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Harwood opened the scoring on Lilianna Ziedins' second-period goal before Woodstock's Hannah Coates knotted the score later in the period, with [Anna Hepler] earning the assist. Hepler's goal -- on Woodstock's 30th shot of the game -- was assisted by Lauren Forgione. Lebanon faces Woodstock on Tuesday as part of Hartford High's holiday tournament.

Interestingly, [Anna Hepler] created \"The Great Haul,\" her largest work, in the center of the first-floor entrance to the museum known as the Great Hall. The piece makes one think of a giant fishing net and as such was appropriately created in Portland, a community overlooking the sea. Even its title, \"The Great Haul,\" brings to mind the sea. \"The Great Haul\" is part of PMA's \"Anna Hepler: Makeshift\" exhibit, which also includes 20 prints and a related inflatable installation. Pat Davidson Reef has a master's degree in education and has taught art history at Catherine McAuley High School in Portland. She has written two children's books, \"Dahlov Ipcar, Artist,\" and \"Bernard Langlais, Sculptor.\"

PORTLAND ? In July, Maine artist Anna Hepler will construct a monumental installation inside the Portland Museum of Art's Great Hall. Made from a nestlike mesh of salvaged and sewn sheet plastic, this installation titled \"The Great Haul\" will be part of an exhibition of Hepler's work that continues on the museum's fourth floor.

Anna Hepler's art is a triumph of opposites: Though it looks fragile, it also gives an impression of tensile strength. And although she captures the moment of an object's dissolution, she celebrates the charged particles that remain. From installations of string and colored tape to a series of delicate three-dimensional spheres made of covered florist's wire to ink drawings on stacks of Plexiglas, Ms. Hepler tries to convey the moment of controlled explosion. She takes her cue from nature, tapping natural phenomena from tiny dandelion-seed puffs to night-arcing fireworks as inspiration. Hepler has spent a good part of the past decade observing spheres in nature and attempting to translate the range of emotions they engender in her. She built crude three-dimensional models of spheres out of wire and then moved to florist's wire for its softer, more stringlike look. She drew these shapes repeatedly in pen and ink, sometimes on paper, often on Plexiglas plates. Certain pieces achieve the precision of mechanical drawings, and others feel more free-form. Hepler's methods are purposefully labor-intensive. In the DeCordova exhibition, a series of large scrolls, titled \"Conduit,\" features row upon row of panels enclosing white bubble shapes with brightly painted squiggles, knots, and dot formations inside. Hepler painted the scrolls while in South Korea on a fellowship in 1999. She laughs now at what she describes as the obsessive process involved, which brought her to the point where, in bed at night, she would see rows of panels marching behind her closed eyes.

Why? Because the inner compulsions of the best artists tend to develop in a place that is out of reach of language. [...] when artists are asked to explain their work, the constructions they come up with can be smooth, convincing, terrifically interesting - and yet in some strange way a betrayal of the original impulse.

Twenty-five art institutions in Maine are working together on what is being called the largest collaborative arts project in Maine's history. The Maine Print Project showcases 200 years of Maine printmaking. More than 2,000 prints are part of the project. A historical overview of Maine printmaking, \"The Imprint of Place: Maine Printmaking 1800-2005,\" written by arts scholar David Becker, has been published by Down East Books in conjunction with the project. Courtesy of Maine Print Project Fairfield Porter's 1971 lithograph \"Dog at the Door\" will be on display starting in September at the Portland Museum of Art as part of the Maine Print Project. Courtesy Ogunquit Museum of American Art \"An Object of Interest\" (1941, etching with drypoint) is one of the prints by [Peggy Bacon] on exhibit at the Ogunquit Museum of American Art beginning Sunday.

  1. Above, 'TumbleTruss Canopy,' yucca paper, tumbleweed, 5 x 10 x 3 feet, by [Dennis Dollens] 2. Above, '#55 2001,' water, inner tubes, wood, 105 x 105 x 3 inches, by [Eric Tillinghast]. Courtesy Charlotte Jackson Fine Art. Top, 'Suspended Flight,' wool, thread, tape, dimensions variable, by Anna Hepler

\"Fade Away\" features those words in sunset yellow and orange blazing across an image of a sunset over a lake, with a spiky, fallen tree trunk extending from the shore into the water broadcasting a message of death. Saville prowls the outskirts of the city at dusk and sets her camera up for long exposures, capturing the different glows of emerging lights - neon signs, construction lights, street lights - as they illuminate their surroundings.

Christopher Gray's clever \"This Yellow Object\" video uses theatrical improvisation to incisively spoof the often ridiculously ponderous work of interpreting art. The artist circles a yellow sculpture earnestly spouting whatever associations come to mind, such as \"King Midas turned to gold for touching himself.\" Like Gray's piece, \"Confined Reflections\" won't shut up. Gretchen Skogerson and Garth Zeglin's installation is the least realized work in the show. The mirrored domes typically used to hide surveillance cameras here mask speakers. Walk past, and a dome starts chatting you up: \"Have you ever fallen out of love? I wish I could tell you how much it hurts.\" Though the device of a whispering mirror is enticing, the monologues echo those of the worst kind of egocentric seatmates on a trans-Atlantic flight. Hepler, Johnson, and Gregory Miguel Gomez pare information down into lean visual poetry. Gomez's 32-foot-tall bronze sculpture \"Bad Equilibrium\" depicts a narrow U-shaped tube. It looks as if a liquid has been poured into the tube, and the liquid rises higher on the right than on the left. The top of the U is higher on the left than on the right. \"Bad Equilibrium\" conveys something slippery, yet it's done with such simple eloquence, you could sit for a long time, just looking at it.

  Mary Carol Hepler of Lisle since 1962 Mary Carol Hepler, age 89, at rest Friday, August 9, 2013. She was born April 10, 1924 in Chicago, IL the daughter of the late Clarence and Anna Labbe. Beloved wife of the late Sherman \"Gene\" Hepler, loving mother of Diane (Ted) Applehoff, Paula (Chuck) Schumacher, Larry (Debi) Hepler, Mary Ann Kosinski, Sharon (Tom) Hess and Gayle (Barry) Conne, adored grandmother of Scott (Karen), Ami (Scott), Kevin A.