well-organized business of carrying bits of leaves.

click image to enlarge
Leafcutter ants cover hanging paper walls, scrolls and framed works on paper in “Ant Farm” at USM’s Lewiston-Auburn College.
Courtesy photo

click image to enlarge
"Ant Farm: At the Nexus of Art and Science" opens at the Atrium Art Gallery at the University of Southern Maine.
Courtesy photos

Additional Photos Below

art review

“ANT FARM: AT THE NEXUS OF ART AND SCIENCE” – A collaborative exhibition by Dorothy Schwartz, Rebecca Goodale, Vivien Russe and Colleen Kinsella.
WHERE: Atrium Art Gallery, University of Southern Maine, Lewiston-Auburn College, 51 Westminster St., Lewiston
WHEN: Through June 6; gallery hours 8 a.m. to 8 p.m. Monday to Thursday; 8 a.m. to 4:30 p.m. Friday; 9 a.m. to 3 p.m. Saturday through May 3
INFO: 753-6500 or usm.maine.edu/atriumgallery, http://antgirlsmaine.blogspot.com/
SEE ALSO: http://bit.ly/1lB0asc
The scrolls offer a first glimpse, but it’s immediately clear there is a huge show installed in the gallery.
To the left is a wall of about 30 framed works on paper. To the right is a pair of giant, accordioned hanging paper walls exploding with color. Works of art are everywhere -- hanging from the ceiling, mounding up on pedestals and filling vitrines.
Much of the work is thick with pulsing colors while the black forms of ants gather in appealingly rhythmic bunches everywhere throughout the space, from pictures on the wall to a cylindrical web of winged male suitors flying after a queen soaring 20 feet and more above the U-shaped atrium.
“Ant Farm: At the Nexus of Art and Science” is another extraordinary exhibition in the unique flavor of curator Robyn Holman’s shows featuring Maine artists taking on subjects of the natural world. Equal parts art and didactic science, these smart shows move fluently in both directions.
“Art Farm” is a gigantic exhibition both in terms of the number of works and the depth of its content. But despite its symphonic complexity, it’s a fun and welcoming show.
“Ant Farm” was made by a group of Maine artists who call themselves the “Ant Girls” – Dorothy Schwartz, Rebecca Goodale, Vivien Russe and Colleen Kinsella.
Schwartz died of lymphoma in March, just before “Ant Farm” opened in April. She was a beloved artist, professor and leader in the Maine arts scene who was the executive director of the Maine Humanities Council for 25 years. Rather than using “Ant Farm” to remember Schwartz, I think it should be seen for what it is: a great collaborative exhibition. I see “Ant Farm” as Schwartz’s triumph – not her memorial.
Schwartz’s touch sets the tone for “Ant Farm,” with images that reflect the draftsmanship and powerful aesthetic of her teacher, Leonard Baskin, arguably America’s greatest and most emotive printmaker.
That said, the idea of individual authorship of the works quickly dissolves. If you are a contemporary art fan, this might be the most interesting aspect of the show. Our post-war American view of art is so dedicated to the marketing and recognizability of any artist that we have lost the idea of movements and collaborations, the very stuff that made all those “isms” of art so exciting: impressionism, cubism, surrealism, expressionism and so on. It’s unusually interesting here because the society of leafcutter ants creates a complex cultural context for comparison. In fact, leafcutter ant societies are second only to humanity as the most complex animal societies on Earth.
Leafcutter ants live in tropical areas, including in the United States, and are notable for cutting and gathering leaves that they use as nutritional substrates on which they grow their food – a fungus. The ant girls show this alongside mating and communication practices among leafcutters, all of which they present in ways that echo or comment on the creative processes of art in our culture.
In the Surrealist game “exquisite corpse,” artists would fold paper so they couldn’t see the parts of a figure drawn by the other artists, dividing head, torso and lower body. The Ant Girls, in an intriguing meld of architecture, surrealism and “women’s work,” made conjoined drawings on paper and then printed them on sewn patches of fabric treated with cyanotype emulsion (blueprint), creating large pictures of ants that are literal versions of exquisite corpse.
The 40 or so works on the opposite wall were passed from artist to artist until someone decided they were done. It was an apt process for these artists; while they look great together, virtually any of these works is quite excellent on its own.
The show also includes examples of handmade books in a series of vitrines. This is a particularly successful part of the show because these works are so accessible and anyone can imagine handling a book. These reflect a hands-on feel to the pair of hanging walls that are made of folded and notched paper. They are richly printed with Matisse-cutout-inspired tropical imagery featuring cool colors on the outside and warm tones on the inside. The two walls form a sort of tunnel that snakes along parallel to gallery’s long walkway ramp.
An extension of the show features works by each of the separate artists. However, this has the opposite effect from what I expected: Instead of giving us sufficient information to distinguish each artist’s contributions to the collaborations, they underscore that the work cannot be completely parsed.
Another unexpected quality is that the more you learn about leafcutter ant society (by reading the excellent label copy), the more impressive and deep the show becomes – particularly in its modeling of non-verbal social communication.
“Ant Farm” also features a beautiful (in the sense of Alban Berg’s “Wozzek”) soundtrack written and performed by Elliott Schwarz (husband of the late “Deedee”) in collaboration with Caleb Mulkerin and Kinsella.
Hidden in plain view among the exhibition’s deep conceptual insights about collaboration is what amounts to the most ambitious presentation of paper media I have ever seen: sculptures, prints, drawings, scrolls, books, installations, signage, paintings, puppetry, origami and more all brilliantly orchestrated as a single entity somewhere between an exhibition, an installation and a hive.
Because of its heavy pass-through traffic, it’s counterintuitive that the Atrium Art Gallery would routinely mount complex and conceptually challenging exhibitions. But it specializes in such shows, and I have seen none more ambitious or more impressive than “Ant Farm.”
Freelance writer Daniel Kany is an art historian who lives in Cumberland. Contact him at: