70s Catalogue
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The ’<strong>70s</strong>:<br />
Art & Place at<br />
Passamaquoddy Bay,<br />
Maine
“Spinnaker for Keith” by Mani Feniger in Eastport, Maine.
The ’<strong>70s</strong>:<br />
Art & Place at<br />
Passamaquoddy Bay,<br />
Maine<br />
A <strong>Catalogue</strong> to<br />
Accompany an Exhibition<br />
Held at the<br />
Tides Institute & Museum of Art<br />
Eastport, Maine<br />
July 23 - August 18, 2010<br />
Curated by William Humphreys<br />
with Essays by William Humphreys<br />
and Leatrice Linden<br />
Cover Photograph by Jane Ehrlich.<br />
1
T H E H I S T O R Y<br />
ESSAY BY LEATRICE LINDEN<br />
Some artist colonies are launched by fiat as Mable Dodge did in Taos or Henry Flagler in St.<br />
Augustine. Wealthy people wanting to surround themselves with and to support artists from<br />
elsewhere. In the case of Eastport and surrounding towns the initial impetus was real estate.<br />
Cheap homes far from the madding crowds.<br />
John Wise, an artist from Provincetown, bought an inexpensive house in Cherryfield. Bill<br />
Barrell, a painter from England, came to visit with his artist wife, Irene, and found that he<br />
could buy a house in Eastport for $850, the cost of renting for one summer in Provincetown.<br />
Incredible!<br />
John Wise put ads in the Village Voice, New York’s underground paper, read by artists, poets<br />
and musicians, the perfect audience for his new business—renting and selling real estate. In<br />
the summer artists came to visit friends and one of the fun recreations was driving around<br />
looking at houses and land. Michael Zimmer, an architect, bought a place in Pembroke, then<br />
artists Alan and Barbara Kirschenstein, film maker Ron Shade, and film animators Don and<br />
Irene Duga followed.<br />
In 1969 Brendt Berger, painter, sculptor, and printmaker saw an ad in the Village Voice and<br />
gave up his New York loft (to John and Yoko, no less) and bought a house in Eastport with his<br />
wife, fiber artist Mani Feniger. Brendt’s visitors included poet C. Richardson Dilworth, and<br />
artists Richard Van Buren and Mac Wells, who bought homes in the Passamaquoddy Bay area.<br />
Artist word-of-mouth spread through the New York Soho art community that the area was<br />
worth checking out, at least, at first, for the summer.<br />
Of course all this was taking place within the societal context of a strong “back to the land”<br />
environmental movement still resonating from the sixties. In addition, the turmoil engendered<br />
by the Vietnam war was being felt<br />
strongly by those artists still in the cities<br />
where violent protests were a common<br />
occurrence in the early ‘<strong>70s</strong>. Cities were<br />
becoming more expensive to live in and<br />
more dangerous.<br />
C. Dilworth.<br />
The rugged coast of Maine has always<br />
attracted artists but in the case of Eastport,<br />
the very distance from the big cities held<br />
a special appeal. Eastporters say, “It’s not<br />
the end of the world, but you can see it<br />
from here.” Traveling 16 hours north from<br />
New York City was both a decompression<br />
and a kind of pilgrimage. Artists found<br />
nourishment in the local environment, a<br />
safe place to commune with one’s muse.<br />
Some artists made a conscious decision<br />
to opt out of the competitive New York<br />
art scene and moved into becoming full<br />
time residents.<br />
2
Sunspot in Eastport. Photograph by Bill Barrell.<br />
SUNSPOT<br />
Artists like having other artists around, not many visit in the winter, so during the long winter<br />
of 1970-71, seven people, (three artists, two writers and two musicians, Brendt and Terry<br />
Berger, Leatrice Linden, Peter Milford, Dilworth, and Tom and Sally McDugald) gathered<br />
around wood stoves talking about idealistic possibilities. The Lyons factory, a derelict sardine<br />
cannery on Prince’s Cove, was for sale for $2000. It consisted of several wooden buildings<br />
on piers, three acres of shore frontage, a small brick building and a wooden garage. What a<br />
deal!<br />
One spends a lot of time in winter talking with friends, by the time spring came Brendt and<br />
Peter were considering putting a thousand dollars each into the purchase of the dream. The<br />
artists saw huge loft studios, musicians a place to practice and give concerts. The writers talked<br />
of a print shop, and the guys had a place to work on their old cars. Peter the ecologist, wanted<br />
a garden and chickens. Everyone was a budding architect, and there was an evangelical need<br />
to spread the news about the Eastport area as the place for artists and the Sunspot Factory as<br />
the center of activity.<br />
Artists Denis Oppenheim and Joe Stranad bought a three story house overlooking the<br />
breakwater, transforming it into an art installation, and renting rooms in the summer to visiting<br />
artists. The Sunspot Factory housed Joseph White for a summer where he and ceramists Hideao<br />
Okeno set up a wood-fired kiln.<br />
New York in the summer is a great place to get away from and having artist friends to visit<br />
brought Vito Acconci, Red Grooms, Richard Serra, Joan Jonas, Al Loving and Alan Shields up<br />
north for a visit. Leslie Bowman became a summer resident at her parents’ home in Eastport<br />
before heading off to the Nova Scotia College of Art and Design. Susan Rothenberg and<br />
George Trakas spent a month housesitting for Richard van Buren and Batya Zamir in Perry;<br />
3
Water Street, Eastport, Maine in 1974. Photograph by Hugh French.<br />
when their plumbing failed George built a fantastic outhouse in the style of his sculptures.<br />
The physical bounderies of the new community went beyond Eastport proper. Jane Ehrlich<br />
bought a derelict garage in Quoddy Village. Peter Milford built a log cabin and homesteaded<br />
with Leatrice Linden in Perry. Pembroke, along with its summer residents, had a candle factory<br />
and a leather shop. In Robbinston, Lee Suta and his wife, Elizabeth Ostrander, planned to turn<br />
their barn into studios. Michael Good set up his jewelry workshop in Edmunds. Photographer<br />
Christian Sunde moved into Trescott and filmmaker, Wing Lum, into Lubec.<br />
The factory continued to be a center for happenings but the dream of artist studios and galleries<br />
went crashing into the bay one June day in 1972. Extremely high tides loosened the attached<br />
piers from land and the buildings were seen floating through the fog into Passamaquoddy<br />
Bay. Heroic efforts by artists and friends prevented the factory from becoming a hazard<br />
to navigation and many homes were built with the salvage from those buildings, but the<br />
collective dream was shattered.<br />
Artists are ever resourceful; without the factory to show art work they turned to the local<br />
libraries, and any empty building that needed a tenant to brighten up Water Street became<br />
an art venue. The Bank Square Gallery was in the building that is now The Commons. When<br />
the University of Maine at Augusta offered the artists of Sunspot a show, Eastporter, Nancy<br />
Raye, who was living downstate shared her house with the artists while they installed their<br />
exhibit.<br />
There was a state-wide network developing, places to stay and galleries to exhibit in, but<br />
the distance from major cities, while appealing in the beginning, now began to feel like an<br />
obstacle. People went back to the cities for many reasons; money was a big part of that. Being<br />
out of the art loop it was hard to sell artwork. Winter took its toll as well.<br />
Mainers knew you had to leave the state to find work, and so artists left to teach, or work in<br />
4
films or museums or practice carpentry.<br />
Some return in the summer; others<br />
replanted themselves elsewhere. As<br />
artists flow like the tides, “newcomers”<br />
from away replaced “old-timers,” seeking<br />
and seeing in the Passamaquoddy Bay<br />
area a place to live a dream amidst<br />
the awesome beauty that inspires the<br />
most profound meditations that are the<br />
inspiration for art.<br />
The visual arts were not the only ones<br />
to thrive in Eastport and environs during<br />
the ‘<strong>70s</strong>. Musicians and poets were also<br />
attracted by the natural beauty of the<br />
setting as well as the modest cost of<br />
living.<br />
THE MUSIC SCENE<br />
In the early ‘<strong>70s</strong>, The North Coast School of Music was started in Eastport by Philip Batstone.<br />
Greg Biss was on the faculty. They received grants from the Maine State Arts and Humanities<br />
Council and produced The Three Penny Opera by Kurt Weill, in addition they gave free<br />
concerts of early choral and chamber music. Each year more musicians were attracted to the<br />
area and much as the visual artists who came to the area had to develop their own exhibition<br />
spaces, so the musicians developed institutions like Summer Keys in Lubec and The Eastport<br />
Art Center.<br />
POETRY<br />
Dilworth came up from Greenwich<br />
Village in New York City with the first<br />
wave of artists and was a bohemian<br />
father-like figure to many of them. He was<br />
instrumental in the founding of Sunspot<br />
and started Friends of the Atlantic to fight<br />
an oil refinery that threatened destruction<br />
of the bay. In yet another hybrid mode<br />
indicative of the times, he printed his<br />
own broadsides integrated with what we<br />
would now call “clip art.”<br />
Heather McHugh arrived with composer<br />
Greg Biss in the early ‘<strong>70s</strong>. She was<br />
recently the recipient of the prestigious<br />
MacArthur Grant and is represented<br />
here by some early poems of the period<br />
distilling what it was like to be in Eastport<br />
then—a fitting end to our remembrance<br />
of things past.<br />
Philip Batstone playng harpsicord in Eastport, 1974.<br />
Photograph by Hugh French/The Quoddy Tides.<br />
Three Penny Opera performance in Eastport, 1975<br />
with local musician, Terry Flaherty, on drums.<br />
Photograph by Hugh French/The Quoddy Tides.<br />
5
T H R E E P O E M S<br />
B Y H E A T H E R M C H U G H<br />
SYMPATHY ON WATER STREET<br />
The dead end of the Eastport street I live on<br />
is a haunt of young and undomesticated<br />
couples who want all night<br />
to throw themselves<br />
for a loop, gear themselves<br />
for the cul-de-sac, pay lip service<br />
to the lovers’ leap. Ardently their autos<br />
elbow-bump and fender-bend; horns blurt out;<br />
interiors spill, as if to publicize the feeling<br />
up, the going down. I watch from my window in the dark<br />
and I can be, for all my distance, no more knowing. It’s enough<br />
to know our place, where the lay of the land<br />
is the law. To the falling off of solid ground,<br />
to the inform sea (that gutter of comings<br />
and goings) we who love inside<br />
are just as perilously close.<br />
NORTH ISLAND SONGS<br />
The water that made the island<br />
murdered the men. You can’t expect<br />
these moons to last, these fallen<br />
roses, rising golds. You can’t believe<br />
in pure decor or easy virtue.<br />
People are dying for good.<br />
*<br />
He wants other women,<br />
those who never leave<br />
well enough alone.<br />
He’s well enough.<br />
At a distance I gather<br />
what is going on. The dark<br />
that fills the deep is<br />
the song they hear in hulls.<br />
*<br />
6
If I pine and croon I am no woman<br />
in my hooked heart, if I stand for lying,<br />
maybe I can take a shine and still<br />
keep cool. In its own element that tough<br />
old bird, the gull,<br />
hauls across the last-chance bars<br />
and flashy waterfront its evening<br />
seine of wail.<br />
*<br />
The dance turns out to be<br />
a woodfire, fellows from the factory and mill,<br />
a cop in the doorway looking nowhere,<br />
and a kid to stamp our hands. The band<br />
is bored by the third song and the man I’d like<br />
to like is drunk in a swarming corner, so<br />
I plunge out the storm-door towards the cars and there<br />
are stars, all out.<br />
Orion perfectly<br />
speared by a pine.<br />
the moon exactly<br />
sharpened to a shade<br />
of meaning. I can think now<br />
cold and clear, imagine why the inland people call<br />
some kinds of water kill.<br />
SYLLABLES<br />
The island doesn’t sink.<br />
It’s not a ship, or spirits.<br />
Doesn’t try to keep up.<br />
Doesn’t care.<br />
This comforts the lonely man.<br />
He thinks like them<br />
he’s given up the ghost of likeness,<br />
line and clause. But all along the shoals<br />
of mated shapes<br />
the boats will prowl and grind<br />
and run aground. It’s even farther out<br />
that his survival finds its form: where<br />
small and fat and striped<br />
and never to be touched, they sing<br />
their whole notes (heard or not) —<br />
their boy low lub bob bell.<br />
7
T H E A R T I S T S<br />
ESSAY BY WILLIAM HUMPHREYS<br />
The ‘<strong>70s</strong>, in the larger art world as well as in the Passamaquoddy Bay area, was a time of<br />
synthesis and permission, of opening up and process, of words and ideas and intellectual<br />
approaches along with funky materiality and craft. These new ways and means of doing art<br />
were like strands that had all been laid down in the previous “free-for-all” decade which<br />
formed this group of disparate artists. It was now their turn to weave these threads together in<br />
a new, visually exhilarating and simpler environment. Though cut off to some extent from the<br />
pressures and stimulations of life in New York City, they were nourished by the art community<br />
in the Eastport area that was reaching critical mass by the early ‘<strong>70s</strong>.<br />
One of the new threads they brought<br />
to this area was the blurring of the<br />
boundaries between craft and art. In<br />
the realm of fiber, both the abstract<br />
fabric hangings of Lenore Tawney and<br />
the gigantic three-dimensional fiber<br />
works called Abakans by the Polish<br />
artist Magdalena Abakanowicz form<br />
some of the background of this rather<br />
radical opening to traditionally “female”<br />
techniques by serious artists. In our<br />
exhibition , this is exemplified in the work<br />
of Leatrice Linden, who used traditional<br />
and innovative fiber techniques and<br />
materials to create soft sculpture and<br />
three dimensional tapestries combining<br />
color and form in ways being done by<br />
abstract painters at the time.<br />
Leatrice Linden in her weaving studio in Eastport,<br />
c.1975.<br />
Alan Shields was another artist exploring craft-derived approaches. His radiantly colored,<br />
sewing machine stitched or woven artworks included paintings, utilitarian conceits and<br />
installations. The piece in this exhibition combines traditional basketry technique with nontraditional<br />
materials creating a nominally household waste basket with surreal overtones.<br />
Mani Feniger applied tie-dying and staining on silk surfaces to create elegant abstract colored<br />
hangings influenced to some extent by the paintings of Helen Frankenthaler and Morris Louis<br />
as well as the hung canvases of D.C. artist Sam Gilliam. All these were artists who eschewed<br />
the standard brushes and palette knives for poured and stained washes of color.<br />
The use of clay by artists is too old a tradition to be included in this context of blurred<br />
boundaries but its use as a vehicle of expressive form and the distortion of the figure starts<br />
with Matisse and runs in our time through Manuel Neri, Stephen DeStabler and Robert<br />
Arneson; this group brought a violent yet playful take on figuration by tearing through the<br />
clay and painting roughly and expressively over the surface. This was one of the approaches<br />
taken up by Elizabeth Ostrander who utilized the ceramic medium to create both fragmented<br />
and, later, highly stylized figural forms.<br />
The jeweler’s art is a uniquely intimate one and has been adopted in our time by artists<br />
9
Mani Feniger in her studio in Eastport, Maine in 1974 working on dyed silk piece, “Wave.”<br />
like Alexander Calder, Salvador Dali, and Louise Nevelson. In the ‘<strong>70s</strong> there was a strong<br />
influence in art jewelry from Europe, Germany in particular. In our area, Michael Good,<br />
trained in jewelry techniques and later learning casting then working with Heiki Seppi at<br />
Haystack School in Deer Isle, won international acclaim by producing sculptural art to wear<br />
that used his unique, personal methods to make sinuous forms playing with negative spaces<br />
and positive line.<br />
Among the sculptors represented here, Melanie Zibit, from Lexington, Massachusetts, carved<br />
directly in marble with sensitivity and technique learned in Carrara, Italy early in her career.<br />
She took up the approach worked in our time by Brancusi and Arp; softly sensual, biomorphic<br />
forms in hard, durable materials at once abstract yet mysteriously familiar. Richard Klyver,<br />
trained in casting techniques centuries old, produced realistic images in pewter and bronze,<br />
some derived from his work and travels in Africa. He brought his skills in these mediums to<br />
work he did for the Smithsonian in Washington, D.C. His sculpture of an owl is a totemic<br />
sentinel of the night. These were artists honoring the traditions of stone and bronze just as<br />
there were those adhering to the realist path in painting, even though the critics and art<br />
magazines of the time were touting abstraction, irony, and the blurring of the distinction<br />
between high and popular cultures.<br />
In contrast to these artists, some sculptors such as Ronald Bladen, David Weinrib and Bruce<br />
Beasley in this period were exploring the use of non-art, industrial materials. Rough edged<br />
surfaces at play with transparency, a frozen viscosity, and magical color and light effects were<br />
some of the ingredients in the aesthetic and process of Richard Van Buren. Fiberglass resins,<br />
powdered pigments, viscous chemicals, charcoal, and glues to be dripped on to armatures<br />
or poured into mylar molds were all part of Van Buren’s exploration of the new, hybrid<br />
possibilities of our material culture. He was like some kind of industrial alchemist constantly<br />
experimenting with new combinations and methods.<br />
Brendt Berger, in his early work, also explored the use of fiberglass and polyester in a similar<br />
10
mode. Instead of pure resins poured into<br />
molds these were painted on, colored<br />
resins over glass cloth in multiple stages<br />
on top of plaster and clay shapes. Like<br />
the paintings and prints he did in this<br />
period, these were tondos, circular threedimensional<br />
works in saturated colors.<br />
The pieces in this exhibition, influenced<br />
by the early protractor paintings of Frank<br />
Stella and also the crisp circular motifs<br />
of Robert Indiana, evince a concern for<br />
pattern, surface, and precision—cool,<br />
abstract, and objective.<br />
Berger serves as a bridge to the painters<br />
to be considered in this exhibition as<br />
the distinction between painting and<br />
sculpture was being blurred in the 70’s.<br />
There were many stylistic possibilities<br />
Melanie Zebit in her studio in Eastport, 1974.<br />
Photograph by Hugh French/The Quoddy Tides.<br />
in painting one could take as a starting point. Jane Erlich was doing her own versions of<br />
geometric abstractions using quirky optically colored bands sporting, in this example, chain<br />
saw like teeth on a canvas tilted radically off square. Both the striping and the shaping of<br />
paintings were consistent warp threads running through this period in the work of influential<br />
artists like Ellsworth Kelly and Frank Stella.<br />
Bill Barrell, who was the first of the ‘<strong>70s</strong> artists to arrive in the Eastport area, painted in a<br />
very personal, painterly style using compositional elements from Matisse and figuration from<br />
Picasso in a decidedly funky, expressionistic, and anti-academic manner.<br />
Lee Suta, who trained as a scenic artist for opera, stage and film, though a realistic painter,<br />
has produced a body of work that surpasses the utilitarian in his surreal, highly imaginative<br />
art. Suta is an accomplished draftsman and we have in this exhibition the illustrations he did<br />
for books produced in conjunction with the Wabanaki Bilingual Education Program as well<br />
as an oil painting depicting the Maine Coast. He captures the lyrical harmony of sea, fields,<br />
silence, and the scents of the earth.<br />
Another signature image of Eastport, the working water front, is depicted by Judy Colemann<br />
in a style somewhere between Van Gogh<br />
and Marsden Hartley, an earlier visitor to<br />
the Maine coast. Like Hartley, she also<br />
did loose but incisive portraits of many<br />
of the cast of characters in the area.<br />
Her work prefigures some of the neoexpresionistic<br />
art of the ‘80s.<br />
There was, in fact, a very strong<br />
predilection towards landscape imagery<br />
among many of these painters, not<br />
surprising in a liminal environment<br />
dominated by Passamaquoddy Bay’s<br />
insistent horizon line. This was a time<br />
Brendt Berger and Sarah Berger in Eastport, c.1975.<br />
11
when hard ass abstract artists, such as<br />
deKooning and Frankenthaler, tried to<br />
free themselves from representation, the<br />
real world imagery is, suggestively, still<br />
there. Even a Minimalist abstract painter<br />
like Mac Wells, a summer resident of<br />
Robbinston, retained that reference,<br />
reducing that horizon line to a blur of<br />
color or a single bold slice of white<br />
across an atmospheric field.<br />
Leslie Bowman, a summer resident in the<br />
Bill Barrell in Eastport, Maine, c.1975.<br />
‘<strong>70s</strong>, who taught at the Maine College<br />
of Art, refers to the surrounding coastal<br />
landscapes in her very seductive, painterly expressions of distilled sea and sky. For many<br />
years she was also the photographer for The Quoddy Tides capturing the spirit of the people<br />
and places of Washington County.<br />
Joe White, whose previous paintings were in the abstract manner, produced numerous<br />
renditions of the coastal land/seascape in refined and magical watercolors he did while a<br />
summer resident in “the way-house,” part of the Sunspot factory complex used by various<br />
visiting artists. As a year round resident, Alan Horseradish (Kirshenstein), in his beautiful and<br />
delightfully obsessive watercolors, repeats six times an almost identical land-water-sky-cloud<br />
image in a composition suggestive of decorative tiles.<br />
Arnold Wechsler, in his Double Puffin, chose to abstract one of the coast’s feathered fauna<br />
from his many more direct and painterly puffin images of the time. It is an almost psychedelic,<br />
mandala-like image that balances organic and geometric forms with Native American<br />
pictographs. His patterned subject matter draws on decorative aspects ranging from Oriental<br />
calligraphy to the visual characteristics of DNA molecules. These eclectic references, along<br />
with the “trippy” qualities, were a continuing thread used by many artists from the previous<br />
decade.<br />
Another artist in this group who utilized several of the signature trends of this period was<br />
Barbara Toothpick (Kirschenstein). Her work incorporated textual elements (a la Jenny Holzer<br />
and Barbara Kruger), swirling Fillmore poster-like psychedelic compositions, and decidedly<br />
frank feminist depictions of the female body. She, with her husband Alan, also used poetic<br />
autobiography and song in their many performances in the area—fusing a kind of ad hoc<br />
musicality with personal history Performance Art. It must be noted, at this point, that a good<br />
proportion of the artists in this exhibition are women, all working in their own personal ways,<br />
which mirrored what was starting to happen in the larger art world as well.<br />
One more thread woven into the fabric of this area was Conceptual Art. Avant garde artists of<br />
the period, such as Sol LeWitt and Yoko Ono, were using ideas as their whole dematerialized<br />
products. It was brought to this area by Dennis Oppenheim, who had a house in Eastport<br />
with fellow artist Joe Stranad. Earlier in his career he had combined Earth Work scale with<br />
conceptual underpinnings, using entire fields of grain as his “canvas,” creating patterns in<br />
the service of concepts, and photographing them for sale. Here he compresses the scale<br />
down to the size of a standard postcard while keeping his Body Art concept fresh, droll, and<br />
personal.<br />
12
Elliot Fishbein in his woodworking studio in Eastport, 1974. Photograph by Hugh French/The<br />
Quoddy Tides.<br />
Photography is represented here by the work of Christian Sunde who lives in Trescott. The<br />
great curator of photography at the Museum of Modern Art in New York in the 70’s, John<br />
Szarkowski, divided art photographers into two camps. They were either “mirrors” looking<br />
inward and expressing what they saw there, or they were “windows” capturing the truth of<br />
the world outside as did Gary Winogrand, Diane Arbus, and Bruce Davidson, three of the<br />
best practitioners of the period. Chris Sunde falls in the latter group. His work shows us an<br />
alert and perceptive observer of that time and place.<br />
And then there were the woodworkers, Jerry Young, Jim Blankman, and Allen Harris, who<br />
made musical instruments. Also in this group of true craftspeople was Elliot Fishbein. Using<br />
only hand tools (his incredible tool cabinet is illustrated here) he was commissioned by<br />
photographer Sid Bahrt of Pembroke and created this refined and stately box that houses<br />
a classic Bible which now resides in Husson University in Bangor. He made furniture and<br />
hand carved signs for the many businesses in the area. His sign for the Quoddy Tides hangs<br />
on Water Street.<br />
Though all the above artists and craftspeople are a disparate group in terms of styles, media,<br />
aesthetics, and backgrounds, in fact, they are a microcosm of the arts in that era making<br />
manifest in the Passamaqoddy Bay area almost every major trend in modern art. Lest we<br />
think that this was only in the past and that they are all gone let us remember that Blankman,<br />
Bowman, Colemann, Good, the Kirschensteins, Klyver, Linden, Ostrander, Sunde, Suta, and<br />
Van Buren are all still either full or part time residents. These are the warp threads of the recent<br />
past interweaving now with the fibers of our current art scene creating a vibrant tapestry.<br />
William Humphreys is an artist and was the Curator at Florida International University’s Art<br />
Museum and Gallery Manager at the Lowe Art Museum, University of Miami. His summer<br />
home is in Perry, Maine.<br />
13
“THE DRAWING,” acrylic on canvas, 1977, 37” x 50.”<br />
B I L L B A R R E L L<br />
Born: 1932 London, England<br />
Education: 1956 Pennsylvania Academy of Fine Arts, Pennsylvania<br />
One Man Exhibitions:<br />
2008, 2006, 2000 Peter Findlay Gallery, New York City<br />
1998 “Mad Cows,” Halle St. Pierre, Paris, France<br />
1993 Rachel Freedman Contemporary Fine Art, New York City<br />
1991 “Ten Year Retrospective,” Museum Art for Arts Sake, New York<br />
1987 David Brown Gallery, Provincetown, Massachusetts<br />
1981 Blue Mountain Gallery, New York City<br />
1979 “Art In Public Places,” World Trade Center, New York City<br />
1971 Bank Square Gallery, Eastport, Maine<br />
1964, 1963, 1962,<br />
1961, 1960 East End Gallery, Provincetown, Massachusetts<br />
Selected Group Shows:<br />
1999 NJ State Arts Annual, New Jersey State Museum, Trenton, New Jersey<br />
1999 “Art + Suitcase Will Travel,” DNA Gallery, Provincetown, Massachusetts<br />
Alley Culture, Detroit, Michigan; Conductors Hallway Gallery, London, England<br />
1996 “Artist As Curator, Curator As Artist, Bergen Museum, Paramus, New Jersey<br />
1986 “Five Expressionist Painters from N.Y.” Newton Arts Center, Massachusetts<br />
1981 ”The Figure, A Celebration,” Galleries, University of North Dakota<br />
1977 “Art In Public Spaces,” World Trade Center, New York City<br />
1972 “The New York Group,” Bank Square Gallery, Eastport, Maine<br />
Selected <strong>Catalogue</strong>s:<br />
1978 Potholes, Essay by Peter Schjeldalh<br />
Selected Publications:<br />
Art In America, Art News, The New York Times, The New Criterion, London Evening<br />
Standard<br />
Awards:<br />
2007, 1995, Pollock-Krasner Fellowship<br />
14
“UNTITLED,” watercolor on paper, 1971, 12” x 12.”<br />
B R E N D T B E R G E R<br />
Born: Oakland, California<br />
Education:<br />
1964 BFA, University of Hawaii, Hawaii<br />
Selected Exhibitions:<br />
2009 Parkside Gallery, La Veta, Colorado<br />
2008 Kentler International Drawing Space, New York City<br />
1995, 1963 Artists of Hawaii, Honolulu Academy of Art, Hawaii<br />
1980 Allen Stone Gallery, New York City<br />
1979 “Art In Public Spaces,” World Trade Center, New York City<br />
1973 “The New York Group” Bank Square Gallery, Eastport, Maine<br />
1972 The Sunspot Show, University of Maine, Augusta, Maine<br />
1971 Peavey Memorial Library, Eastport, Maine<br />
1968, 1970 17th Brooklyn Museum Biennial, Brooklyn, New York<br />
1969 O.K. Harris Gallery, New York City<br />
Teaching:<br />
1995-2004 Instructor Honolulu Academy of Art, Hawaii<br />
1967-1968 Instructor, School of Visual Arts, New York<br />
Grants:<br />
1998 Hawaii State Foundation on Culture and the Arts<br />
1981 Committee for Visual Arts Grant, New York City<br />
Mural:<br />
1979 World Trade Center New York City<br />
Selected Bibliography:<br />
1982 Brendt Berger at 55 Mercer Street, Art in America<br />
1967 Origins and Cycles, Art News<br />
Brendt Berger is the founder and director of the Museum of Friends in Walsenburg,<br />
Colorado.<br />
15
“UNTITLED,” oil/canvas, 1976, 34” x 32.”<br />
L E S L I E D A L E B O W M A N<br />
Education:<br />
BA, Nova Scotia College of Art and Design, Halifax, Nova Scotia, Canada<br />
MFA, Washington University, St. Louis, Missouri<br />
Skowhegan School of Painting and Sculpture, Skowhegan, Maine<br />
Work Experience:<br />
2004 to 2010 Photographer and Photography Editor<br />
Bangor Metro Magazine, Bangor, Maine<br />
1997-2004 Assistant Professor of Art , University of Maine, Machias, Maine<br />
1983-1997 Photographer Quoddy Tides newspaper, Eastport, Maine<br />
1986-2007 Founding Member, Eastport Gallery, Eastport, Maine<br />
Selected Exhibitions:<br />
2008-2009 Petroglyph Equinox Exhibition, University of Maine;<br />
Abbe Museum, Bar Harbor, Maine; Maine State Museum,<br />
Augusta, Maine<br />
2004 Sunrise on Washington County, State House, Augusta, Maine<br />
1993 Reflections from Way Downeast, Danforth Gallery, Portland,<br />
Maine<br />
1993 Return of the Cadavre Exquis, The Drawing Center, New York<br />
City<br />
1977 Evansville Museum of Arts & Science, Evansville, Indiana<br />
1974 Nova Scotia X Ten, Dalhousie University, Halifax, Nova Scotia,<br />
Canada<br />
Selected Publications:<br />
Maine Art Now, 1990, by Edgar Allen Beem<br />
Maine Sunday Telegram, Maine Times, Portland Press, Washington Post<br />
16
“FISH FACTORY,” oil on canvas board, 1973, 17 7/8” x 24.”<br />
J U D I T H C O L E M A N N<br />
Education:<br />
1965 BA, Michigan State University, East Lansing, Michigan<br />
1986 MA, University of Maine, Orono, Maine<br />
Selected Exhibitions:<br />
2001 Cafe Expresso, Flagstaff, Arizona<br />
1985 Maine Painting Biennial, Portland Museum of Art, Portland,<br />
Maine<br />
1984, 1983 Peavey Memorial Library, Eastport, Maine<br />
1977 Colemann Munjoy Gallery, Portland, Maine<br />
1975 Emerson Gallery, Tarzana, California<br />
Reviews:<br />
1979 June issue, “DownEast” cover, “Estes Head”<br />
1979 October issue, “Maine Life” cover, “View from Munjoy Hill”<br />
17
“UNTITLED,” oil on canvas, 1978, 18” x 48.”<br />
J A N E E H R L I C H<br />
Education:<br />
1962-1964 Pratt Institute<br />
1966-1968 School of Visual Arts<br />
Selected Exhibitions:<br />
1979 One Woman Exhibit, University of Maine, Machias, Maine<br />
1977 Art In Public Spaces, World Trade Center, New York City<br />
1977 Weber Gallery, Portland, Maine<br />
1975 “3 Moose Island Artists,” Strong Gallery, Bar Harbor, Maine<br />
1974 Hansen Gallery, New York City<br />
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine<br />
1972 “The Sunspot Show,” University of Maine, Augusta, Maine<br />
18
“WAVE,” dyed silk, 1973, 70” x 36.”<br />
M A N I F E N I G E R<br />
(T E R R Y B E R G E R)<br />
Born: New York City<br />
Education: University of Michigan, Ann Arbor, Michigan<br />
Selected Exhibitions:<br />
1975 Strong Gallery, “3 Moose Island Artists,” Bar Harbor, Maine<br />
1974 College of the Atlantic, “Maine Coast Artists,” Bar Harbor, Maine<br />
1974 University of Maine, “Women In Art,” Orono, Maine<br />
1973 Bank Square Gallery, “New York Group,” Eastport, Maine<br />
1972 University of Maine, “Sunspot Show,” Augusta, Maine<br />
1968 Emily Lowe Gallery, One Woman Show, New York City<br />
19
“HELICOIDAL,” earrings, 18 carat gold, late 19<strong>70s</strong>, 2 3/4 x 3/4.”<br />
M I C H A E L G O O D<br />
Born: Philadelphia, Pennsylvania<br />
Education:<br />
Apprenticeship with Robert Peerless, Sculptor, New York City<br />
1978 Haystack School, Metalsmithing, Deer Isle, Maine<br />
1979 Haystack School, Metalsmithing with Haiku Seppa, Deer Isle, Maine<br />
Awards: In the 1980’s and 1990’s, Diamonds Today, Diamonds International and many other<br />
international competitions.<br />
Michael Good whose name is synonymous with anticlastic raising has developed and<br />
expanded the definition of jewelry and metalsmithing to sculptural forms that are a natural<br />
extension of the human form. He has his own gallery in Rockport, ME and his work is shown<br />
throughout the world.<br />
20
“SEASCAPE BLUE,” watercolor on paper, 1980, 14” x 20.”<br />
A L A N K I R S C H E N S T E I N<br />
(A L A N H O R S E R A D I S H)<br />
Education:<br />
1961-1963 Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania<br />
1960-1962 Barnes Foundation, Merion, Pennsylvania<br />
Selected Exhibitions:<br />
2002 Book House Gallery, Jim Thorpe, Pennsylvania<br />
2001 Faculty Club Gallery, University of Pennsylvania, Philadelphia,<br />
Pennsylvania<br />
2001 Bushnell Gallery, Jim Thorpe, Pennsylvania<br />
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine<br />
1972 “The Sunspot Show,” University of Maine, Augusta, Maine<br />
Performances:<br />
1965-2002<br />
Gallery Shows, The Black-Kay Foundation, Philomathean Society,<br />
Shows and readings at Pembroke Historical Society, Eastport Gallery, Shubin<br />
theater, Group Motion, North Star Bar, Nexus, Fleischer, Limerance Gallery,<br />
Highwire, Rubba Clue CEC, Kill Time, Revival, Robbin’s Bookstore, Cooper Hill<br />
Music Festival, West Spot, Anarchist Coffee House, Common Ground Fair.<br />
21
“RING ROSIE UP,” watercolor on paper, 1972, 20” x 26.”<br />
B A R B A R A K I R S C H E N S T E I N<br />
(B A R B A R A T O O T H P I C K)<br />
Education:<br />
Wittenberg University, Springfield, Ohio<br />
Ball State University, Muncie, Indiana<br />
Selected Exhibitions:<br />
2009 “Found and Bound,” Philadelphia Museum of Art, Philadelphia,<br />
Pennsylvania<br />
2007 “Paper & Scissors,” Philadelphia Library, Philadelphia, Pennsylvania<br />
1997-2002 Painting and Installations, Bushnell Gallery, Jim Thorpe. Pennsylvania<br />
2000 “A Gathering of Women,” Penn State Gallery, Pennsylvania<br />
1999 Philomathean Society<br />
1977 Group Show, Colemann Gallery, Portland, Maine<br />
1974 “Woman in Art,” College of the Atlantic, Bar Harbor, Maine<br />
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine<br />
1972 “The Sunspot Show,” University of Maine, Augusta, Maine<br />
1965-2007 Performances with Alan Horshradish:<br />
Eastport Art Gallery, The Harvard Divinity School, Ocracoke, Pembroke Historical<br />
Society, Cooper Hill Music Festival, The Common Ground Fair<br />
2001-2007 Produced and Performed CDs:<br />
“Maine Songs From a Different Head,” ”More Maine Songs”<br />
22
“OWL,” pewter, 13” x 6.”<br />
R I C H A R D<br />
B. K L Y V E R<br />
Education:<br />
1958-1962 School of Visual Arts, New York City<br />
Work Experience:<br />
1975-1994 Sculptor/Designer Peregrine Associates, Eastport, Maine<br />
1999-2003 Artist in Residence Telegraph Road Learning Center<br />
Wilmington, Delaware<br />
2000-2001 Smithsonian Dinosaur Project, Smithsonian Museum,<br />
Washington, D.C.<br />
2005 -2010 Art Bronze Foundry, Eastport, Maine<br />
Museum Collections:<br />
Peabody Museum, Cambridge, Massachusetts<br />
Smithsonian Museum, Washington, D.C.<br />
23
“LA MER,” Fiber, 1976, 96” x 52.”<br />
L E A T R I C E L I N D E N<br />
Born: Brooklyn, New York<br />
Solo Exhibitions:<br />
2003 Stonehaus Gallery, Miami, Florida<br />
1999 “Landscape and Memory,” University of Maine, Machias, Maine<br />
1980 Michael Aaron Gallery, Los Angeles, California<br />
1979 Cape Split Place Gallery, Addison, Maine<br />
1975 Gloria Luria Gallery, Miami, Florida<br />
1970 Emily Lowe Gallery, New York City<br />
Selected Group Exhibitions:<br />
2009 “Black and White,” Eastport Art Gallery, Eastport, Maine<br />
2008 Group Show, Campobello Gallery, Maple City, Michigan<br />
1997 “Walkaround,” Lowe Art Museum, Miami, Florida<br />
1989 “Collaborations,” Center of Contemporary Art, Miami, Florida<br />
1985 “Tropical Visions,” Art & Culture Center, Hollywood, Florida<br />
1985 “Lots of Knots,” Tampa Museum, Tampa, Florida<br />
1977 “Some of Our Friends,” Webber Gallery, Portland, Maine<br />
1977 “Art In Public Spaces,” World Trade Center, New York City<br />
1974 “Women In Art,” University of Maine, Orono, Maine<br />
1974 “Maine Coast Artists,” College of the Atlantic, Bar Harbor, Maine<br />
1974 “3 From Moose Island,” Strong Gallery, Bar Harbor, Maine<br />
1973 “The New York Group” Bank Square Gallery, Eastport, Maine<br />
1972 “The Sunspot Show,” University of Maine, Augusta, Maine<br />
1970 “Fiber International Invitational,” Skidmore College, Saratoga, New York<br />
Publications:<br />
1985 Miami Herald, “Tropical Visions”, by Helen Kohen<br />
1979 “Craft Horizons”<br />
24
“MATERIAL INTERCHANGE FOR JOE STRANAD,” paper postcard, 1971, 4 1/2” x 6 1/2” (reverse side below).<br />
D E N N I S O P P E N H E I M<br />
Born: 1938 Electric City, Washington<br />
Education: BFA, School of Arts & Crafts, Oakland, California<br />
MFA, Stanford University, Palo Alto, California<br />
Selected Exhibitions:<br />
Tate Gallery, London, England<br />
Stedelijk Museum, Amsterdam, Netherlands<br />
Whitney Museum, New York City<br />
Musee d’Art Moderne de la Ville de Paris, France<br />
Galerie Pro Arte, Germany<br />
Joseph Helman Gallery, New York City<br />
Awards: Guggenheim Foundation<br />
National Endowment for the Arts<br />
25
“EARTH DANCER,” unglazed ceramic, 1977, 7 1/2” x 3” x 2”<br />
E L I Z A B E T H O S T R A N D E R<br />
Born: 1943 Mt. Kisco, New York<br />
Education: Arts Students’ League, Cooper Union, New York City<br />
B.F.A., University of Maine, Portland/Gorham, Maine<br />
Selected Exhibitions:<br />
2010 Group Show, Cocco & Salem Imagine Art, Key West, Florida<br />
2009 “Among Friends,” New Brunswick Museum, Saint John, New Brunswick,<br />
Canada<br />
2007 “Maine Sculptors,” University of Southern Maine, Lewiston, Maine<br />
2007 “Summer Sculpture,” Barn Gallery, Ogunquit, Maine<br />
2006 ‘Sweet Rememberances,” University College, Ellsworth, Maine<br />
2005 “Maine Sculptors,” Lewis Gallery, Portland, Maine<br />
2004 “One Person Show,” The Eastport Gallery, Eastport, Maine<br />
2002 “Calling All Angels,” Harbor Square Gallery, Rockland, Maine<br />
2001 “Women in the Arts,” Colby College, Waterville, Maine<br />
2000 “On the Horizon,” University of New England, Portland, Maine;<br />
College of the Atlantic, Bar Harbor, Maine<br />
1999 “Sky,” Davidson & Daughters, Portland, Maine<br />
1998 “Maine Woman Artist,” A Framework Company, W. Palm Beach, Florida<br />
1995 “Vision, Myth and Magic,” Kristen Gallery, Seattle, Washington<br />
1994 “Brenau”s National Invitational Art Exhibition,” Atlanta, Georgia<br />
1991 “Artists of the Fundy Area,” St. Stephen Library, St. Stephen, New<br />
Brunswick, Canada<br />
1990 ”New Forms,” Danforth Gallery, Portland, Maine<br />
1972 “The Sunspot Show,” University of Maine, Augusta, Maine<br />
Grant:<br />
The Maine Arts, Inc.<br />
26
“UNTITLED,” basket of wire mesh/handmade paper/acrylic, 10” x 9.”<br />
A L A N S H I E L D S<br />
Born: 1944 Herington, Kansas<br />
Education: 1964 Kansas State University Kansas<br />
Selected Exhibitions:<br />
2007 Parish Art Museum, Southhampton, New York<br />
1984 National Gallery of Australia, Sydney, Australia<br />
1981 Orlando Museum of Art, Orlando, Florida<br />
1969-1980 One Man Shows, Paula Cooper Gallery, New York City<br />
1974 Fine Arts Museum of San Francisco, San Francisco, California<br />
1972 Hirschhorn Museum, Washington, D.C.<br />
Selected Publications:<br />
Art In America, Art News, ArtForum<br />
27
“BOY HUNTER,” photographic print, 12 1/2” x 18 1/2”<br />
C H R I S T I A N G. S U N D E<br />
Born: 1939<br />
Selected Exhibitions:<br />
2002-2008 “Faculty Show,” University of Maine, Machias, Maine<br />
1982-1990 Syracuse University, Syracuse, New York<br />
1971, 1984 Rochester Institute of Technology, Rochester, New York<br />
1970 Pratt Institute, Brooklyn, New York<br />
1969 San Francisco Art Institute, San Francisco, California<br />
Published Work:<br />
“Documentary Photography,” Time, Inc., Library of Congress<br />
1998 “Contact Sheet 97,” Light Work Visual Studies, Inc.<br />
Grants:<br />
1990 LIght Work Grant<br />
1985 Artist Grant, New York State<br />
Teaching:<br />
Pratt Institute, Brooklyn, New York<br />
San Francisco Institute of Art, San Francisco, California<br />
Rochester Institute of Technology, Rochester, New York<br />
University of Maine, Machias, Machias, Maine<br />
28
“THE VIEW FROM MERT’S,” oil on panel, 1972, 22” x 27 1/2.”<br />
L E E S U T A<br />
Born: 1943 Scotch Plains, New Jersey<br />
Education:<br />
Studied painting and drawing with Frank Reilly,<br />
Scenic Design with Lester Polakov<br />
1961-1963 Scenic design assistant to Albert A. Ostrander<br />
1966-1999 Scenic Artist, United Scenic Artists New York, working at the<br />
Metropolitan Opera, Broadway Theaters, Films and Television<br />
Selected Exhibitions:<br />
2009 Calais Free Library, Calais, Maine<br />
2009 Knotts Gallery, Eastport, Maine<br />
2006-1992 Eastport Art Gallery, Eastport, Maine<br />
1984-1990 Swains Gallery, Plainfield, New Jersey<br />
1984 Frost Gully Gallery, Portland, Maine<br />
1982 “For Real With Beal,” Katona Gallery, Katona, New York<br />
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine<br />
1972 “The Sunspot Show,” University of Maine, Augusta, Maine<br />
Grant:<br />
1990 Maine Arts Commission, Perry School, Perry, Maine<br />
Publications:<br />
Illustrations for a series of books published for Wabnaki Bilingual Education<br />
Program, 1976<br />
29
“RED BADGE,” fiberglass resin, 33” x 14” x 7.”<br />
R I C H A R D V A N B U R E N<br />
Education:<br />
San Francisco State College, California; University of Mexico, Mexico City, Mexico<br />
Selected One Man Exhibitions:<br />
2003 Center for Maine Contemporary Art, Rockport, Maine<br />
1999 Christiane Nienaber Contemporary Art , New York City<br />
1984 Maryland Institute, Baltimore, Maryland<br />
1978 Sculpture Center, Sydney, Australia<br />
1977 Paul Cooper Gallery, New York City<br />
1970 Bennington College, Bennington, Vermont<br />
1962 San Francisco Museum of Art, San Francisco, California<br />
Selected Group Exhibitions:<br />
2007-2008 Neue Galerie, Karlsruhe, Germany<br />
2006 Weatherspoon Art Museum, Greensboro, North Carolina<br />
2002 Center for Maine Contempoary Art, Rockport, Maine<br />
(Awarded Best in Show)<br />
1999 Museum of Contemporary Art, Los Angeles, California<br />
30
“DOUBLE PUFFIN,” acrylic on paper, 18” x 24.”<br />
A R N O L D W E C H S L E R<br />
Born: 1930, Jersey City, New Jersey<br />
Education: BA, University of Florida, Florida; MFA, Columbia University, New York City<br />
Selected Solo Exhibits:<br />
2001 Gallery X Harlem,, New York City<br />
1999 Westbeth Gallery, New York City<br />
Selected Group Exhibits:<br />
2003 Andre Zarre Gallery, New York City<br />
2000 Chase Manhattan Bank, New York City<br />
1993 Independent Curators, World Trade Center, New York City<br />
1986 Oaxaca Museum, Oaxaca, Mexico<br />
1980 Metropolitan Museum, New York City<br />
1978 International Fair of Contemporary Art, Bologna, Italy<br />
1975 Hansen Gallery, New York City<br />
31
”UNTITLED,“ watercolor on paper, 1976, 9 1/4” x 7 3/4.”<br />
M A C W E L L S<br />
Born: 1925 Cleveland, Ohio<br />
Education: 1948 B.A., Philosophy, Oberlin College, Ohio<br />
1948-49 Cooper Union, New York<br />
Selected Solo Exhibitions:<br />
1993 Rothko Foundation Award Show, Artists Space, New York City<br />
1979 St. Stephen Art Center, St. Stephen, New Brunswick, Canada<br />
1972 Max Hutchinson Gallery, New York City<br />
Selected Group Shows:<br />
1992 “Persistence of Abstraction,” Ulrich Museum of Art, Wichita, Kansas<br />
1989 55 Mercer Gallery, New York City<br />
1987 Condeso-Lawler Gallery, New York City<br />
1979 Betty Parsons Gallery, New York City<br />
1972 Eight from New York, Festival of Perth, Perth, Australia<br />
1970 Small Works, Bard College, New York City<br />
1968 Park Place Gallery, New York City<br />
Selected Publications:<br />
Art News, Arts Magazine, Art in America, Art International<br />
32
“VIEW NORTH FROM WADSWORTH’S,” watercolor on paper, 1971, 7 1/2” x 9 3/4.”<br />
J O S E P H W H I T E<br />
Born: 1938<br />
Education: B.A., San Francisco State University, California<br />
Selected Solo Exhibitions:<br />
2004 Washington Arts Museum, Washington, D.C.<br />
1973 The San Francisco Museum, San Francisco, California<br />
1972 The Corcoran Gallery of At, Washington, D.C.<br />
1971 Paula Cooper Gallery, New York City<br />
1967 San Francisco Art Institute, San Francisco, California<br />
Selected Group Exhibitions:<br />
1992 Baumgartner Galleries, Inc., Washington, D.C.<br />
1985 The Corcoran Gallery of Art, Washington, D.C.<br />
1985 Oakland Museum, Oakland, California<br />
1973 Phyllis Kind Gallery, Chicago, Illinois<br />
1973 Storm King Art Center, Mountainville, New York<br />
1970 Albright-Knox Gallery, Buffalo, New York<br />
1970 Wheatherspoon Art Gallery, University of North Carolina,<br />
Greensboro, North Carolina<br />
1964, 1967 Whitney Biennial, Whitney Museum, New York City<br />
33
”LIKE SKIN,” Vermont Marble, 1970, 27” x 10” x 8.”<br />
M E L A N I E Z I B I T<br />
Education:<br />
1970 B.A., Brandeis University, Massachusetts<br />
University of Illinois, Champaign/Urbana, Illinois<br />
M.B.A., Harvard Business School, Massachusetts<br />
Selected Exhibitions:<br />
2008 Cape Cod Cultural Center, Yarmouth, Massachusetts<br />
2006 University of Massachusetts, Boston, Massachusetts<br />
2006 Vermont Sculpture and Carving Studio, W. Rutland, Vermont<br />
2002 New Bedford Museum, New Bedford, Massachusetts<br />
2000 Cambridge Art Association, Cambridge, Massachusetts<br />
1985,1986 Boston Fine Arts Gallery, Boston, Massachusetts<br />
1973,1974 Sculpture Center, New York City<br />
1972 “The Sunspot Show,” University of Maine, Augusta, Maine<br />
1972 The Strong Gallery, Bar Harbor, Maine<br />
1971 Rose Art Gallery, Brandeis University, Waltham, Massachusetts<br />
34
T H E W O O D W O R K E R S:<br />
J I M B L A N K M A N, E L L I O T F I S H B E I N,<br />
A L A N H A R R I S, J E R R Y Y O U N G<br />
Jerry Young learned to make dulcimers in California from Sam Herman. He came to Eastport<br />
with his wife Debbie in the early ‘<strong>70s</strong>. They bought a house on Spear Avenue, Elliot Fishbein<br />
lived nearby. Jim Blankman, a friend from California came to visit in 1972. Subsequently,<br />
Jerry and Jim worked together making dulcimers until Jim went back to California.<br />
In 1970 Alan Harris was a summer visitor from New York City. He fell in love with Washington<br />
County and moved to Eastport, buying a house on Clark Street. Alan loved music and which<br />
led him to build his own harpsichord. He worked with Jerry making dulcimers after Jim<br />
Blankman left. When Jerry Young moved back to California, Alan worked with Richard Klyver<br />
doing pewter animal sculptures, which were sold at Smithsonian Gift Shops in Washington,<br />
D.C.<br />
Presently, Jerry Young is making surfboards in Calfornia. Jim Blankman returned to Eastport<br />
in 1976 and has created many wonderful creations in wood in his workshop on Water Street<br />
and an incredible tree house environment at his home. Alan Harris still resides in Eastport<br />
doing carpentry.<br />
Elliot Fishbein moved to Eastport in 1973 from the Pacific coast. He came originally from<br />
New York where he used to work in his uncle’s wood working shop. He moved to the San<br />
Francisco area in 1968 where he decided to take up wood working as a serious vocation,<br />
finding an apprenticeship with a violin repairman.<br />
Six years later he moved to Eastport, Maine. One of his first assignments was carving the<br />
wooden sign which now identifies the Quoddy Tides office. He purchased a home and<br />
workshop on Spear Avenue with a view of the bay. His workshop was a former boat shop.<br />
He used antique tools and the best hand tools available and a cross cut saw which he made<br />
himself. He made Shaker furniture as the Shakers did, simple functional designs made with<br />
sophisticated joining work. Among his commissions was a Bible Box, now in the collection<br />
of the Bangor Theological Seminary at Husson University in Bangor, Maine.<br />
Elliot died tragically in a car accident on Route 9 in 2002.<br />
35
36<br />
Above: Bible Box by Elliot Fishbein,<br />
1977, 21 7/8” x 17” x 8.”<br />
Left: Label on underside of Bible<br />
Box.<br />
Below: Elliot Fishbein’s tool cabinet.
Pair of dulcimers from the ‘<strong>70s</strong>. Left: Dulcimer c. 1975 by Alan Harris and Jerry Young, 38 1/2” x 5”<br />
9/16” x 2 3/8.” Right: Dulcimer, c.1980 by Jim Blankman, 37 1/8” x 12 3/8” x 3 5/8.”<br />
37
A R C H I T E C T U R A L W O R K S<br />
George Trakas’ work creates a functional response to a specific site. In this period he usually<br />
incorporated ramps in wood or steel which lead the walker through the environment in a<br />
novel way to transform the mundane experience, as here, of going to the outhouse.<br />
Robert Szatkowski moved with his family from Chicago in the late 1960s and lived in Robbinston,<br />
Maine for many years. He built several experimental structures on his land there as<br />
well as Leatrice Linden’s studio in Perry, Maine and one for Elizabeth Ostrander when she<br />
lived on the Ridge Road in Robbinston, Maine.<br />
Above: Walkway and outhouse designed by George Trakas in Perry, Maine.<br />
38
Interior (below) and exterior (above) views of Leatrice Linden’s studio in Perry, Maine designed by<br />
Robert Szatkowski.<br />
39
W O R K S I N E X H I B I T I O N<br />
1. BILL BARREL.<br />
“THE DRAWING.” Acrylic on canvas. 1977. 37” x 50.” Collection of the artist.<br />
2. BRENDT BERGER.<br />
“UNTITLED.” Watercolor on paper. 1971. 12” x 12.” Collection of Gwen Jones.<br />
“UNTITLED.” Oil on canvas. 36” diameter. Collection of the artist.<br />
3. LESLIE DALE BOWMAN.<br />
“UNTITLED.” Oil on canvas. 1976. 34” x 32.” Collection of the artist.<br />
4. JUDITH COLEMANN.<br />
“FISH FACTORY.” Oil on canvas board. 1973. 17 7/8” x 24.” Collection of Tides Institute &<br />
Museum of Art.<br />
“DIANE RUSSO.” Oil pastel on paper. 1972. 15” x 15 1/2.” Collection of the artist.<br />
5. JANE EHRICH.<br />
“UNTITLED.” Oil on canvas. 1978. 18” x 48.” Collection of the artist.<br />
6. MANI FENIGER (TERRY BERGER).<br />
“WAVE.” Dyed silk. 1973. 70” x 36.” Collection of the artist.<br />
8. MICHAEL GOOD.<br />
“Helicoidal.” Earrings, 18 carat gold. 2 3/4” x 3/4.” Loan from Michael Good Gallery, Rockport,<br />
Maine.<br />
“Hammered Flat Gold Mobile.” Earrings, 14 carat gold. 1 5/8” x 7/8.” Loan from Michael Good<br />
Gallery, Rockport, Maine.<br />
9. ALAN KIRSCHENSTEIN (ALAN HORSERADISH).<br />
“SEASCAPE BLUE.” Watercolor on paper. 1980. 14” x 20.” Collection of the artist.<br />
10. BARBARA KIRSCHENSTEIN (BARBARA TOOTHPICK).<br />
“RING ROSIE UP” Watercolor on paper. 1972. 20” x 26.” Collection of the artist.<br />
“FROM AWAY.” Hand-made book. 2010. Collection of the artist.<br />
11. RICHARD KLYVER.<br />
“OWL.” Pewter. 13” x 6.” Collection of the Tides Institue & Museum of Art.<br />
12. LEATRICE LINDEN.<br />
“PASSAMAQUODDY TOTEM.” Wool/fur/wire. 1971. 96” x 36.” On extended loan to Tides<br />
Institute & Museum of Art.<br />
“LA MER.” Fiber. 1976. 96” x 52.” Collection of the artist.<br />
13. DENNIS OPPENHEIM.<br />
“MATERIAL INTERCHANGE FOR JOE STRANAD.” Paper postcard. 1971. 4 1/2” x 6 1/2.”<br />
Collection of the Museum of Friends, Walsenburg, Colorado.<br />
14. ELIZABETH OSTRANDER.<br />
“EARTH DANCER.” Unglazed ceramic. 1977. 7 1/2” x 3” x 2.” Collection of the artist.<br />
“GENTLE DANCER.” Unglazed ceramic. 1977. 7 1/2” x 3” x 2.” Private collection.<br />
15. ALAN SHIELDS.<br />
“UNTITLED.” Basket of wire mesh, handmade paper, acrylic. 10” x 9.” Collection of Richard Van<br />
Buren.<br />
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16 CHRISTIAN SUNDE.<br />
“BOY HUNTER.” Photographic print. 12 1/2” x 18 1/2.” Collection of the artist.<br />
“BOY & GIRL WASHING.” Photographic print. 11 7/8” x 7 7/8.” Collection of the artist.<br />
17. LEE SUTA.<br />
“THE VIEW FROM MERT’S.” Oil on panel. 1972. 22” x 27 1/2.” Collection of the artist.<br />
Illustrations for Booklets for Wabnaki Bilingual Education Program, Maine. 19<strong>70s</strong>. Collection of the<br />
Tides Institute & Museum of Art.<br />
18. RICHARD VAN BUREN.<br />
“RED BADGE.” Fiberglass resin. 33” x 14” x 7.” Collection of the artist.<br />
19. MAC WELLS.<br />
“UNTITLED.” Watercolor on paper. 1976. 9 1/4” x 7 3/4.” Collection of Eileen Wells.<br />
“UNTITLED.” Silkscreen print. 1970. 15 7/8” x 12 7/8.” Collection of the Tides Institute & Museum<br />
of Art.<br />
20. ARNOLD WESCHLER.<br />
“DOUBLE PUFFIN.” Acrylic on paper. 18” x 24.” Collection of Lou Weschler, West Palm Beach,<br />
Florida.<br />
21. JOSEPH WHITE.<br />
“VIEW NORTH FROM WADSWORTH’S.” Watercolor on paper. 1971. 7 1/2”x9 3/4.” Private<br />
collection.<br />
22. MELANIE ZIBIT<br />
“LIKE SKIN.” Vermont Marble. 1970. 27” x 10” x 8.” Collection of the artist.<br />
THE WOODWORKERS<br />
23. JIM BLANKMAN. Dulcimer. c. 1980. 37 1/8” x 12 3/8” x 3 5/8.” Collection of the Tides Institute &<br />
Museum of Art.<br />
24. ELLIOT FISHBEIN. BIBLE BOX. 1977. 21 7/8” x 17” x 8.” Collection of Bangor Theological<br />
Seminary, Husson University, Bangor, Maine.<br />
25 & 26. ALLEN HARRIS & JERRY YOUNG. Dulcimer. c. 1975. 38 1/2” x 5 9/16” x 2 3/8.” Collection<br />
of the Tides Institute & Museum of Art.<br />
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A C K N O W L E D G E M E N T S<br />
The Tides Institute & Museum of Art is deeply grateful to William Humphreys and Leatrice<br />
Linden for their heroic efforts to pull this catalogue and exhibition together and for writing<br />
short essays for the catalogue. Without these efforts, neither the catalogue or exhibition would<br />
have happened. The Tides Institute also wishes to thank the many artists and other people who<br />
contributed their knowledge and memories and who loaned works for this exhibition.<br />
The Tides Institute & Museum of Art wishes to acknowledge with deep thanks the funding<br />
provided by the Maine Community Foundation and the William and Joan Alfond Foundation<br />
in support of this exhibition catalogue and the exhibition. Additional funding has come from<br />
other private contributions.<br />
The TIdes Institute & Museum of Art is grateful to Houghton Mifflin Harcourt for granting<br />
permission to reprint Heather McHugh’s poems, ”North Island Songs” and ”Syllables,” from<br />
the book, A World of Difference, and to Heather McHugh for granting permission to reprint<br />
her poem, ”Sympathy on Water Street,” from the book, Dangers. Additional thanks to Husson<br />
University and Bangor Theological Seminary for loaning its “Bible Box” made by Elliot<br />
Fishbein for this exhibition and for inclusion in this catalogue.<br />
This exhibition catalogue has been printed in an edition of 1,000 copies by Penmor Lithographers<br />
of Lewiston, Maine.<br />
Exhibition <strong>Catalogue</strong> Copyright © 2010 Tides Institute & Museum of Art.<br />
“North Island Songs” and “Syllables” from A World of Difference by Heather McHugh.<br />
Copyright © 1981 by Heather McHugh. Used by permission of Houghton Mifflin Harcourt<br />
Publishing Company. All rights reserved.<br />
“Sympathy on Water Street” from Dangers by Heather McHugh. Copyright © 1977 by<br />
Heather McHugh. Used by permission of Heather McHugh. All rights reserved.<br />
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William Humphreys (left) with Bill Barrell (center) in Barrell’s<br />
studio in Easton, Pennsylvania, 2010.<br />
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