70s Catalogue

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The ’<strong>70s</strong>:<br />

Art & Place at<br />

Passamaquoddy Bay,<br />


“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 />


T H E H I S T O R Y<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 />


Sunspot in Eastport. Photograph by Bill Barrell.<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 />


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 />


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 />


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 />


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 />


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 />


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 />


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 />


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 />


T H E A R T I S T S<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 />


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 />


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 />


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 />


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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


“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 />


”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 />


“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 />


”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 />


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 />


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 />


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 />


Interior (below) and exterior (above) views of Leatrice Linden’s studio in Perry, Maine designed by<br />

Robert Szatkowski.<br />


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 />


“UNTITLED.” Watercolor on paper. 1971. 12” x 12.” Collection of Gwen Jones.<br />

“UNTITLED.” Oil on canvas. 36” diameter. Collection of the artist.<br />


“UNTITLED.” Oil on canvas. 1976. 34” x 32.” Collection of the artist.<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 />


“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 />


“SEASCAPE BLUE.” Watercolor on paper. 1980. 14” x 20.” Collection of the artist.<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 />


“OWL.” Pewter. 13” x 6.” Collection of the Tides Institue & Museum of Art.<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 />


“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 />


“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 />



“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 />


“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 />


“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 />


“LIKE SKIN.” Vermont Marble. 1970. 27” x 10” x 8.” Collection of the artist.<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 />


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 />


William Humphreys (left) with Bill Barrell (center) in Barrell’s<br />

studio in Easton, Pennsylvania, 2010.<br />


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