Current Exhibits

Current Exhibitions

STRATA | Shoshannah White

Spiegel Gallery

Work Together | Susan Webster & Stuart Kestenbaum

Fineberg Family Community Room

Auschwitz | Images of Resilience and Light | Arthur Fink

Third Floor Sanctuary

Exhibitions: January 14, 2018 – March 2, 2018

Sunday, January 28, 2018, 2pm: Brief artist’s talk with Shoshannah White followed by question and answer session

First Friday Art Walk: February 2, 2018, 5pm-8pm

Sunday, February 11, 2018, 2pm: Artists’ talk with Susan Webster and Stu Kestenbaum


STRATA includes photographs captured in Svalbard, Norway as well as cameraless prints made directly from glacier ice and coal.  Ice, in glacier form, is melting, growing, compressing – holding planetary history in its transparent layers.  Coal, dense, black and filled with carbon, compressed from ancient plant matter, contains energy from millions of years ago.  Each material holds clues of the past – both formed by strata of time.

Shoshannah White is an interdisciplinary artist based in Portland, Maine.  Her practice includes photography, painting, sculpture and public art installation.  Her work is represented by Corey Daniels Gallery in Wells, Maine, Pilar Graves in Los Angeles, California, and by Stephen Bulger Gallery in Toronto.


Susan Webster and Stuart Kestenbaum envision their work as a partnership between image and word, where both are equals.  Susan Webster is a visual artist who combines drawing and printmaking and other media.  Carl Little has written, “Webster’s awareness of the preciousness of time on earth heightens both her personal sense of existence and the art she creates.  Even as she acknowledges a ‘certain darkness, mystery, the unknown’ she celebrates life.  In a manner of speaking, she wears her passion in her prints.”

Stuart Kestenbaum is the author of four books of poems, most recently Only Now (Deerbrook Editions) and is currently Maine’s poet laureate.  Former US Poet Laureate Ted Kooser has written “Stuart Kestenbaum writes the kind of poems I love to read, heartfelt responses to the privilege of having been given a life.  No hidden agendas here, no theories to espouse, nothing but life, pure life, set down with craft and love.”


I’m best known as a photographer of dance.  But what I really photograph is energy and emotion.

This exhibit has given me the opportunity to look inward for that emotion, as I’ve sought images of mine that suggest hope, possibility, and positive vision.

Some of the most hopeful images were these tiny drawings by children in several of the concentration camps – painstakingly copied by artists onto the plaster walls of a room at the Shoah exhibit at Auschwitz.  As I photographed these tiny and faint scenes, I could see that these children, and I believe all children, were born with love, compassion, appreciation for their parents, and no understanding at all of the fate that awaited them.  Other images in the exhibit offer different points of light.  My vision is not just of what happened at Auschwitz, but also of human resilience throughout time.

One afternoon, after returning home from junior high school, I came upon a slender volume, placed with spline facing rear, on my parent’s book shelf.  It was a volume commemorating the liberation of the Dachau concentration camp, a volume that my father had art directed.  The pictures of shoes, piles of gold teeth, and other crude images of the Holocaust were etched in my mind on that day.  I’ve looked many times for that book, but never could find it again.

And then only recently, I was asked to accompany Martin Steingesser, Judith Tierney, and Robin Jellis on their pilgrimage to Auschwitz and Birkenau.  The images my father had worked with were all there, closer to real life, and closer to my heart as I spent time there reflecting on my life, my faith, and my hope.