The ’70s:
Art & Place at
Passamaquoddy Bay,
Maine
“Spinnaker for Keith” by Mani Feniger in Eastport, Maine.
The ’70s:
Art & Place at
Passamaquoddy Bay,
Maine
A Catalogue to
Accompany an Exhibition
Held at the
Tides Institute & Museum of Art
Eastport, Maine
July 23 - August 18, 2010
Curated by William Humphreys
with Essays by William Humphreys
and Leatrice Linden
Cover Photograph by Jane Ehrlich.
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T H E H I S T O R Y
ESSAY BY LEATRICE LINDEN
Some artist colonies are launched by fiat as Mable Dodge did in Taos or Henry Flagler in St.
Augustine. Wealthy people wanting to surround themselves with and to support artists from
elsewhere. In the case of Eastport and surrounding towns the initial impetus was real estate.
Cheap homes far from the madding crowds.
John Wise, an artist from Provincetown, bought an inexpensive house in Cherryfield. Bill
Barrell, a painter from England, came to visit with his artist wife, Irene, and found that he
could buy a house in Eastport for $850, the cost of renting for one summer in Provincetown.
Incredible!
John Wise put ads in the Village Voice, New York’s underground paper, read by artists, poets
and musicians, the perfect audience for his new business—renting and selling real estate. In
the summer artists came to visit friends and one of the fun recreations was driving around
looking at houses and land. Michael Zimmer, an architect, bought a place in Pembroke, then
artists Alan and Barbara Kirschenstein, film maker Ron Shade, and film animators Don and
Irene Duga followed.
In 1969 Brendt Berger, painter, sculptor, and printmaker saw an ad in the Village Voice and
gave up his New York loft (to John and Yoko, no less) and bought a house in Eastport with his
wife, fiber artist Mani Feniger. Brendt’s visitors included poet C. Richardson Dilworth, and
artists Richard Van Buren and Mac Wells, who bought homes in the Passamaquoddy Bay area.
Artist word-of-mouth spread through the New York Soho art community that the area was
worth checking out, at least, at first, for the summer.
Of course all this was taking place within the societal context of a strong “back to the land”
environmental movement still resonating from the sixties. In addition, the turmoil engendered
by the Vietnam war was being felt
strongly by those artists still in the cities
where violent protests were a common
occurrence in the early ‘70s. Cities were
becoming more expensive to live in and
more dangerous.
C. Dilworth.
The rugged coast of Maine has always
attracted artists but in the case of Eastport,
the very distance from the big cities held
a special appeal. Eastporters say, “It’s not
the end of the world, but you can see it
from here.” Traveling 16 hours north from
New York City was both a decompression
and a kind of pilgrimage. Artists found
nourishment in the local environment, a
safe place to commune with one’s muse.
Some artists made a conscious decision
to opt out of the competitive New York
art scene and moved into becoming full
time residents.
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Sunspot in Eastport. Photograph by Bill Barrell.
SUNSPOT
Artists like having other artists around, not many visit in the winter, so during the long winter
of 1970-71, seven people, (three artists, two writers and two musicians, Brendt and Terry
Berger, Leatrice Linden, Peter Milford, Dilworth, and Tom and Sally McDugald) gathered
around wood stoves talking about idealistic possibilities. The Lyons factory, a derelict sardine
cannery on Prince’s Cove, was for sale for $2000. It consisted of several wooden buildings
on piers, three acres of shore frontage, a small brick building and a wooden garage. What a
deal!
One spends a lot of time in winter talking with friends, by the time spring came Brendt and
Peter were considering putting a thousand dollars each into the purchase of the dream. The
artists saw huge loft studios, musicians a place to practice and give concerts. The writers talked
of a print shop, and the guys had a place to work on their old cars. Peter the ecologist, wanted
a garden and chickens. Everyone was a budding architect, and there was an evangelical need
to spread the news about the Eastport area as the place for artists and the Sunspot Factory as
the center of activity.
Artists Denis Oppenheim and Joe Stranad bought a three story house overlooking the
breakwater, transforming it into an art installation, and renting rooms in the summer to visiting
artists. The Sunspot Factory housed Joseph White for a summer where he and ceramists Hideao
Okeno set up a wood-fired kiln.
New York in the summer is a great place to get away from and having artist friends to visit
brought Vito Acconci, Red Grooms, Richard Serra, Joan Jonas, Al Loving and Alan Shields up
north for a visit. Leslie Bowman became a summer resident at her parents’ home in Eastport
before heading off to the Nova Scotia College of Art and Design. Susan Rothenberg and
George Trakas spent a month housesitting for Richard van Buren and Batya Zamir in Perry;
3
Water Street, Eastport, Maine in 1974. Photograph by Hugh French.
when their plumbing failed George built a fantastic outhouse in the style of his sculptures.
The physical bounderies of the new community went beyond Eastport proper. Jane Ehrlich
bought a derelict garage in Quoddy Village. Peter Milford built a log cabin and homesteaded
with Leatrice Linden in Perry. Pembroke, along with its summer residents, had a candle factory
and a leather shop. In Robbinston, Lee Suta and his wife, Elizabeth Ostrander, planned to turn
their barn into studios. Michael Good set up his jewelry workshop in Edmunds. Photographer
Christian Sunde moved into Trescott and filmmaker, Wing Lum, into Lubec.
The factory continued to be a center for happenings but the dream of artist studios and galleries
went crashing into the bay one June day in 1972. Extremely high tides loosened the attached
piers from land and the buildings were seen floating through the fog into Passamaquoddy
Bay. Heroic efforts by artists and friends prevented the factory from becoming a hazard
to navigation and many homes were built with the salvage from those buildings, but the
collective dream was shattered.
Artists are ever resourceful; without the factory to show art work they turned to the local
libraries, and any empty building that needed a tenant to brighten up Water Street became
an art venue. The Bank Square Gallery was in the building that is now The Commons. When
the University of Maine at Augusta offered the artists of Sunspot a show, Eastporter, Nancy
Raye, who was living downstate shared her house with the artists while they installed their
exhibit.
There was a state-wide network developing, places to stay and galleries to exhibit in, but
the distance from major cities, while appealing in the beginning, now began to feel like an
obstacle. People went back to the cities for many reasons; money was a big part of that. Being
out of the art loop it was hard to sell artwork. Winter took its toll as well.
Mainers knew you had to leave the state to find work, and so artists left to teach, or work in
4
films or museums or practice carpentry.
Some return in the summer; others
replanted themselves elsewhere. As
artists flow like the tides, “newcomers”
from away replaced “old-timers,” seeking
and seeing in the Passamaquoddy Bay
area a place to live a dream amidst
the awesome beauty that inspires the
most profound meditations that are the
inspiration for art.
The visual arts were not the only ones
to thrive in Eastport and environs during
the ‘70s. Musicians and poets were also
attracted by the natural beauty of the
setting as well as the modest cost of
living.
THE MUSIC SCENE
In the early ‘70s, The North Coast School of Music was started in Eastport by Philip Batstone.
Greg Biss was on the faculty. They received grants from the Maine State Arts and Humanities
Council and produced The Three Penny Opera by Kurt Weill, in addition they gave free
concerts of early choral and chamber music. Each year more musicians were attracted to the
area and much as the visual artists who came to the area had to develop their own exhibition
spaces, so the musicians developed institutions like Summer Keys in Lubec and The Eastport
Art Center.
POETRY
Dilworth came up from Greenwich
Village in New York City with the first
wave of artists and was a bohemian
father-like figure to many of them. He was
instrumental in the founding of Sunspot
and started Friends of the Atlantic to fight
an oil refinery that threatened destruction
of the bay. In yet another hybrid mode
indicative of the times, he printed his
own broadsides integrated with what we
would now call “clip art.”
Heather McHugh arrived with composer
Greg Biss in the early ‘70s. She was
recently the recipient of the prestigious
MacArthur Grant and is represented
here by some early poems of the period
distilling what it was like to be in Eastport
then—a fitting end to our remembrance
of things past.
Philip Batstone playng harpsicord in Eastport, 1974.
Photograph by Hugh French/The Quoddy Tides.
Three Penny Opera performance in Eastport, 1975
with local musician, Terry Flaherty, on drums.
Photograph by Hugh French/The Quoddy Tides.
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T H R E E P O E M S
B Y H E A T H E R M C H U G H
SYMPATHY ON WATER STREET
The dead end of the Eastport street I live on
is a haunt of young and undomesticated
couples who want all night
to throw themselves
for a loop, gear themselves
for the cul-de-sac, pay lip service
to the lovers’ leap. Ardently their autos
elbow-bump and fender-bend; horns blurt out;
interiors spill, as if to publicize the feeling
up, the going down. I watch from my window in the dark
and I can be, for all my distance, no more knowing. It’s enough
to know our place, where the lay of the land
is the law. To the falling off of solid ground,
to the inform sea (that gutter of comings
and goings) we who love inside
are just as perilously close.
NORTH ISLAND SONGS
The water that made the island
murdered the men. You can’t expect
these moons to last, these fallen
roses, rising golds. You can’t believe
in pure decor or easy virtue.
People are dying for good.
*
He wants other women,
those who never leave
well enough alone.
He’s well enough.
At a distance I gather
what is going on. The dark
that fills the deep is
the song they hear in hulls.
*
6
If I pine and croon I am no woman
in my hooked heart, if I stand for lying,
maybe I can take a shine and still
keep cool. In its own element that tough
old bird, the gull,
hauls across the last-chance bars
and flashy waterfront its evening
seine of wail.
*
The dance turns out to be
a woodfire, fellows from the factory and mill,
a cop in the doorway looking nowhere,
and a kid to stamp our hands. The band
is bored by the third song and the man I’d like
to like is drunk in a swarming corner, so
I plunge out the storm-door towards the cars and there
are stars, all out.
Orion perfectly
speared by a pine.
the moon exactly
sharpened to a shade
of meaning. I can think now
cold and clear, imagine why the inland people call
some kinds of water kill.
SYLLABLES
The island doesn’t sink.
It’s not a ship, or spirits.
Doesn’t try to keep up.
Doesn’t care.
This comforts the lonely man.
He thinks like them
he’s given up the ghost of likeness,
line and clause. But all along the shoals
of mated shapes
the boats will prowl and grind
and run aground. It’s even farther out
that his survival finds its form: where
small and fat and striped
and never to be touched, they sing
their whole notes (heard or not) —
their boy low lub bob bell.
7
T H E A R T I S T S
ESSAY BY WILLIAM HUMPHREYS
The ‘70s, in the larger art world as well as in the Passamaquoddy Bay area, was a time of
synthesis and permission, of opening up and process, of words and ideas and intellectual
approaches along with funky materiality and craft. These new ways and means of doing art
were like strands that had all been laid down in the previous “free-for-all” decade which
formed this group of disparate artists. It was now their turn to weave these threads together in
a new, visually exhilarating and simpler environment. Though cut off to some extent from the
pressures and stimulations of life in New York City, they were nourished by the art community
in the Eastport area that was reaching critical mass by the early ‘70s.
One of the new threads they brought
to this area was the blurring of the
boundaries between craft and art. In
the realm of fiber, both the abstract
fabric hangings of Lenore Tawney and
the gigantic three-dimensional fiber
works called Abakans by the Polish
artist Magdalena Abakanowicz form
some of the background of this rather
radical opening to traditionally “female”
techniques by serious artists. In our
exhibition , this is exemplified in the work
of Leatrice Linden, who used traditional
and innovative fiber techniques and
materials to create soft sculpture and
three dimensional tapestries combining
color and form in ways being done by
abstract painters at the time.
Leatrice Linden in her weaving studio in Eastport,
c.1975.
Alan Shields was another artist exploring craft-derived approaches. His radiantly colored,
sewing machine stitched or woven artworks included paintings, utilitarian conceits and
installations. The piece in this exhibition combines traditional basketry technique with nontraditional
materials creating a nominally household waste basket with surreal overtones.
Mani Feniger applied tie-dying and staining on silk surfaces to create elegant abstract colored
hangings influenced to some extent by the paintings of Helen Frankenthaler and Morris Louis
as well as the hung canvases of D.C. artist Sam Gilliam. All these were artists who eschewed
the standard brushes and palette knives for poured and stained washes of color.
The use of clay by artists is too old a tradition to be included in this context of blurred
boundaries but its use as a vehicle of expressive form and the distortion of the figure starts
with Matisse and runs in our time through Manuel Neri, Stephen DeStabler and Robert
Arneson; this group brought a violent yet playful take on figuration by tearing through the
clay and painting roughly and expressively over the surface. This was one of the approaches
taken up by Elizabeth Ostrander who utilized the ceramic medium to create both fragmented
and, later, highly stylized figural forms.
The jeweler’s art is a uniquely intimate one and has been adopted in our time by artists
9
Mani Feniger in her studio in Eastport, Maine in 1974 working on dyed silk piece, “Wave.”
like Alexander Calder, Salvador Dali, and Louise Nevelson. In the ‘70s there was a strong
influence in art jewelry from Europe, Germany in particular. In our area, Michael Good,
trained in jewelry techniques and later learning casting then working with Heiki Seppi at
Haystack School in Deer Isle, won international acclaim by producing sculptural art to wear
that used his unique, personal methods to make sinuous forms playing with negative spaces
and positive line.
Among the sculptors represented here, Melanie Zibit, from Lexington, Massachusetts, carved
directly in marble with sensitivity and technique learned in Carrara, Italy early in her career.
She took up the approach worked in our time by Brancusi and Arp; softly sensual, biomorphic
forms in hard, durable materials at once abstract yet mysteriously familiar. Richard Klyver,
trained in casting techniques centuries old, produced realistic images in pewter and bronze,
some derived from his work and travels in Africa. He brought his skills in these mediums to
work he did for the Smithsonian in Washington, D.C. His sculpture of an owl is a totemic
sentinel of the night. These were artists honoring the traditions of stone and bronze just as
there were those adhering to the realist path in painting, even though the critics and art
magazines of the time were touting abstraction, irony, and the blurring of the distinction
between high and popular cultures.
In contrast to these artists, some sculptors such as Ronald Bladen, David Weinrib and Bruce
Beasley in this period were exploring the use of non-art, industrial materials. Rough edged
surfaces at play with transparency, a frozen viscosity, and magical color and light effects were
some of the ingredients in the aesthetic and process of Richard Van Buren. Fiberglass resins,
powdered pigments, viscous chemicals, charcoal, and glues to be dripped on to armatures
or poured into mylar molds were all part of Van Buren’s exploration of the new, hybrid
possibilities of our material culture. He was like some kind of industrial alchemist constantly
experimenting with new combinations and methods.
Brendt Berger, in his early work, also explored the use of fiberglass and polyester in a similar
10
mode. Instead of pure resins poured into
molds these were painted on, colored
resins over glass cloth in multiple stages
on top of plaster and clay shapes. Like
the paintings and prints he did in this
period, these were tondos, circular threedimensional
works in saturated colors.
The pieces in this exhibition, influenced
by the early protractor paintings of Frank
Stella and also the crisp circular motifs
of Robert Indiana, evince a concern for
pattern, surface, and precision—cool,
abstract, and objective.
Berger serves as a bridge to the painters
to be considered in this exhibition as
the distinction between painting and
sculpture was being blurred in the 70’s.
There were many stylistic possibilities
Melanie Zebit in her studio in Eastport, 1974.
Photograph by Hugh French/The Quoddy Tides.
in painting one could take as a starting point. Jane Erlich was doing her own versions of
geometric abstractions using quirky optically colored bands sporting, in this example, chain
saw like teeth on a canvas tilted radically off square. Both the striping and the shaping of
paintings were consistent warp threads running through this period in the work of influential
artists like Ellsworth Kelly and Frank Stella.
Bill Barrell, who was the first of the ‘70s artists to arrive in the Eastport area, painted in a
very personal, painterly style using compositional elements from Matisse and figuration from
Picasso in a decidedly funky, expressionistic, and anti-academic manner.
Lee Suta, who trained as a scenic artist for opera, stage and film, though a realistic painter,
has produced a body of work that surpasses the utilitarian in his surreal, highly imaginative
art. Suta is an accomplished draftsman and we have in this exhibition the illustrations he did
for books produced in conjunction with the Wabanaki Bilingual Education Program as well
as an oil painting depicting the Maine Coast. He captures the lyrical harmony of sea, fields,
silence, and the scents of the earth.
Another signature image of Eastport, the working water front, is depicted by Judy Colemann
in a style somewhere between Van Gogh
and Marsden Hartley, an earlier visitor to
the Maine coast. Like Hartley, she also
did loose but incisive portraits of many
of the cast of characters in the area.
Her work prefigures some of the neoexpresionistic
art of the ‘80s.
There was, in fact, a very strong
predilection towards landscape imagery
among many of these painters, not
surprising in a liminal environment
dominated by Passamaquoddy Bay’s
insistent horizon line. This was a time
Brendt Berger and Sarah Berger in Eastport, c.1975.
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when hard ass abstract artists, such as
deKooning and Frankenthaler, tried to
free themselves from representation, the
real world imagery is, suggestively, still
there. Even a Minimalist abstract painter
like Mac Wells, a summer resident of
Robbinston, retained that reference,
reducing that horizon line to a blur of
color or a single bold slice of white
across an atmospheric field.
Leslie Bowman, a summer resident in the
Bill Barrell in Eastport, Maine, c.1975.
‘70s, who taught at the Maine College
of Art, refers to the surrounding coastal
landscapes in her very seductive, painterly expressions of distilled sea and sky. For many
years she was also the photographer for The Quoddy Tides capturing the spirit of the people
and places of Washington County.
Joe White, whose previous paintings were in the abstract manner, produced numerous
renditions of the coastal land/seascape in refined and magical watercolors he did while a
summer resident in “the way-house,” part of the Sunspot factory complex used by various
visiting artists. As a year round resident, Alan Horseradish (Kirshenstein), in his beautiful and
delightfully obsessive watercolors, repeats six times an almost identical land-water-sky-cloud
image in a composition suggestive of decorative tiles.
Arnold Wechsler, in his Double Puffin, chose to abstract one of the coast’s feathered fauna
from his many more direct and painterly puffin images of the time. It is an almost psychedelic,
mandala-like image that balances organic and geometric forms with Native American
pictographs. His patterned subject matter draws on decorative aspects ranging from Oriental
calligraphy to the visual characteristics of DNA molecules. These eclectic references, along
with the “trippy” qualities, were a continuing thread used by many artists from the previous
decade.
Another artist in this group who utilized several of the signature trends of this period was
Barbara Toothpick (Kirschenstein). Her work incorporated textual elements (a la Jenny Holzer
and Barbara Kruger), swirling Fillmore poster-like psychedelic compositions, and decidedly
frank feminist depictions of the female body. She, with her husband Alan, also used poetic
autobiography and song in their many performances in the area—fusing a kind of ad hoc
musicality with personal history Performance Art. It must be noted, at this point, that a good
proportion of the artists in this exhibition are women, all working in their own personal ways,
which mirrored what was starting to happen in the larger art world as well.
One more thread woven into the fabric of this area was Conceptual Art. Avant garde artists of
the period, such as Sol LeWitt and Yoko Ono, were using ideas as their whole dematerialized
products. It was brought to this area by Dennis Oppenheim, who had a house in Eastport
with fellow artist Joe Stranad. Earlier in his career he had combined Earth Work scale with
conceptual underpinnings, using entire fields of grain as his “canvas,” creating patterns in
the service of concepts, and photographing them for sale. Here he compresses the scale
down to the size of a standard postcard while keeping his Body Art concept fresh, droll, and
personal.
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Elliot Fishbein in his woodworking studio in Eastport, 1974. Photograph by Hugh French/The
Quoddy Tides.
Photography is represented here by the work of Christian Sunde who lives in Trescott. The
great curator of photography at the Museum of Modern Art in New York in the 70’s, John
Szarkowski, divided art photographers into two camps. They were either “mirrors” looking
inward and expressing what they saw there, or they were “windows” capturing the truth of
the world outside as did Gary Winogrand, Diane Arbus, and Bruce Davidson, three of the
best practitioners of the period. Chris Sunde falls in the latter group. His work shows us an
alert and perceptive observer of that time and place.
And then there were the woodworkers, Jerry Young, Jim Blankman, and Allen Harris, who
made musical instruments. Also in this group of true craftspeople was Elliot Fishbein. Using
only hand tools (his incredible tool cabinet is illustrated here) he was commissioned by
photographer Sid Bahrt of Pembroke and created this refined and stately box that houses
a classic Bible which now resides in Husson University in Bangor. He made furniture and
hand carved signs for the many businesses in the area. His sign for the Quoddy Tides hangs
on Water Street.
Though all the above artists and craftspeople are a disparate group in terms of styles, media,
aesthetics, and backgrounds, in fact, they are a microcosm of the arts in that era making
manifest in the Passamaqoddy Bay area almost every major trend in modern art. Lest we
think that this was only in the past and that they are all gone let us remember that Blankman,
Bowman, Colemann, Good, the Kirschensteins, Klyver, Linden, Ostrander, Sunde, Suta, and
Van Buren are all still either full or part time residents. These are the warp threads of the recent
past interweaving now with the fibers of our current art scene creating a vibrant tapestry.
William Humphreys is an artist and was the Curator at Florida International University’s Art
Museum and Gallery Manager at the Lowe Art Museum, University of Miami. His summer
home is in Perry, Maine.
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“THE DRAWING,” acrylic on canvas, 1977, 37” x 50.”
B I L L B A R R E L L
Born: 1932 London, England
Education: 1956 Pennsylvania Academy of Fine Arts, Pennsylvania
One Man Exhibitions:
2008, 2006, 2000 Peter Findlay Gallery, New York City
1998 “Mad Cows,” Halle St. Pierre, Paris, France
1993 Rachel Freedman Contemporary Fine Art, New York City
1991 “Ten Year Retrospective,” Museum Art for Arts Sake, New York
1987 David Brown Gallery, Provincetown, Massachusetts
1981 Blue Mountain Gallery, New York City
1979 “Art In Public Places,” World Trade Center, New York City
1971 Bank Square Gallery, Eastport, Maine
1964, 1963, 1962,
1961, 1960 East End Gallery, Provincetown, Massachusetts
Selected Group Shows:
1999 NJ State Arts Annual, New Jersey State Museum, Trenton, New Jersey
1999 “Art + Suitcase Will Travel,” DNA Gallery, Provincetown, Massachusetts
Alley Culture, Detroit, Michigan; Conductors Hallway Gallery, London, England
1996 “Artist As Curator, Curator As Artist, Bergen Museum, Paramus, New Jersey
1986 “Five Expressionist Painters from N.Y.” Newton Arts Center, Massachusetts
1981 ”The Figure, A Celebration,” Galleries, University of North Dakota
1977 “Art In Public Spaces,” World Trade Center, New York City
1972 “The New York Group,” Bank Square Gallery, Eastport, Maine
Selected Catalogues:
1978 Potholes, Essay by Peter Schjeldalh
Selected Publications:
Art In America, Art News, The New York Times, The New Criterion, London Evening
Standard
Awards:
2007, 1995, Pollock-Krasner Fellowship
14
“UNTITLED,” watercolor on paper, 1971, 12” x 12.”
B R E N D T B E R G E R
Born: Oakland, California
Education:
1964 BFA, University of Hawaii, Hawaii
Selected Exhibitions:
2009 Parkside Gallery, La Veta, Colorado
2008 Kentler International Drawing Space, New York City
1995, 1963 Artists of Hawaii, Honolulu Academy of Art, Hawaii
1980 Allen Stone Gallery, New York City
1979 “Art In Public Spaces,” World Trade Center, New York City
1973 “The New York Group” Bank Square Gallery, Eastport, Maine
1972 The Sunspot Show, University of Maine, Augusta, Maine
1971 Peavey Memorial Library, Eastport, Maine
1968, 1970 17th Brooklyn Museum Biennial, Brooklyn, New York
1969 O.K. Harris Gallery, New York City
Teaching:
1995-2004 Instructor Honolulu Academy of Art, Hawaii
1967-1968 Instructor, School of Visual Arts, New York
Grants:
1998 Hawaii State Foundation on Culture and the Arts
1981 Committee for Visual Arts Grant, New York City
Mural:
1979 World Trade Center New York City
Selected Bibliography:
1982 Brendt Berger at 55 Mercer Street, Art in America
1967 Origins and Cycles, Art News
Brendt Berger is the founder and director of the Museum of Friends in Walsenburg,
Colorado.
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“UNTITLED,” oil/canvas, 1976, 34” x 32.”
L E S L I E D A L E B O W M A N
Education:
BA, Nova Scotia College of Art and Design, Halifax, Nova Scotia, Canada
MFA, Washington University, St. Louis, Missouri
Skowhegan School of Painting and Sculpture, Skowhegan, Maine
Work Experience:
2004 to 2010 Photographer and Photography Editor
Bangor Metro Magazine, Bangor, Maine
1997-2004 Assistant Professor of Art , University of Maine, Machias, Maine
1983-1997 Photographer Quoddy Tides newspaper, Eastport, Maine
1986-2007 Founding Member, Eastport Gallery, Eastport, Maine
Selected Exhibitions:
2008-2009 Petroglyph Equinox Exhibition, University of Maine;
Abbe Museum, Bar Harbor, Maine; Maine State Museum,
Augusta, Maine
2004 Sunrise on Washington County, State House, Augusta, Maine
1993 Reflections from Way Downeast, Danforth Gallery, Portland,
Maine
1993 Return of the Cadavre Exquis, The Drawing Center, New York
City
1977 Evansville Museum of Arts & Science, Evansville, Indiana
1974 Nova Scotia X Ten, Dalhousie University, Halifax, Nova Scotia,
Canada
Selected Publications:
Maine Art Now, 1990, by Edgar Allen Beem
Maine Sunday Telegram, Maine Times, Portland Press, Washington Post
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“FISH FACTORY,” oil on canvas board, 1973, 17 7/8” x 24.”
J U D I T H C O L E M A N N
Education:
1965 BA, Michigan State University, East Lansing, Michigan
1986 MA, University of Maine, Orono, Maine
Selected Exhibitions:
2001 Cafe Expresso, Flagstaff, Arizona
1985 Maine Painting Biennial, Portland Museum of Art, Portland,
Maine
1984, 1983 Peavey Memorial Library, Eastport, Maine
1977 Colemann Munjoy Gallery, Portland, Maine
1975 Emerson Gallery, Tarzana, California
Reviews:
1979 June issue, “DownEast” cover, “Estes Head”
1979 October issue, “Maine Life” cover, “View from Munjoy Hill”
17
“UNTITLED,” oil on canvas, 1978, 18” x 48.”
J A N E E H R L I C H
Education:
1962-1964 Pratt Institute
1966-1968 School of Visual Arts
Selected Exhibitions:
1979 One Woman Exhibit, University of Maine, Machias, Maine
1977 Art In Public Spaces, World Trade Center, New York City
1977 Weber Gallery, Portland, Maine
1975 “3 Moose Island Artists,” Strong Gallery, Bar Harbor, Maine
1974 Hansen Gallery, New York City
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine
1972 “The Sunspot Show,” University of Maine, Augusta, Maine
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“WAVE,” dyed silk, 1973, 70” x 36.”
M A N I F E N I G E R
(T E R R Y B E R G E R)
Born: New York City
Education: University of Michigan, Ann Arbor, Michigan
Selected Exhibitions:
1975 Strong Gallery, “3 Moose Island Artists,” Bar Harbor, Maine
1974 College of the Atlantic, “Maine Coast Artists,” Bar Harbor, Maine
1974 University of Maine, “Women In Art,” Orono, Maine
1973 Bank Square Gallery, “New York Group,” Eastport, Maine
1972 University of Maine, “Sunspot Show,” Augusta, Maine
1968 Emily Lowe Gallery, One Woman Show, New York City
19
“HELICOIDAL,” earrings, 18 carat gold, late 1970s, 2 3/4 x 3/4.”
M I C H A E L G O O D
Born: Philadelphia, Pennsylvania
Education:
Apprenticeship with Robert Peerless, Sculptor, New York City
1978 Haystack School, Metalsmithing, Deer Isle, Maine
1979 Haystack School, Metalsmithing with Haiku Seppa, Deer Isle, Maine
Awards: In the 1980’s and 1990’s, Diamonds Today, Diamonds International and many other
international competitions.
Michael Good whose name is synonymous with anticlastic raising has developed and
expanded the definition of jewelry and metalsmithing to sculptural forms that are a natural
extension of the human form. He has his own gallery in Rockport, ME and his work is shown
throughout the world.
20
“SEASCAPE BLUE,” watercolor on paper, 1980, 14” x 20.”
A L A N K I R S C H E N S T E I N
(A L A N H O R S E R A D I S H)
Education:
1961-1963 Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania
1960-1962 Barnes Foundation, Merion, Pennsylvania
Selected Exhibitions:
2002 Book House Gallery, Jim Thorpe, Pennsylvania
2001 Faculty Club Gallery, University of Pennsylvania, Philadelphia,
Pennsylvania
2001 Bushnell Gallery, Jim Thorpe, Pennsylvania
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine
1972 “The Sunspot Show,” University of Maine, Augusta, Maine
Performances:
1965-2002
Gallery Shows, The Black-Kay Foundation, Philomathean Society,
Shows and readings at Pembroke Historical Society, Eastport Gallery, Shubin
theater, Group Motion, North Star Bar, Nexus, Fleischer, Limerance Gallery,
Highwire, Rubba Clue CEC, Kill Time, Revival, Robbin’s Bookstore, Cooper Hill
Music Festival, West Spot, Anarchist Coffee House, Common Ground Fair.
21
“RING ROSIE UP,” watercolor on paper, 1972, 20” x 26.”
B A R B A R A K I R S C H E N S T E I N
(B A R B A R A T O O T H P I C K)
Education:
Wittenberg University, Springfield, Ohio
Ball State University, Muncie, Indiana
Selected Exhibitions:
2009 “Found and Bound,” Philadelphia Museum of Art, Philadelphia,
Pennsylvania
2007 “Paper & Scissors,” Philadelphia Library, Philadelphia, Pennsylvania
1997-2002 Painting and Installations, Bushnell Gallery, Jim Thorpe. Pennsylvania
2000 “A Gathering of Women,” Penn State Gallery, Pennsylvania
1999 Philomathean Society
1977 Group Show, Colemann Gallery, Portland, Maine
1974 “Woman in Art,” College of the Atlantic, Bar Harbor, Maine
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine
1972 “The Sunspot Show,” University of Maine, Augusta, Maine
1965-2007 Performances with Alan Horshradish:
Eastport Art Gallery, The Harvard Divinity School, Ocracoke, Pembroke Historical
Society, Cooper Hill Music Festival, The Common Ground Fair
2001-2007 Produced and Performed CDs:
“Maine Songs From a Different Head,” ”More Maine Songs”
22
“OWL,” pewter, 13” x 6.”
R I C H A R D
B. K L Y V E R
Education:
1958-1962 School of Visual Arts, New York City
Work Experience:
1975-1994 Sculptor/Designer Peregrine Associates, Eastport, Maine
1999-2003 Artist in Residence Telegraph Road Learning Center
Wilmington, Delaware
2000-2001 Smithsonian Dinosaur Project, Smithsonian Museum,
Washington, D.C.
2005 -2010 Art Bronze Foundry, Eastport, Maine
Museum Collections:
Peabody Museum, Cambridge, Massachusetts
Smithsonian Museum, Washington, D.C.
23
“LA MER,” Fiber, 1976, 96” x 52.”
L E A T R I C E L I N D E N
Born: Brooklyn, New York
Solo Exhibitions:
2003 Stonehaus Gallery, Miami, Florida
1999 “Landscape and Memory,” University of Maine, Machias, Maine
1980 Michael Aaron Gallery, Los Angeles, California
1979 Cape Split Place Gallery, Addison, Maine
1975 Gloria Luria Gallery, Miami, Florida
1970 Emily Lowe Gallery, New York City
Selected Group Exhibitions:
2009 “Black and White,” Eastport Art Gallery, Eastport, Maine
2008 Group Show, Campobello Gallery, Maple City, Michigan
1997 “Walkaround,” Lowe Art Museum, Miami, Florida
1989 “Collaborations,” Center of Contemporary Art, Miami, Florida
1985 “Tropical Visions,” Art & Culture Center, Hollywood, Florida
1985 “Lots of Knots,” Tampa Museum, Tampa, Florida
1977 “Some of Our Friends,” Webber Gallery, Portland, Maine
1977 “Art In Public Spaces,” World Trade Center, New York City
1974 “Women In Art,” University of Maine, Orono, Maine
1974 “Maine Coast Artists,” College of the Atlantic, Bar Harbor, Maine
1974 “3 From Moose Island,” Strong Gallery, Bar Harbor, Maine
1973 “The New York Group” Bank Square Gallery, Eastport, Maine
1972 “The Sunspot Show,” University of Maine, Augusta, Maine
1970 “Fiber International Invitational,” Skidmore College, Saratoga, New York
Publications:
1985 Miami Herald, “Tropical Visions”, by Helen Kohen
1979 “Craft Horizons”
24
“MATERIAL INTERCHANGE FOR JOE STRANAD,” paper postcard, 1971, 4 1/2” x 6 1/2” (reverse side below).
D E N N I S O P P E N H E I M
Born: 1938 Electric City, Washington
Education: BFA, School of Arts & Crafts, Oakland, California
MFA, Stanford University, Palo Alto, California
Selected Exhibitions:
Tate Gallery, London, England
Stedelijk Museum, Amsterdam, Netherlands
Whitney Museum, New York City
Musee d’Art Moderne de la Ville de Paris, France
Galerie Pro Arte, Germany
Joseph Helman Gallery, New York City
Awards: Guggenheim Foundation
National Endowment for the Arts
25
“EARTH DANCER,” unglazed ceramic, 1977, 7 1/2” x 3” x 2”
E L I Z A B E T H O S T R A N D E R
Born: 1943 Mt. Kisco, New York
Education: Arts Students’ League, Cooper Union, New York City
B.F.A., University of Maine, Portland/Gorham, Maine
Selected Exhibitions:
2010 Group Show, Cocco & Salem Imagine Art, Key West, Florida
2009 “Among Friends,” New Brunswick Museum, Saint John, New Brunswick,
Canada
2007 “Maine Sculptors,” University of Southern Maine, Lewiston, Maine
2007 “Summer Sculpture,” Barn Gallery, Ogunquit, Maine
2006 ‘Sweet Rememberances,” University College, Ellsworth, Maine
2005 “Maine Sculptors,” Lewis Gallery, Portland, Maine
2004 “One Person Show,” The Eastport Gallery, Eastport, Maine
2002 “Calling All Angels,” Harbor Square Gallery, Rockland, Maine
2001 “Women in the Arts,” Colby College, Waterville, Maine
2000 “On the Horizon,” University of New England, Portland, Maine;
College of the Atlantic, Bar Harbor, Maine
1999 “Sky,” Davidson & Daughters, Portland, Maine
1998 “Maine Woman Artist,” A Framework Company, W. Palm Beach, Florida
1995 “Vision, Myth and Magic,” Kristen Gallery, Seattle, Washington
1994 “Brenau”s National Invitational Art Exhibition,” Atlanta, Georgia
1991 “Artists of the Fundy Area,” St. Stephen Library, St. Stephen, New
Brunswick, Canada
1990 ”New Forms,” Danforth Gallery, Portland, Maine
1972 “The Sunspot Show,” University of Maine, Augusta, Maine
Grant:
The Maine Arts, Inc.
26
“UNTITLED,” basket of wire mesh/handmade paper/acrylic, 10” x 9.”
A L A N S H I E L D S
Born: 1944 Herington, Kansas
Education: 1964 Kansas State University Kansas
Selected Exhibitions:
2007 Parish Art Museum, Southhampton, New York
1984 National Gallery of Australia, Sydney, Australia
1981 Orlando Museum of Art, Orlando, Florida
1969-1980 One Man Shows, Paula Cooper Gallery, New York City
1974 Fine Arts Museum of San Francisco, San Francisco, California
1972 Hirschhorn Museum, Washington, D.C.
Selected Publications:
Art In America, Art News, ArtForum
27
“BOY HUNTER,” photographic print, 12 1/2” x 18 1/2”
C H R I S T I A N G. S U N D E
Born: 1939
Selected Exhibitions:
2002-2008 “Faculty Show,” University of Maine, Machias, Maine
1982-1990 Syracuse University, Syracuse, New York
1971, 1984 Rochester Institute of Technology, Rochester, New York
1970 Pratt Institute, Brooklyn, New York
1969 San Francisco Art Institute, San Francisco, California
Published Work:
“Documentary Photography,” Time, Inc., Library of Congress
1998 “Contact Sheet 97,” Light Work Visual Studies, Inc.
Grants:
1990 LIght Work Grant
1985 Artist Grant, New York State
Teaching:
Pratt Institute, Brooklyn, New York
San Francisco Institute of Art, San Francisco, California
Rochester Institute of Technology, Rochester, New York
University of Maine, Machias, Machias, Maine
28
“THE VIEW FROM MERT’S,” oil on panel, 1972, 22” x 27 1/2.”
L E E S U T A
Born: 1943 Scotch Plains, New Jersey
Education:
Studied painting and drawing with Frank Reilly,
Scenic Design with Lester Polakov
1961-1963 Scenic design assistant to Albert A. Ostrander
1966-1999 Scenic Artist, United Scenic Artists New York, working at the
Metropolitan Opera, Broadway Theaters, Films and Television
Selected Exhibitions:
2009 Calais Free Library, Calais, Maine
2009 Knotts Gallery, Eastport, Maine
2006-1992 Eastport Art Gallery, Eastport, Maine
1984-1990 Swains Gallery, Plainfield, New Jersey
1984 Frost Gully Gallery, Portland, Maine
1982 “For Real With Beal,” Katona Gallery, Katona, New York
1973 “The New York Group,” Bank Square Gallery, Eastport, Maine
1972 “The Sunspot Show,” University of Maine, Augusta, Maine
Grant:
1990 Maine Arts Commission, Perry School, Perry, Maine
Publications:
Illustrations for a series of books published for Wabnaki Bilingual Education
Program, 1976
29
“RED BADGE,” fiberglass resin, 33” x 14” x 7.”
R I C H A R D V A N B U R E N
Education:
San Francisco State College, California; University of Mexico, Mexico City, Mexico
Selected One Man Exhibitions:
2003 Center for Maine Contemporary Art, Rockport, Maine
1999 Christiane Nienaber Contemporary Art , New York City
1984 Maryland Institute, Baltimore, Maryland
1978 Sculpture Center, Sydney, Australia
1977 Paul Cooper Gallery, New York City
1970 Bennington College, Bennington, Vermont
1962 San Francisco Museum of Art, San Francisco, California
Selected Group Exhibitions:
2007-2008 Neue Galerie, Karlsruhe, Germany
2006 Weatherspoon Art Museum, Greensboro, North Carolina
2002 Center for Maine Contempoary Art, Rockport, Maine
(Awarded Best in Show)
1999 Museum of Contemporary Art, Los Angeles, California
30
“DOUBLE PUFFIN,” acrylic on paper, 18” x 24.”
A R N O L D W E C H S L E R
Born: 1930, Jersey City, New Jersey
Education: BA, University of Florida, Florida; MFA, Columbia University, New York City
Selected Solo Exhibits:
2001 Gallery X Harlem,, New York City
1999 Westbeth Gallery, New York City
Selected Group Exhibits:
2003 Andre Zarre Gallery, New York City
2000 Chase Manhattan Bank, New York City
1993 Independent Curators, World Trade Center, New York City
1986 Oaxaca Museum, Oaxaca, Mexico
1980 Metropolitan Museum, New York City
1978 International Fair of Contemporary Art, Bologna, Italy
1975 Hansen Gallery, New York City
31
”UNTITLED,“ watercolor on paper, 1976, 9 1/4” x 7 3/4.”
M A C W E L L S
Born: 1925 Cleveland, Ohio
Education: 1948 B.A., Philosophy, Oberlin College, Ohio
1948-49 Cooper Union, New York
Selected Solo Exhibitions:
1993 Rothko Foundation Award Show, Artists Space, New York City
1979 St. Stephen Art Center, St. Stephen, New Brunswick, Canada
1972 Max Hutchinson Gallery, New York City
Selected Group Shows:
1992 “Persistence of Abstraction,” Ulrich Museum of Art, Wichita, Kansas
1989 55 Mercer Gallery, New York City
1987 Condeso-Lawler Gallery, New York City
1979 Betty Parsons Gallery, New York City
1972 Eight from New York, Festival of Perth, Perth, Australia
1970 Small Works, Bard College, New York City
1968 Park Place Gallery, New York City
Selected Publications:
Art News, Arts Magazine, Art in America, Art International
32
“VIEW NORTH FROM WADSWORTH’S,” watercolor on paper, 1971, 7 1/2” x 9 3/4.”
J O S E P H W H I T E
Born: 1938
Education: B.A., San Francisco State University, California
Selected Solo Exhibitions:
2004 Washington Arts Museum, Washington, D.C.
1973 The San Francisco Museum, San Francisco, California
1972 The Corcoran Gallery of At, Washington, D.C.
1971 Paula Cooper Gallery, New York City
1967 San Francisco Art Institute, San Francisco, California
Selected Group Exhibitions:
1992 Baumgartner Galleries, Inc., Washington, D.C.
1985 The Corcoran Gallery of Art, Washington, D.C.
1985 Oakland Museum, Oakland, California
1973 Phyllis Kind Gallery, Chicago, Illinois
1973 Storm King Art Center, Mountainville, New York
1970 Albright-Knox Gallery, Buffalo, New York
1970 Wheatherspoon Art Gallery, University of North Carolina,
Greensboro, North Carolina
1964, 1967 Whitney Biennial, Whitney Museum, New York City
33
”LIKE SKIN,” Vermont Marble, 1970, 27” x 10” x 8.”
M E L A N I E Z I B I T
Education:
1970 B.A., Brandeis University, Massachusetts
University of Illinois, Champaign/Urbana, Illinois
M.B.A., Harvard Business School, Massachusetts
Selected Exhibitions:
2008 Cape Cod Cultural Center, Yarmouth, Massachusetts
2006 University of Massachusetts, Boston, Massachusetts
2006 Vermont Sculpture and Carving Studio, W. Rutland, Vermont
2002 New Bedford Museum, New Bedford, Massachusetts
2000 Cambridge Art Association, Cambridge, Massachusetts
1985,1986 Boston Fine Arts Gallery, Boston, Massachusetts
1973,1974 Sculpture Center, New York City
1972 “The Sunspot Show,” University of Maine, Augusta, Maine
1972 The Strong Gallery, Bar Harbor, Maine
1971 Rose Art Gallery, Brandeis University, Waltham, Massachusetts
34
T H E W O O D W O R K E R S:
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,
A L A N H A R R I S, J E R R Y Y O U N G
Jerry Young learned to make dulcimers in California from Sam Herman. He came to Eastport
with his wife Debbie in the early ‘70s. They bought a house on Spear Avenue, Elliot Fishbein
lived nearby. Jim Blankman, a friend from California came to visit in 1972. Subsequently,
Jerry and Jim worked together making dulcimers until Jim went back to California.
In 1970 Alan Harris was a summer visitor from New York City. He fell in love with Washington
County and moved to Eastport, buying a house on Clark Street. Alan loved music and which
led him to build his own harpsichord. He worked with Jerry making dulcimers after Jim
Blankman left. When Jerry Young moved back to California, Alan worked with Richard Klyver
doing pewter animal sculptures, which were sold at Smithsonian Gift Shops in Washington,
D.C.
Presently, Jerry Young is making surfboards in Calfornia. Jim Blankman returned to Eastport
in 1976 and has created many wonderful creations in wood in his workshop on Water Street
and an incredible tree house environment at his home. Alan Harris still resides in Eastport
doing carpentry.
Elliot Fishbein moved to Eastport in 1973 from the Pacific coast. He came originally from
New York where he used to work in his uncle’s wood working shop. He moved to the San
Francisco area in 1968 where he decided to take up wood working as a serious vocation,
finding an apprenticeship with a violin repairman.
Six years later he moved to Eastport, Maine. One of his first assignments was carving the
wooden sign which now identifies the Quoddy Tides office. He purchased a home and
workshop on Spear Avenue with a view of the bay. His workshop was a former boat shop.
He used antique tools and the best hand tools available and a cross cut saw which he made
himself. He made Shaker furniture as the Shakers did, simple functional designs made with
sophisticated joining work. Among his commissions was a Bible Box, now in the collection
of the Bangor Theological Seminary at Husson University in Bangor, Maine.
Elliot died tragically in a car accident on Route 9 in 2002.
35
36
Above: Bible Box by Elliot Fishbein,
1977, 21 7/8” x 17” x 8.”
Left: Label on underside of Bible
Box.
Below: Elliot Fishbein’s tool cabinet.
Pair of dulcimers from the ‘70s. Left: Dulcimer c. 1975 by Alan Harris and Jerry Young, 38 1/2” x 5”
9/16” x 2 3/8.” Right: Dulcimer, c.1980 by Jim Blankman, 37 1/8” x 12 3/8” x 3 5/8.”
37
A R C H I T E C T U R A L W O R K S
George Trakas’ work creates a functional response to a specific site. In this period he usually
incorporated ramps in wood or steel which lead the walker through the environment in a
novel way to transform the mundane experience, as here, of going to the outhouse.
Robert Szatkowski moved with his family from Chicago in the late 1960s and lived in Robbinston,
Maine for many years. He built several experimental structures on his land there as
well as Leatrice Linden’s studio in Perry, Maine and one for Elizabeth Ostrander when she
lived on the Ridge Road in Robbinston, Maine.
Above: Walkway and outhouse designed by George Trakas in Perry, Maine.
38
Interior (below) and exterior (above) views of Leatrice Linden’s studio in Perry, Maine designed by
Robert Szatkowski.
39
W O R K S I N E X H I B I T I O N
1. BILL BARREL.
“THE DRAWING.” Acrylic on canvas. 1977. 37” x 50.” Collection of the artist.
2. BRENDT BERGER.
“UNTITLED.” Watercolor on paper. 1971. 12” x 12.” Collection of Gwen Jones.
“UNTITLED.” Oil on canvas. 36” diameter. Collection of the artist.
3. LESLIE DALE BOWMAN.
“UNTITLED.” Oil on canvas. 1976. 34” x 32.” Collection of the artist.
4. JUDITH COLEMANN.
“FISH FACTORY.” Oil on canvas board. 1973. 17 7/8” x 24.” Collection of Tides Institute &
Museum of Art.
“DIANE RUSSO.” Oil pastel on paper. 1972. 15” x 15 1/2.” Collection of the artist.
5. JANE EHRICH.
“UNTITLED.” Oil on canvas. 1978. 18” x 48.” Collection of the artist.
6. MANI FENIGER (TERRY BERGER).
“WAVE.” Dyed silk. 1973. 70” x 36.” Collection of the artist.
8. MICHAEL GOOD.
“Helicoidal.” Earrings, 18 carat gold. 2 3/4” x 3/4.” Loan from Michael Good Gallery, Rockport,
Maine.
“Hammered Flat Gold Mobile.” Earrings, 14 carat gold. 1 5/8” x 7/8.” Loan from Michael Good
Gallery, Rockport, Maine.
9. ALAN KIRSCHENSTEIN (ALAN HORSERADISH).
“SEASCAPE BLUE.” Watercolor on paper. 1980. 14” x 20.” Collection of the artist.
10. BARBARA KIRSCHENSTEIN (BARBARA TOOTHPICK).
“RING ROSIE UP” Watercolor on paper. 1972. 20” x 26.” Collection of the artist.
“FROM AWAY.” Hand-made book. 2010. Collection of the artist.
11. RICHARD KLYVER.
“OWL.” Pewter. 13” x 6.” Collection of the Tides Institue & Museum of Art.
12. LEATRICE LINDEN.
“PASSAMAQUODDY TOTEM.” Wool/fur/wire. 1971. 96” x 36.” On extended loan to Tides
Institute & Museum of Art.
“LA MER.” Fiber. 1976. 96” x 52.” Collection of the artist.
13. DENNIS OPPENHEIM.
“MATERIAL INTERCHANGE FOR JOE STRANAD.” Paper postcard. 1971. 4 1/2” x 6 1/2.”
Collection of the Museum of Friends, Walsenburg, Colorado.
14. ELIZABETH OSTRANDER.
“EARTH DANCER.” Unglazed ceramic. 1977. 7 1/2” x 3” x 2.” Collection of the artist.
“GENTLE DANCER.” Unglazed ceramic. 1977. 7 1/2” x 3” x 2.” Private collection.
15. ALAN SHIELDS.
“UNTITLED.” Basket of wire mesh, handmade paper, acrylic. 10” x 9.” Collection of Richard Van
Buren.
40
16 CHRISTIAN SUNDE.
“BOY HUNTER.” Photographic print. 12 1/2” x 18 1/2.” Collection of the artist.
“BOY & GIRL WASHING.” Photographic print. 11 7/8” x 7 7/8.” Collection of the artist.
17. LEE SUTA.
“THE VIEW FROM MERT’S.” Oil on panel. 1972. 22” x 27 1/2.” Collection of the artist.
Illustrations for Booklets for Wabnaki Bilingual Education Program, Maine. 1970s. Collection of the
Tides Institute & Museum of Art.
18. RICHARD VAN BUREN.
“RED BADGE.” Fiberglass resin. 33” x 14” x 7.” Collection of the artist.
19. MAC WELLS.
“UNTITLED.” Watercolor on paper. 1976. 9 1/4” x 7 3/4.” Collection of Eileen Wells.
“UNTITLED.” Silkscreen print. 1970. 15 7/8” x 12 7/8.” Collection of the Tides Institute & Museum
of Art.
20. ARNOLD WESCHLER.
“DOUBLE PUFFIN.” Acrylic on paper. 18” x 24.” Collection of Lou Weschler, West Palm Beach,
Florida.
21. JOSEPH WHITE.
“VIEW NORTH FROM WADSWORTH’S.” Watercolor on paper. 1971. 7 1/2”x9 3/4.” Private
collection.
22. MELANIE ZIBIT
“LIKE SKIN.” Vermont Marble. 1970. 27” x 10” x 8.” Collection of the artist.
THE WOODWORKERS
23. JIM BLANKMAN. Dulcimer. c. 1980. 37 1/8” x 12 3/8” x 3 5/8.” Collection of the Tides Institute &
Museum of Art.
24. ELLIOT FISHBEIN. BIBLE BOX. 1977. 21 7/8” x 17” x 8.” Collection of Bangor Theological
Seminary, Husson University, Bangor, Maine.
25 & 26. ALLEN HARRIS & JERRY YOUNG. Dulcimer. c. 1975. 38 1/2” x 5 9/16” x 2 3/8.” Collection
of the Tides Institute & Museum of Art.
41
A C K N O W L E D G E M E N T S
The Tides Institute & Museum of Art is deeply grateful to William Humphreys and Leatrice
Linden for their heroic efforts to pull this catalogue and exhibition together and for writing
short essays for the catalogue. Without these efforts, neither the catalogue or exhibition would
have happened. The Tides Institute also wishes to thank the many artists and other people who
contributed their knowledge and memories and who loaned works for this exhibition.
The Tides Institute & Museum of Art wishes to acknowledge with deep thanks the funding
provided by the Maine Community Foundation and the William and Joan Alfond Foundation
in support of this exhibition catalogue and the exhibition. Additional funding has come from
other private contributions.
The TIdes Institute & Museum of Art is grateful to Houghton Mifflin Harcourt for granting
permission to reprint Heather McHugh’s poems, ”North Island Songs” and ”Syllables,” from
the book, A World of Difference, and to Heather McHugh for granting permission to reprint
her poem, ”Sympathy on Water Street,” from the book, Dangers. Additional thanks to Husson
University and Bangor Theological Seminary for loaning its “Bible Box” made by Elliot
Fishbein for this exhibition and for inclusion in this catalogue.
This exhibition catalogue has been printed in an edition of 1,000 copies by Penmor Lithographers
of Lewiston, Maine.
Exhibition Catalogue Copyright © 2010 Tides Institute & Museum of Art.
“North Island Songs” and “Syllables” from A World of Difference by Heather McHugh.
Copyright © 1981 by Heather McHugh. Used by permission of Houghton Mifflin Harcourt
Publishing Company. All rights reserved.
“Sympathy on Water Street” from Dangers by Heather McHugh. Copyright © 1977 by
Heather McHugh. Used by permission of Heather McHugh. All rights reserved.
42
William Humphreys (left) with Bill Barrell (center) in Barrell’s
studio in Easton, Pennsylvania, 2010.
43
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