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Working Maine Exhibit 2023

A combination of invited and juried works
Thank you to our sponsors

Up to 100 juried artists who depict the rich enterprise of work in Maine will be selected for this exhibit. Works in drawing, painting, printmaking, sculpture and photography are all eligible for this exhibit. 

How to Submit Your Work for Working Maine:


This exhibition will feature artists who have depicted the diverse world of work in our state – from the working waterfront, construction, agriculture, manufacturing, to everyday people going about their daily work. Artwork can be both literal and metaphorical including drawing, painting, photography, sculpture, printmaking, collage and assemblage.


  • Exhibit runs: July 13 - August 13. Thursdays - Sundays, 11am to 4pm.

  • Reception:  July 15, 4pm - 7pm.

  • Drop off of Accepted Work: July 10 and July 11, 11am to 4pm.

  • Pick Up Work:  August 14 and August 15, 11am to 4pm.

  • Jurying: The last week of June. Accepted artists will be notified at the end of that week. Andre Benoit will serve as juror.

  • Entry Fee: $15 for Maine Art Gallery Members, $20 for non-members


Painting by Scott Elliot

Submission Guidelines for Working Maine


Open to both members and non-members of the gallery.


Members use coupon code WORKINGMEMBER to pay $15 to submit your works for jurying. Fee is $20 for non-members.


Submit up to three jpegs to be considered by the juror. Attach the jpeg files along with the information below and Subject line "Working Maine Submission" to


Guidelines for submitting images:

  • Jpgs must be titled with your last name and title of the piece. Example: CoatesSummerGreens.

  • Images should be 1 to 3 megabytes in size.

  • Recommended pixel size is about 900 width or height, but not to exceed 1,800 in either dimension.

  • Do not send thumbnails.


Within the email you submit your jpeg images, include the following:



City, State, Zip



MAG Member:  YES   NO


For each jpeg, also include the following information in the same email:




Dimensions (HXW, add depth if 3D)


Submission of your entry fee constitutes my understanding and agreement to the juried show guidelines and to the following conditions:

  • All work submitted is my own original artwork.

  • My entry fee is non-refundable.

  • If my work sells, Maine Art Gallery takes a commission of 35% and I have priced my work accordingly.

  • I grant Maine Art Gallery permission to use images of my artwork and/or my name in promoting this exhibit in print, broadcast and online media and marketing materials. 


Disclaimer:  The Maine Art Gallery is not responsible for technical or computer failures, including problems accessing the Internet, any other computer error, or malfunction, or for late, lost illegible or misdirected entries.  Make sure you send your entry to the correct email account according to the directions above.  You will receive a reply confirming your entry.



Dates to Remember:


June 28: Deadline to submit to be in the show. Includes payment, jpgs and email Information.

July 10 - July 11: Artists drop off accepted work between 11am and 4pm.

July 13 – August 13: Exhibit Run. The gallery is open Thursday to Sunday, 11am to 4pm. Note that the last day of this exhibit is Sunday, August 13.


July 15: Saturday opening reception from 4pm to 7pm.


August 14 - August 15: Artists pick up unsold works between 11am and 4pm.

Meet Our Juror Andre Benoit


I am not entirely aware of the origin of my aesthetic curiosity, but I have long been deeply motivated to capture and represent what I feel and see when I am visually stimulated by my surroundings. I suspect it lies somewhere between my mother’s quiet ease in outwardly enjoying even the most subtle elements of natural beauty around her and my father’s near-­systematic and sometimes­ stubborn ability to compliment color and style having, himself, been a career clothier. It seems every bend in the road affords me an opportunity for visual distraction.

With orderliness not being a priority, entropy has often been incorporated intentionally or found its way into in my recent foray in wooden sculpture assemblage—often eliminating the fixed focal points of my earlier dry brush watercolor and, in the past two decades, my work with oil and acrylic renderings. In this new, physical, and dimensional medium, I have renewed and invigorated my artistic drive. Wood remnants, flotsam and jetsam from the shoreline, trim-work from renovated homes, and broken and discarded furniture—what I most enjoy about my work with salvaged materials are the stories behind my acquisition of them, and the opportunity to meld unrelated pieces into a composition that commands a second look.

Being drawn to deep contrast in pigment and value, the juxtaposition of divergent shapes and forms, and the lucid embodiment of complex subjects, I construct.

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