Portland Monthly Magazine September 2002

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Empowerment

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tintegrity,that’swhatComihunity‘Nfaird^aspecialplacetoliye.Thenaturalbeauty,sert's^dfcammuj^iJ^eventh'e.peOptewhrilivehere?aleifnlike-• v -mt. t 4 thoseanywhereelse/Itsa.refreshingapproachtolife'AtNorwaySavings.Bat|l<‘w€y%t>uiItourbusinessonMame^<*v ^values apd a commitment tb dp whatslngntlor our^stom^rSyopr employees and the communities we\seiye.?jK fWhetheritsa'simplesmile,and^how^ingyourname,prOvidih^laiowlexlgeablg/friendlviSeriice.lgiwn^feacKto

ContemporaryAmericanimpressionistDonStonecapturesNewEngland’sdramaticland¬ scapeandruggedcoastinmagnificentoils.Hispaintingshavebecomelegendfarbeyondthe regionheportrayswithboldbrushworkandcharacteristicunderpainting.Thisinternationally acclaimedartisthasbeenrecognizedbytheNationalAcademyofDesign,whereheisafully electedmember.DonStone’swork-whichhaswonhimsomeseventymajorawardsincluding eightgoldmedals-continuestoreaprichaccoladesforitssheerbrilliance.

Coittento

Portland Magazine • Maine’s City Magazine Volume17No.6

57 Double Artists

6 Space

Aboldnewgallerysparkles onCongressStreet

By Colin Sargent

Shefliesthroughtheairwiththe

> 18 A Different ME

■VRefreshingnewartistslikeColin■ 7Sullivan-Stevens,BeckyFitzpatrick; A. 11 Yvonne Jacquette

Diane Wiencke, Kate Barnes, | KwabenaChanAnsa,LisaPixley,4 GarrickImatani,andRustyTheriault bringpithyperspectiveandrealdepth tothestate’sartscene.

By Alison Bulman

39 A 19th Century Swoon

PortlandnativpCharlesCodman (1800-1842)getshisjustdesserts agorgeousshowatPMA.

Bv Stephen May

fMaineartistswhocollectMaine artists.Aoinvestorspeekatwhothe artistsarecollectingisagreatwayto getinon d——.1 n — “

By Lince Tapley

79 A Federal Oasis Forsale:a/brick1803landmarkon YorkStreetwitl|stunningviews oftheForeRivet ByColinSargent,

framel>\PamelaJol',lli>.$350

Italiangraphicdesignerscallspace "silence."MainersnowcallSpacea cavernousnewgallon'on538 CongressStreetinPortlanddedicated toshowcasingboththeworkof refreshingnewartistsandrecalcitrant, ;jadedartists.Spacebeckonsto performanceartistswithinstallations toobigorconfrontationaltoappear .anvwhereelse.Spaceremindsmeof e.c.Cummings’sconceptofThe Enormous Room,acorncrlessgallerv withlimitlesspossibilities.

ToddBernard,2S,directsSpace.

“IliveinthePastEnd,rightacrossthe streetfromtheSt.I.awrenccChurch.1 gotmydegreeinfineartsatUSM, studvingunderMichaelShaughncssv, GregParker,andJurisUbans.Thcvarc allinfluences."

I’vealwayswantedtoknowthe dimensionsofSpace.

"TheyarcS3feetby35feet,butthe overallvolumeexceeds3,000feet.The ceilingsare14feet."

WhatdidSpaceusetobe?

“SpaceusedtobeWendv’s,andthen Kocnicky’s,apizzaplace.Vlienwcwere doingdemolitionwork,wefound‘to-do’ listsonoldgreasyfrenchfrycartonsstuck inthewalls.Weleftthemthere.”

Frenchfries...inthewallsofSpace. RegardingthefloorsofSpace:"Wehad amontageofleftoverlinoleumtilesand pKwoodpatches,andwejust polvurcthancdoverthewholemess, whichisquitebeautiful,really."

WhatcoloristheroofofSpace? “It'sabrick-vaultedceiling."

Yes,hutwhatcolorisit?

Thereisashortsilence. "Brick-colored.”

Spacegivesrisetotautologies.

SusanBickford,oneofthefirstwave ofartistsexhibitinginSpace,“does somethinglikethisin'BackwardProject, herannualsummercelebrationof crcativitvinYarmouth,”Bernardsavs, “butSpaceisheretoaffordsuch opportunitiesvear-round.”

Spaceisnewenough,andbold enough,tobedangerous:“Spacehasa 200-pcrsoncapacityanda100-person seatingcapacity.Musicallv.Spacewill focusonperformersofimprovisational jazz,avant-garde,improvisational,and electronicmusicwithaconcertedeffort toexposethePortlandculturalsceneto musicnotoftenrepresentedhere."

Spacehasbegunwithabigbang:

“MichaelShaughncssvisinstallinga wovenhavpiece,individualhavcom¬ ponentssuspendedfromtheceiling. Otherartistsinclude"ChrisKeister,Jeff Badger.LvdiaPaistc,ManjeanVianoCrowe,andPeterBuottc.”

Eorupdates,visitwww.spacenet.netor call828-5600.

ButwillthereheenoughSpace...for vourownwork?

“Certainlynotatthisshow.We’reat sortofaprecariouspointfinanciallv.Pm busykeepingSpaceafloatfornow."

ZoeBuoy

[Thislettertothe editorwas submittedtouson ciday-glolobster buoy(seeleft).]

Tothecrewat POKHAXD MaCMIXIs thanksforthegreatsea story(“WliatNext, Zoe?”Juk/Augnst 2002]!Weareall survivorsinlife!

“I.obsterLack" Survivorl\ BlackstrapRoad Falmouth

. . Driving Ms. I Hammons

B|Yourrecentarticle,“Tothe ManorBorn|Summerguide 2002].”wasvervcnjovablc! Mvgoodfriend.Arlene CookPercival,grewuponthe 1[amnionsEstate.Ilerfatherspentall hislifeasthecaretakerthere.Ilealso tookcareoftheirvariousvachts. Shetookmetotheestateaboutthree vearsago.Idon'tthinkanvonewasliving

therethen.Wejustlookedinthewindow atthetwo-lanebowlingallcvandatthe gorgeousgrounds.

Aftertheestatewassold,the1lammons’boughtaranchhousewitha homeforthecaretakerandtheCook familynextdoor.ItwasatTrundyPoint, rightonthewater.

ItwastherethatImetthecaretaker, RaymondCook,andtookcareofhimaswellasMrs.1lammons-untilhe died.1amaCNAwithInterimHealth Care.Intheirlastyearsbothhadinhomenursingcare,dayandnight. RavmondCookwasthenicest

Classic Eyewear

gentlemanIbadeverearedfor.1believe hewas93or94whenhepassedaway. Mrs.1(amnionslivedto105andahalf!

InaDrivingMiss/Misy-likerelationship, thevhadsomehappvdavstowardtheend oftheirlives.Mr.Cook’swifehaddiedand NIr.Ilammonswasdeadbythen.Aftera break-in,Mr.Cookwasinvitedtolivein themainhouseforsafetv’ssake.They becameendearedtoeachother,and KavmondwaswheeledtoMrs.1lammons’sbedsideeveryeveningsotheycould havetheirdinnertogetherandholdhands. Itwasendearingandbeautifultosee. Thanksforbringingbacksuchgood memories!1xiveyourmagazine!

JoanSheedy Portland

PeytonPlacets]

EnjovcdSummerguide2002 immensely.Asanexpatriatelivingin Manland.1lovegettingnewsfromhome inevervform.[ButIhaveacorrection.]

PeytonPlace,themovie,wasonly partiallyfilmedinlovelyCamden.Some veryimportantPeytonPlaceplaceswere filmedinBelfast.Thehighschoolinthe filmwasCrosbvHigh;thechurchwas theEirstCongregationalrightnextdoor totheschool;andthegooddoctor'soffice wasacrossthestreetintheBellTele¬ phonebuilding.1know.Iwasthere.

Itwasanexcitingexperience,asummer eventfullofstrangedoings,including repeatedattemptstoclimbtheflagpolein frontoftheschoolbyoneoftheactors. Mavbc,likeNew1lampshire,Belfast doesn'twishtobeassociatedwith Metalius'sbook.I,however,enjoyedthe experienceandlovewatchingthemovie tosecalltheplacesIstillholddear.

ElaineGrant elainegtSgocaston.net

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TheFirstAnnual

September 14 through September 22, 2002

KComesharewithusourLakes,Ocean,Rivers andtheEnvironmentsurroundingusinthe breathtakingDamariscottaRegion.Weinvite youonatripthatwilltakeyouuprivers, throughprotectedwetlandsandacrossponds **ofpinkwaterlilies,finallytoglideeffortlessly ^acrossalakesocleanthebottomseemsbuta tab hand'sbreadthaway.Facetheboldoceanand exploreourgranite-facedcoastline.Investigate ,tidalpoolsofsuchminuteproportionthatthe lifecontainedtherewillseemoneofnature's biggermiracles.

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Damariscotta, Maine 04543

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YvonneJacquette AerialArtist

Shefliesthroughtheairwiththegreatestofease, thenpaints.StorybyCarlLittle.

Notlongaftermvfirstbook,Paintings ofMaine,appearedin1992,1hada ratherunpleasantencounterwith anartistatagalleryopeninginNortheast Ilarbor.lietoldmeinnouncertainterms thatabookofMainelandscapesshould notcontainanimageofanuclearpower plant.1politelydisagreedwithhimand movedoffintothecrowd.

Theconversationcamebacktomethis pastJills'as1stoodinfrontofYvonne Jacquettc’sMaineYankeeVI(1983),one oftheworksfeaturedinherretrospective attheColbvCollegeMuseumofArt(the show,“AerialMuse:HieArtofYvonne Jacquette,”continuesthroughOctober 13,thentravelstotheUtahMuseumof Artandthe1ludsonRiverMuseum).The

justificationfortheinclusionofthe paintinginmybookwasreconfirmed: thisnightviewofthenuclearcomplexin Wiscassetdisplaysadark,dare1say, radiantbcautv.Theartistherselfonce statedthatshefelttheplantatnight lookedlike"alittlejewelon thelandscape."

Whateverone’spersonalfeelings aboutthisplace,theplantwas (andremains)apartofthe Mainelandscape.Inpaintingit, Jacqucttewasn'ttryingtopersuadeusto likenuclearpower.ThisimageofMaine Yankeereflectsherongoingexploration ofthewaysinwhichindustryrelatesto theenvironmentaroundit.Waterways andgreenerysurroundingthecomplex takeuphalfofthe79-by70-inchcanvas. Inacuriousmanner,thepicturehasa romanticaura,althoughacarinthe foregrounddrivingawayfromtheplant intothedarknessmightbringtomind thefleeingKarenSilkwood.

Thenuclearplantpaintingrepresentsa kindoflandscaperarelyfoundinthe repertoireofpainterswhoworkin Maine,althoughthefewwhohave tackledthiskindofmotifhavecreatedan exceptionalbods'ofwork.Onethinksof jRackstrawDownes,LindenFrederick. DennisPinetteandDozierBell,whose \isionsrangefromindustrialto post-apocalsptic.

TheMaineYankeeseriesalso

highlightsJacquette'sabilitytotransform apotentiallyunseemlysiteinto somethingbecoming,bylookingatit fromanaerialperspective.Iler1989 painting,MadisonPaperCompanyII,is anappealingarrangementofindustrial elements.Wliilctheymaynotexactly resemblefountainsatVersailles,the spoutsofwaterinthetreatmentbasinat topareasurprisinglypleasantfeatureof thislandscape.

"Itrytofindthecombinationof manmadeandnaturalthingslikea lumberyardinatownorsomethingsemi¬ industriallikeoildepots,”Jacqucttcsaid inaninterviewsomescarsago.Sheonce flewoverBathIronWorks,but,asshe reportedtoJeffShulaofThe Waldo Independentin1986,“itlookedso complicated-likethrowingdown plumbingfromtheair.”

1heserenderingsofindustry,while handsome,alsoattimesmakeusaware oftheblightthevarconthelandscape, hikethoseflyoverphotographstaken fromaspyplane,Jacquette’spaintings mayshowusthetruthofsitesoneoniv glimpsesfromtheroad-thesprawlof Sprawl’slumberyardinSearsmontthe DragonCementplantinRockland,or DeltaChemicalinScarsport,allof whichshehaspainted.

Dreartistalsopaintsmoretraditional landscapemotifs,althoughthesetooare renderedfromtheair,takingthemoutof

theusualsphereofgroundlevel panoramas(“Eventheterm‘landscape’ liastobeupdatedtoincludeJacquette’s vision,"criticandpoet\'incentKatz observes).Themuralshepaintedforthe postofficeinBangor,atriptychtitled AutumnExpansion(1981),isanexcellent exampleofwhatmightbetermedher “all-natural"landscapework.

“Maineprosidesmewithalotof foliage,”Jacquetteoncestated,“whichI canputinquitequicklyandeasily.

Mountainsarethehardest.Promabove, thevflattenout.I’veneverhadareally successfulmountainvet."

Perhapsonedavtheartistwillattempt KatahdinassomanvotherMaine artistshave.

hebird’seyeviewisarecurring conceitinAmericanart,fromearly \iewsofcitiesandtowns(and Maineislands:secBertPoole's Mon/iegunand Mananainthecollection oftheMaineIlistoricPreservation Commission)toJoelBabb’sCoplev Plunge(1990).Theearliestoftheseonhighimagesrequiredthattheartist imaginewhatasitemightlooklikefrom above,orcreateacomposite,muchas Jacquetteoftendoes,takinglicensewith whatwasvisiblefrom,sawaheightofland.

Inthelasthalfofthe20thccnturva numberofpaintershavetriedtheirhand atrenderingtheworldfromabove,a

numberofthem,asithappens,withties toMaine.OnethinksofAndrewWyeth’s famouspaintingSoaring(1950),which givesusanabove-a-turkcy-buzzard’s-eycviewofthecountnside,orWilliam Kienbusch’sNebraska.paintedfroma sketchmadeonanairplanenapkinwhile fixingwesttoColoradoin1971.

Thesepaintingsareanomaliesinthe overalloeuvreofthesetwopainters.Eor Eric1lopkinsofNorthHavenIsland,on theotherhand,aerialviewsrepresentthe

coreofhisaestheticandoutput.Another favoriteMaineacrialistisPeyton Iliggison,whoforatimepainted complexviewsofMainetowns, includingCamden.

Writingabout1lopkinssworkin1994,1 includedaquotationfromAnneMorrow I.indberg’sNorthtotheOrient(1935). whichrecountsanairtripshemadewith herhusband,startingfromNorthIlaven Island,wheretheyhadasummerhome. “[Flving]isamagicthathasmore kinshipwithwhatoneexperiencesstand¬ inginfrontofserenemadonnas,"IJndbergwrites.“Andifflyingcangiveyou thatvision,thatseeingeye,whichpeers downtothestillworldbelowthechoppy waves-itwillalwaysremainmagic.”

IthinkJacquettewouldconcurwith thatsentiment.

Jacquettebegantodevelopheraerialart in1969whenshemadecloudstudies fromanairplaneduringaflighttoSan Diego.Thisexercisewasatime-honored undertaking,harkingbackatleasttoJohn Buskinandotherartistsfascinatedby cloudshapes(ofcourseJacquettehada newvantageonthesubject).Asshehas recounted,onedayassheflewalong“the cloudsweren’tthere”andshediscovered thepatternedworldbelow.Shewasoff and.well,flying.

Ibringasmallplane,assheoftendoes inMaine,ortravelingoncommercial flightsinordertoportrayacityatnight, Jacquettemakessketches,ofteninpastel, andtakesphotographs.Sketchesand photosbothserveasmemoryaidsasshe

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developslargercanvases. Usingahybridimpressionist/pointillist technique,Jacquettcusesamultitudeof shortbrushstrokestocreatehervisions fromonhigh.

“Itisnotthepointillistsshemost resembles.”\'incentKatzstates,"but MonetorSislev,whopaintedgrand urbanvistas,seenfromafar,asiftakinga stepbacktosavtoanimpressed companion.There,that'smodernity forvon!’”

Jacquette’soeuvreincludesmany diptvclisandtripFchs,formats employedinordertoencompass greatervistas.Oneofhermostunusual two-partpiecesistheverticalBelfast \i«htRotationII(1993),whichseemsto rotateasonestudiesit.Sheisdrawnto thecurvaturesofthelandscape,suchas riversorthearcingshapeofthedamin Skowhegan.Thecurrentshowincludesa marvelousrenderingofthehookedtipof CapeCod.Atthesametime,shecan carefullytranslatethegeometriesofa skvlineorrecreatetheblazingneon signageofthepleasuredistrictinTokyo.

"IfI’mgoingupinasmallplanewith noideaofwhatIwant,”Jacquettcnotes, "1lookforcolorexcitement,thecontrast betweenwhatmostofitisandsomething else-apinkorvellowmavbc.”

Formanyofhercitypaintings, Jacquettchasworkedfromtallbuildings, includingseveralstintsintheWorld 'TradeCenter.

Inthelate1980s,Jacquettcaddedthe wingoftheplanetoheraerial compositions.InmvArtinAmerica reviewofher1990showattheBrooke AlexanderCalleninNewYork,which introducedthisnewpictorialdevice.I describedthestrikingintrusionofthe airfoilintothepictureplane.'These canvasesnumberamonghermost dynamicimages,thewingcuttinginto andacrossthelandscapebelow.

Jacquettchaspaintedviewsofcityand countnsidearoundtheworld,sometimes drawnbvacommission,othertimesby curiosity.Ashortlistwouldinclude Chicago,Boston,theMississippiRiver. Minneapolis.N^rginia.NewJersey. California.Ohio.Tokvo.and 1longKong.

BorninPittsburghin1934,Jacquettc wasraisedinConnecticutandattended theRhodeIslandSchoolofDesign (whereshestudiedwith.amongothers, oneofMaine’smasterpainters,Robert

IlamiltonofPortClyde).Shebegan paintinginMainein1954,spendingher firstvisitsinOgunquit,Wiscasset,and Saco(shealsopaintedonMonhcganin 1957-58).

In1961,Jacc|iiettemetherfuture husband,RudyBurckhardt,a filmmakerandphotographer,inblew York.Theywereintroducedbythepoet KennethKoch.SheandBurckhardt cametoxMaincin1963tovisitfellowpainterAlexKatzandhiswifeAdaat theirhomein1jncolnvillc.Takenbythis area,thetwoofthem,alongwiththeir friend,poetandcriticKdwinDenby, eventuallyboughtaplaceinSearsmont.

Downstairsfrom“AerialMuse:TheArt ofYvonneJacquctte”isanexhibition devotedtophotographs,paintings,and filmsbyBurckhardt,whotookhisown lifein1999.Inscale,hisworkismuch smallerthanhiswife’s;someofhis photographsarenearminiatures.Yethis wayofregardinghissurroundings,beita puddledstretchofMainedirtroadorthe barkofatreeorapieceofskvdirectly overhead,wasasstudiedanddistinctive asJacquctte’s.

JacqucttecreditsBurckhardtandhis workforthefoundationforsomeofher 'cork.Ilisphotographs,forexample, suggestedtoher"thevisualrichnessof thecity.”Shealsoplavcdpartsina numberofhismovies,aselectionof wbicharconcontinuousviewatthe ColbyMuseum.

lookingat\i°hlPanoramawith JeffersonMemorial(1983),whichfeatures

adarkplaneflyinginfromtheright-hand sideofthecanvasoxerglittering Washington,D.C.,one’smind’seve returnstoSeptember11th,eventhough thoseattackstookplacein broaddaylight.

Inhispoem"Passengers,”publishedin his1998collectionPicnic,Lightning, U.S.poetlaureateBilkCollinsdescribes sittingonaplanemusingaboutthe “possiblecompanyofmydeath.”Atthe endthepoem,asheconsiders“the altitude,Ithesecretpartsoftheengines.I andallthehardwaterandthedeep canyonsbelow,”thepoetsuggeststhatit “wouldbegood”ifoneofthepassengers “maybestoodupandsaidafewwords,/ or,soasnottoinvolvethepolice,/atleast quictlvwrotesomethingdown.”

Ifhehadbeenonaflightwith Jacquctte,Collinsmighthavebeen temptedtorevisethatlastlinetoread“at leastquietlysketchsomething.”

“ToJacquette’scredit,”Iconcludedin mv1990reviewofherNewYorkshow, “shehasneverletherfrequentfiver aestheticslipintoeasyrepetition.”The ongoingtruthofthisstatementcanbe seeninthisretrospective,ascanthefinal statementofthatcritique:

“Thisconsummateartistcontinuesto pushherartintohithertounexplored airspace.1,forone,amenthralled.”

CarlLittle'snewbook,TheArtofMaineinWinter, willbeoutthisfall. A residentofSomemilleon MountDesertIsland.Littleisdirectorofcommun¬ icationsattheMaineCommunityfoundation.

■Eightemergingartistsdefinearevolutionary, andverypersonal,stateoftheart.Storyby AlisonBulman,photosbyJohnMcNeil.

ColinSullivanStevens,25

At25, Colin Sullivan-Stevens is alreadylayingitonthelineasa structuralistpainter.Hisartist’s statementreads:“Iwanttoparticipate inthecreationoftoday’sbuilt imaginarylandscapes.”Hedoesthis bytakingthreerollsofphotosaweek, mostlj’ofMaineroads.He’llenlargea photograph,oftentraceit,thenoil

painttheimageandfinallycutitintoJ rings.He’llpulltheringsapartinoneI ormans'directions.Youreyesscanthej peeled-apartimage,strainingtopullitI backtogethertodiscoverwhatthe objectwasoriginally.

Ed Bradley, a lawyer friend of 1 Sullivan-Stevens’sfromFreeport, commissionedhimtopaintaclient’s fishingboatasacommentonthe disintegrationofthefishingindustry.1 Intirefinalproducttheboat disappears,reducedtoscatteredrings*

369MainSt.Rockland,Maine acrossfromtheFarnsworthMuseum MondaythroughSaturday 10:00 am -5:00 pm (207)594-3090

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GofiirsuiinSrsterens’swh^ untilonlyanemptycircleisleft.Amap ofGeorge’sBankisthebackground,the legendaryfishinggroundswhere regulationsha\cnowbeenimposed.

“ThestuffI’mdoingnowhasthesame emotionaleffectasthatpainting,so they’reconnected,”savsSullivan-Stevens. IthangsnowonBradley’slaw officewall.

Inadditiontoroadsandopticalillus-^J ions,Sullivan-Stcvens’spaintingsoftenflirt withexpectationsbvhaving.thebacksof roadsignsastheirfocalpoint,likeonewith hisstate-shapedWelcome to^ainesign.

Flicpaintingsarchispersonalvoyageof semiology:thestudyofsigns^iTd symbols,hisperceptionoftherole.that roadsplayinourculture,andhowwcaTCobsessedwithcarsandgettingtoplaces quickly,takingsceneryforgranted.

“Ilighwaysarctheepitomeof‘built’ space,withthousandsofmilesof

themcuttingthroughlandscapes,” sansSullivan-Stevens.

“Signsinmypaintingsgivedepthof field.Thepsychealwavswantstoseethe foreground,butthebarebackofthesign confrontsyou:itsayspayattentionto thelandscape"andconfoundsthe humanelement.

1Ie’sbeentalkingtoAucociscoCallen aboutdoingashowentirehofhis signagework.

Ilisworkwasfeaturedthissummerat 1heKitchen,arestaurantonCongress StreetinPortland.

Stevensexplodesa19tli-centurvpaintingto createanimpressiveplavonwords.Its nominalbackgroundistheRoute1 bridgetol’’ahnonthwiththeAudubon reservebeyond,butwhatsparklesisits noumcnallife,itscollectivecultivated invisibility-whatwemiss,andoddlv create,asmotorists.

Alec Richardson

GALLERY

Inour22ndxear.\otedbestgallon inMaine.Alsowrittenupasoneof thebestgalleriesonthehastCoast. Strongandplaxfidworksbvleading eonteniporarvartists.Superboutdoor sculpturegarden.

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“It’sabeautifulstretchoflaudignored dailybyhurriedpasserslw,”hesays.

Superimposedoxeritarethinvertical crescent-shapedslicesofthe1814 paintingofaprostitute.11ccallsthepiece WhoreEyesOn,“...becauselookingatit votivegotvourwhoreexeson,”hesaxs. Inmakingit,hesaxshewasremindedof colonistscomingoxerthehorizontothe landthatwouldbeexploited.1,andscapc hereisnotsomuchasnapshotasa dramaplaxedoxertime.

“Iliketochangethenotionthata landscapeisjustsomethingpretty,that it'snotjuststraightpicturesque,”hesaxs. "Itcanbesomewhatxnlgar,too.”

Sullixan-Stcxenssuperimposesa womanmasturbatingoxeranold huntinglithographtoillustratethis.

“Ithinkpornisdegradingtowomen,” hesaxs."Andhuntingisdegradingto theland.”

AnatixeofErceportandaWaxnflete grad,hebroughthisarttalent,nurtured intheschool’sartprogram,toCornell Unixcrsitv.Butthesmallartprogram theredisappointedhimenoughto transferafteronexeartotheRhode IslandSchoolofDesign,fromwhich, aftermajoringinpainting,hewas graduatedin2001.

IIemoxedtoNcxxGloucesterandnow conductshisstudioamongthemanyother artisttenantsatIlie/ArtistsStudioBuilding on536CongressStreet,Portland.

BeckyFitzPatrick,28

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JustaroundthecornerfromColin’s studiodoor,28-ycar-old,apron-clad Beck} FitzPatrick cooksupa cornucopiaofvintagehumanity,'lucked inatiny,airlessroom,shehasawhole ■‘\vall'6fheads,”asshecallsit,gaspingon theheadsofpinsstuckintothewall fromwhichshe’llpluckaheadortwo asneeded.

lireheadsconicfrommagazinesfrom the1940sthroughthe1970s;Beck}’is particularlydrawntooldLn’Emagazines anddatedencyclopediasshedigsoutof thriftstoresandgaragesales.

Shecutsoutamusingfacialexpressions, latertoincorporatethemintodrawings andcollages,orsometimesintolittle books./\rtoxertakescraftwhenshe superimposestheseimagesoxer unexpectedbackdrops.Shesmears decades,gestures,tragediesoxereach otherthewax'memorydocs.

“1findhumorinputtingdifferent peopletogether,”shesaxs,"andinplaxing withtherelationshipsbetweenthem.I’m addingsomelight-hcartcdnesstolife.”

Herpolicwit’salwaxsgoodtolaugh atyourself.

"Likewhenyou’recaughtina momentoncameraandyoulook completelyridiculous.Ihopeifthese peoplewereherethemselves,”shesays asshepointstoherwallofheads,"thex' wouldfinditfunny.”

Intricatelasersofpaper,likenatural cork,serveasthebackgroundtothe shiniermagazineclippingsthatglideto theirsurfacelikeshinybutterflies.

Itsaninterestingjuxtapositionwith

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thehighlvprocessedmagazine,” FitzPatricksass.

Impulsively,she’llspraypaintor introducevolumethreedimensionallybv addingmorelasersandthrowinginsome moreunexpectedelements.

"Ircallvmixitup.”shesays.

Whenaskedaboutansoneofthe works,shebeginstotellastors'aboutthe people,contrivedfromherinteqirctation oftheexpressionsontheirfaces.W "Iavoidloadedmeaningbynotuser* choosingcelebrityfaces,"sheadds.

BorninManchester,Connecticut, FitzPatricklivedinEastHartforduntil shewas‘10.Ilerauntfirstexposedherto theartworldasitwaspresentedatthe Ilartfordmuseum.

Whcn’shewasinherteens,herfamily movedtoGorham,Maine.Sheattended theIhiiversitvofSouthernMainefrom 1992to1997?Asapart-timestudent withoutaclearobjective,sheleftschool, andworkedinsteadatahigh-end Americancraftsgalleryandlaterranthe PortlandMuseumofArt’srestaurant. Workingfull-timewasgettinginher wavartistically.Soshedecidedin September2001toquitandredirecther cnergventirehtomakingherownart.

Ilerfirststepwasfinishingschool. “Goingbacktoschoolwhenyou’re olderisgreat."shesavs."Itwasoneof mvbestdecisions.You'remoreplavful andmoreconfidentindoing theunexpected.”

Whereasbeforeinschoolshe’ddoneoil

Fabulous shoes, bogs and essentials lor women

painting,drawing,andsmallerprojects, thistimearound,withthehelpof ProfessorJurisUbansoverseeingher independentstuds;sherealizedher passionformixedmedia.Sheearnedher BFAthissear.

FitzPatrickalsodesignstheunmistakable wikibagsyoumavhaveseenswingingall overtownwithfuzzvtexturesandfaces. Floutinghighseriousness,shealso indulgesincomicmagnetsanddecorative paperweightblocks.

“Mvgoalistoeventuallyreachthe pointwhereI’msupportingmvself enoughtoworkfulltimeinthestudio,” shesays.

Viriletryingtogetaninteriordecorative paintingbusinessoffthegroundwitha friend,she’sfocusingnowongettinga largeenoughbodvofworktogetherto submittogalleriesandexhibitions.

"Fornow,”shesavs,“I’machievingthe smallgoals.’’

DianeWiencke,40

ForDianeWiencke,beingafree¬ lancephotoshlistforthelasttwo scarshasallottedherprecioustime tobewhatshealwavsenvisionedherself as:apainter.

ShetaughtartatWaynflcte,Deering HighSchool,anddifferentPortland publicschoolsforyears.Fromher homeonPeaksIsland,wheresheUses withherhusbandandtwosons,she explains,“WhenIwasateacher, imaginingmvselfat50.1wasshocked tothinkthatthat’show1wasgoingto Ixidcntified.ItwasnotrcallvhowI sawmyself.”

Whenshequitherteachingjobtwo yearsago,crowsfoundtheirwavinto whatshereferstoashervisual ^vocabulary.Althoughsiicconsiderscrows ^►to^be“beautiful,powerful,intelligent entities,”sherecognizesthatastheI predominantcreaturesofPeaksIsland, theyare.alsomenacing.

‘Itwasadifficultyearformetoquit,”I shesays!now40.Ihatbodvofwork stemmedfromadarkplace.”

Atthetimeshewastryingto overcomeliesspreadaboutherbva womansheknew.

“Inmycatharticwas1paintedan imageofherwithabull’seyeonher chest,”shesavs.“Icalleditjudas Washes | IlerIlands.1didn'tlikeitatall,”but Portlandtapasrcstaurant/galleryIxieali 188did.z\lotofpeopledidafterDrcalI

SEPTEMBER 19 - OCTOBER 26, 2002

Artist’sReception September 20th, 5-7:30pm

The drama and tension between the Atlantic and theIslandsissuperbly playedoutinHuntington's pleinairpaintings.

BlueMorningMonhegan. 1971.oilonpanel,24"x18". companionpiecetoone purchasedbytheFarnsworth MuseumofArt

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Toheramazement,thepainting,“along withmyvervfirstcrowpainting,”sold evenbeforetheopening,“cleansingme ofthatepisode,"shesays.“Ifithadn’tsold 1would’vepaintedoxerit.Ididn’twantit hangingaround.Butitprobablewould havestillbeencursed.”

W'iencke,whohasshowninthe1lay ('■alien-andinBoston,hasjustsigneda two-yearcontractwithAucociscoGallery. ShehadashowinMaxatAucocisco’s Eastland1lotelspaceandwaspartofthe USM(UniversityofSouthernMaine) AlumniShoxxinSeptember.

EromBeachxx'ood,NexxJerscx, W'ienckeattendedthePhiladelphia SchoolofArt.Shetransferredtothe

PennsylvaniaAcademyofEineArts, wheresheacquiredmuchofherclassical training,untilfallinginlosewith Kennebunkport,Maine,duringa euphoricvisitthere.Shetransferred to USM. WK

“IwishI’dstayedattheartschool,”she says."1don’tfeellikeIfinishedmy| education.1wasyoung.” f Ilercurrentbodyofwork,stillinits/ preliminarystages,dealsMthsimple sxnibols.paradox,transparency, andfacade.

“Ipicksubjectsthatrepresentsomething tome,that1holdxcryclose,thewayyou mightafaxoritecolorornumber.1doit withimageryanduseitoxerandoxer,like thebull’seyeandstar.I’mnowtryingto

eliminateoneofthemtoshowmoreof what’sbehindit.thatit'sastrong compositionxxithoutthesymbol.”

Shehas30thicktilesofMasonite.nox\justlaxersofpaintandwaxandglaze withcarxings.

“Soit’snotjusttheideaoftheimage, buttexturecreatedbyscratching,digging, andaddingxarnishesandglazestoget depthonaflatsurface.”

Ilernewestideacametoheratthe NorthAtlanticBluesEestixalin Rockport,whereshedecidedto photograph’mullets’-roughandtumble hockcx-playerhaircutshortinthefront andlongintheback.

“I'dliketotapintothesubcultureby doingpaintingsofmulletsinprofile,” W'ienckelaughs.

KateBarnes,30

Fromherhomeandstudioin1liram, Maine,KateBamcsdescribesherself as“axcryprivatepainter."Since Decembershe’slivedheretoconcentrate onherwork.

1lermother,anartist,andherfather,a writer,broughthertoMainewhile"in searchfortheperfectplacetofeed theirinspiration.”

zMthoughborninSeattle,shewas moxedtoCalifornia,Arizona,andother states.WlientheylixedinLongIsland, NewYork,shewenttoMclxillcIligh School,whereshewasawardeda scholarshiptotheErcdoniaSummer SchooloftheArts,nearBuffalo.

"Itxxasawonderfulplacewithintensixe eight-hourdayswithxisitingartists," Barnessays.

/Afterthesummer,shemoxedtoSanta

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CruzandattendedCabrilloCommunity Collegewhiletakingpotteryworkshops atUCSantaCruz.

Shelatererewedaboatforavearinthe Caribbean,thenrananorganicfarmin NorthernCaliforniaforsixyears,where shecreatedscientificillustrationsfor plantidentification.Shemovednextto theBerkshire's,wheresheattendedthe InterlakenSchoolofArt,ahouse donatedfortheeducationofartists.She researchedartschoolsinNewYorkwhile livinginBrooklynandrestoringantique postersinManhattan.

“Noneoftheschoolsweremystyle." shesays.“ThespaceinMECA(Maine CollegeofArt)wasamazing."

Shewassold.

Butwithheralreadyextensivepainting experience,shefoundformaleducation stifling.Duringtheyearandahalfshe stayed,shesays,"1waslosingalotof mvself,soIdroppedoutandgotitback."

Sheusedtodointense,graphic,“invour-face”nudes.

'Tinlearningnowtogetcertainshock valuesoutofmysystem,”shesays. “Nuditymadeitdifficulttoshowin Portlandgalleries.Theytendtobe conservative...I'mpaintingmore seriouslynow.I'mlearningfromthe paint.I’lltakeabasicfigureandmutilate it.takingitawavslowlv,maskingit insteadofpullingitout.”

Barnesisdoingeverythingshecanto createanewbodvofwork.She’sonher thirdpaintingofascriesshe'llpresent

“Mostofmvworkisaboutmeina strangeway,"shesaws.“Icanlookatit andseethestoryofmvlifeunraveling.” IlerRussianboxfriendinspiredherBov onDonkeypainting.

“IIespentsummersonthesealike me,”shesays,‘djodc,horses,soit’sboth ofusasachild.Ibccamebimthrough thepainting.”

Whencoyotesatehercat,sheimmor¬ talizeditinapainting.“Therearctwo catsinthepainting,”shesavs.“One dead,onealive.Everyonewantsit.ButI won’tsellit.It’smycat.”

Shesupportsherselfwithcraftslikeher dollsculptures,whichlunehadashow intheSkinny,aPortlandnightclub.One ofherself-portraitsisapermanentfixture there.She’ssoldeightpaintingstodate.

“1wanttobeabetterpainter,”says Barnes,30.“Tosendoutmvslides. researchgalleries,andsupportmvselfwith thedolls...I’dliketodoaresidence.I'm stillveryyoungwithalotmoreworktodo."

Kwabena ChanAnsa,45

At45,KwabenaChanAnsa PilsqehSis.otherwiseknownas Chan,haspilesofcompleted artwork.Butlie,too.alwavsseemsto havealotmoreworktodo.

11isgrandfatherwasanartist,hisfather amusician,andhismotherapoetwhen shewasn’tworkinginfactoriestosupport herfamily.

Ilerfather,oftheMaliseetTribe,was adoptedbvtlicPenobscots.Chans motherwasraisedonthePenobscot Reservation.Clurn’sfatherwasAfricanAmerican.Raceidentity,heritage,and Mortalityissuesresonatethroughout Chan’sworks.

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“I'niveryinterestedinthehuman condition,”hesays.“Beingmulti-racial, I’niuncatcgorizable.It’sbeenanobstacle tomvbeingabletoexercisemysocial naturecomfortably.ArtistheonlywayI canefFectivelvaddresstheissue.It enablesmetobuildabridgetoothers andtotheworld.”

IIepointsoutthathe’sneverbeenin theBiennial.

“I'mnotacareerist."hesavs.“Beyond meisnotinmycontrol.Intoday's society,myplaceasamulattowillspeak throughthatbodvofdiverseworks.”

Oneofhisworksisapermanentfixture intheSkinnv.

At9.ChanmovedfromOldTown, Maine,tohisfather’sparents’homein Jacksonville,Florida.

"Mvparentsrealizeditwasnecessary formetobeinablackenvironment,” hesavs.

Afterthreeyears,hereturnedtoOld Town.IIewastheonlyblackstudent.1Ic lefthighschoolhisjunioryeartoattend theAlaineCollegeofArtfordance.

“Workingfulltime,itwashardtokeep up,”hesavs.“1wastoldbvtheheadof theschoolthatIwasa‘highdropoutrisk minoritvstudent.’Thewheelswere greasedformvfailure.

Thelaststrawhesavswasseeing drawingsdoneby‘prizewinning’fellow studentartistsonawall.

“Thcvalllookedalike,”herecalls, “Likethey’dbeendonebythesame person.ThelastthingIwantedtodo wasconform."

Afterasemesterhedroppedout.

AtNewYork’sSchoolofVisualArts,he

thrivedasanhonorluneArtsstudent, doingmulti-mediaperformance installationsusinghisbodyassculpture throughdance.

Justonemonthawayfromgraduation, hefellill.Ilavingalreadybeenaccepted intotheVisualArtsgraduateschool,he wasdiagnosedwithAIDS.

“AtthatpointIneededtoplantsome roots,”hesays.

1lemovedbacktoPortlandin1997, intoasmallstudioonthecornerof CongressandIlighstreets,inwhichhe nowworksand1ives,havingfarsurpassed doctors’predictionsforhislifespanwhen hewasfirstdiagnosed.

1[isworkhasculminatedinalarge bodyofsoftpastelsoxerthelastcouple ofvears.

"Theyseemtosaysomethingto people,”hesavs.“Softpastelsarelike crumblychalksofvibrantcolor.Thev’re vervfragile.That’spartofthestatement, vanishing.Thepoeticcomponentis:if brushedagainst,theimageswillbe wipedawav.”

Threevearsago,alarmedatthestatistics ofAIDSintheblackcommunity,Chan startedanAIDSawarenessorganization for/African/AmericansinMaine,state fundedasofthisyear.

Althoughhestillperformsonoccasion, hisfocusisonthepastels,describedby friendBethBlood,ofthecostume boutic|uconPleasantStreet,as “impressionistic,withthefeciofVan GoghandMonet."Shesellssomeofhis angel-adornedcards.

“11cdoesn'thavethemoneytoframe hiswonderfulwork,”shesavs,“Someof itsverylarge,andthere’salotofit.IIe needsasponsor."

.GarrickImatani,28

fell f| otionandspacearcthebrush

■ Ilf I andpigmentimplementedby F 1 ■ I JapaneseAmericansculptor GarrickImatani.1Ie,likesomanyof ^Maine’snewartists,haslearned-orbeen forced-toredefineartonhisownterms.

“Growingup.1hadnoconceptofart otherthandrawing,"savswin-,energetic Imatani,28.“Iwasnotgoodatit.Butin highschool,whenIphotographeda friendskateboarding,someonesaid, That’sart!’

“Ilearnedthatskillisnotjustabout dexterityandhand-evecoordination,but theexpressionofideasthatcancome intoplav.”

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ImatailigrewupinSouthernCalifornia andmajoredinartstudioatUCSanta Barbara,withaminorinAsianAmerican studies.IIeattendedgraduateschoolat ColumbiaUniversity'sSchooloftheArts.

“Thestuds'ofracepoliticswasverv presentwhen1wasintheCalifornia

schoolsystem,”hesass."Butartabout ethnicityseemedforcedtome.Issasan asidskateboarder,andIssasmore comfortableusingaskateboardasthe subjectofms'ssork.”

1Iecreatedaninstallationcustomizedto fitagalleryspaceinsshichheconstructed alargerampandinsitedfriendsto skateboardonit.Theirsshcelsmarkedup thesshitcramplikecharcoalonpaper.

/Adultsandkidsstartedshowingupall das'towatchandparticipateinthe exhibit.Itssastoopopular.Theyhadto shutitdossnearlytoasoidlawsuits.

“Peoplewho’dnoserbeentothegallery beforewent,”recallshnatani.“Wereit notfortheskating,theywouldnewer basecome.”

Skatersaffectedthecompositionby usingitinwayshnatanihadn’texpected, likelaunchingoffthesideandsliding dossntheedgeoftheramp,creatingnew, moreelaboratemarkings.

“Itssastheperfectmanifestationofalot ofideas,"hesass."1ssasinfluencedbs' theMinimalistMoscment."

Betweenhisfirstandsecondsearof graduateschool,hnataniearnedaspotin

asummerresidenceprogramforartistsat theSkosshoganSchoolofPainting andSculpture.

“Therewasn’tthestructureofgraduate school,whereit’saboutgettingssork reads'foragallon'setting,"liesass.“Idid alotofssorkthinkingaboutms'successes inthepast.Irealizedthefeelingof completionwhenemployingms' personalinterestsandhow-wcdetermine personalvalue.”

hnataniandsomefriendscollaborated onaninstallationinNewYork’s Chinatown,transformingaconcrete islandinthestreetbycombiningtheir sarioussvorks. j

“Thingslikethisonlyexistintheinstant oftheirhappening,andin documentationAsavshnatani.“People gatherforatimeandthenit’soxer;sou catchthingsintransition.I’mattractedto seeingsomethinginastateofflux.”

Aftergraduatingin2000,liessentto Japanforthefirsttimewithhisfamik'. That,coupledwithwherehessaswith respecttohisartatthetime,hesass, "broughtmetowhereIamnow.”

AftermanagingastudioforartistRobert

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LongoinNewYork,Imataui’spartner, Klien,gotajobatMECA.Thevnow shareastudioonWinterStreet.

1Iejustfinishedalargeorigami sculptureof300colorfulpaperarrows shootingoutfromitscenterlikean

explosionfrozenintime.

"I’minterestedinmaintaininga traditionalstudiopractice,”hesavs.“Of shuttingthedoorandthinkingabout aestheticsandhowsomeonewillwalk aroundapieceandencounteritona

viscerallevel.

“Whenworkingonpublicprojects,it's notasmuchaboutaestheticsasitis aboutstructure.”

LisaPixley,23

Financialobstaclessidetracked23\ear-oldpainterLisaPixleyaswell. beingatolallvself-sufficientstudent atMECA,withlittleendowmentfrom theschool,shehadtowithdraw.

Ilowever,she’dgottenalotoutofthe school.Afterdoingmosthfigurativeand narrativeartpriortoMECA,sherealized theimpactofcolorasameansfor expressionwhileastudentthere.

“TheteachersatMECAareexcellent,” shesass.“Thevopenedthedoorforme.”

1.ivingnowonMunjovIlillwhilestill keepingherstudiointheArtists'Studio building,she’llattendthemore affordableUSMthisfall.

“Mvworkisfueledbvinvknowledge,” Pixlcvsavs.

Shehopestoapplvtootherartschools inthefuture.

1lavinggrownuponadefunctdairy farmintheAppalachianMountainarea

withhertwobrothersandmother,Pixley savs,“Artwasalltherewastodo.Paper andpencilwereeasytocomeby.”

Wliileshewasinjuniorhigh,they movedtoGoshen,Connecticut,where thepublicschoolboastedasolidarts program.Butdisgruntledwiththesocial environment,shelefthighschooland movedtoPortlandtoattendMECA,got astudio,andkeptpainting.

“Ihadsomeroughyearsafterthat,” shesays.

Intheoilseascapesshe’sworkingon now,shetoyswithcolortocreatethe senseofdepth,speed,andtemperature.

She’salsoworkingonaseriesof portraitsthatimplementcolorandlines tocreateallegoryforhersubjects.

“'I'heyareintimateandverybright,” shesavs.

“Upuntilnow,they’veallbeenpeople1 love-acommenttoandaboutthem,” shesays.“I’mworkingnowwithpeople1 know,butnotintimately.Iusethe landscapestoescapefromthe

emotionalstuffwhileworkingonthe portraitssimultaneously.”

Oneofherfavoritesisofhermother who,stilllivinginGoshen,worksata threadfactors.'Thepaintingiscalled TakingOutaRow.

“She’scrochetingablanketonabed,” Pixlevsass.“It’samemoryIhaveofher. Themostdramaticthingaboutitisher armmovingintheairassheremovesthe string.Iliecolorofthethreadisjustas important,brighterthanfire-enginered.I usethecolortodescribethenarrative.”

She’sshownherworktwiceatThe Skinnyinthelasttwoyears,allmemories ofhermother.Shealreadyhasalotof workbutistryingnowtobuildasolid scriesforpossibleexhibitionatCoffeeby Design,otherPortlandgalleries,and inPortsmouth.

“It’ssoobviouswhenyou’relearning frompaintingtopainting,”Pixleysays. “Thcv’resodifferent.Xkbiggest challengehasbeenworkingwithcolor thcorv,experimentingwithdifferent

LisaPixley’sMorning1 conceptsofcolor.Also,becausemysubject matterisoftenextremelypersonaland intimate,feelingcomfortableexpressing mvselfandallowingmyselftoshowpeople hasbeendifficult.WliileI’mworking.I'll feelpartofmewantingtoedit.”

Shewasspookedbyanincidentin school.Uponviewingherworkin progress,apiecebasedonanextremely traumaticmemoryofhermother beingstruckbysomeone,her classmatesweresodisturbedbyitthat shestoppeditsproductionaltogether. "1willfinishitoneday,"shevows.

“Iwantpeoplejusttolookatmy paintings,”shesavs.“Thentothink thevarestriking.Colorinitselfhas anidentitv.”

RustyTheriault,28

WhenRushTheriaultwas20,“I livedinNewYorkCitvfor sevenmonthswithinvband,” hesays,smiling.“Wetriedtomakeit asrockstarsforawhile."

HomeagaininKennebunk,where hegrewupandattendedpublicschool, Ihcriault,28,isbackinhiselement. Helivesinasmall.200-ycar-old farmhousecompletewithabarnanda Epicalfarmland“cargravevard." Hepaintsonalargeeaselthattakes O'ertheunfinishedsecondfloorand, onhisownsawmill,laborsoxer thetraditionalMainecraftoffinefurnituremaking.

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JoeKievitt,“Untitled", Collage Michael Shaughnessy;"CordsandGassings:FourPointRise",Universityof and Watercolor on Paper”, 2002 Memphis Art Museum, 1999

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Space encourages greater participation in arts and cultural activities providing a facility for working artists and the public in which to create and expe¬ rience innovations in expression.

Theriaultworksprimarilvasafurniture maker;heownsTreeWorldDesignsin Kennebunkandbeganworkingwith woodupongraduationfromhighschool. Ilesavsofhisfurniture-Shaker-simple butcraftedwithexotichardwoodsand moderndetailing-“W'hcnyoulookat mvfurnitureitseemstimelessbut,atthe sametime,alittlebitovertheedge.”

Thepaintingsgowavovertheedge. Theriault'sunderworldimages(seepages 18-19)haveanIfasternEuropean,almost aMargueriteStcrian-likequalitvtothem. SohowdoesaKenncbunkerpaintlikea Romanian?

"Thcvjusthappen.1can'texplain themandneverhavetriedto.Ilikecolor and1liketoputcolorstogether.Eoronly twoorthreeofmvpaintingshave1 workedfromsketches.Iusualkstartwith someblacklinesandbegintoaddcolor. Itturnsintosomething,whichsoonturns intosomethingnew,andthepainting endsupexplainingitself.

“Thefinishedproductisadocumentor mapofthejournewIfIstarttofeellike themapwon’tleadtheaudiencethrough thejourneyImade.Iburythepieceand startagain.I’mmoreofanexplorerwith mvartratherthanatourguide.

“IlalfofthetimeIstartwithapainting thatis80-percentfinishedandpaint almostcompletelyoxerit.Therearealot ofbadideasunderneatheachofmy paintings.Eorthisreasonmvworktends tohavethicklasersofpaint.1reallylike thistexture,butlatelyIbasebeentrying tousemoreofthetextureofthecanvas, ratherthanofthepaintitself."

Ileexplainsfurtherthathiswifehas alwavsbeenatechnicalperson,whereas

hehasbeenanexperimenter,evena dangerfreak:

“Mvwifewouldconnecttheredwire totheredwirebecauseitwouldwork.I wouldconnecttheredwiretotheblue wirejusttoseewhatwouldhappen.”

1Icappliesthisdirecthtohisartwork. 'Theriaultnameshismainobjectiveasa desireto“makenewpictures.Iwantto stimulatepeoplewithnewimages,ucw ideas.Iwanttoshowpeoplethatit’snot whatsoudo,it’showsoudoitandthat soucanmixblackandwhiteand somehowgetgreen."

AndresVerzosa,directorofthe AucociscoGalleryinPortland,notesthat althoughTheriault’sworkexhibitsa rangeofstsles,“hispaintingsaresen' storvbook-like.Theyaresetinacon¬ structeduniverse,andthefiguresarcall frontal,lookingatandinteractingdirectly withtheviewer."

"Myfamik’andfriendsalwasshase beensupportiveofwhatIdo."Theriault sass.IIcworries,though,thatbringing hiswifealongwithhimonhisventureas afurnituremakerandpainteris somewhatlike“insitingsomeoneto cometreadwalerwithyou.Theride mightbedangerous,butyou’resasing. 'Come011,comeon.’”

Inthesummerof2000,Theriaultbad hisfirstone-manshow,atborts'I'ise DegreesArtisansCallers'inKennebunk, whichfeaturedhisfurniture,oil paintings,andafeworiginalsilkscreens. Ileoftendisplayshisworkingalleriesin theKennebunkareaandplansonashow thisfallatIloinescapes,anewstoreon Portland’sExchangeStreet.

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swimming pool t withwhirlpool spa Complete W exerciseandfit-* nessroom.An indoor/outdoor ptxiisidecafefora refreshingdrinkorquick snack.Andanoceanfront restaurant,withbeachsidedeck, foranythingfromatallcooloneto anhonest-to-goodnessDownEast lobsterandclambake.

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A19thCentury Swoon

ThetrailblazingartofCharlesCodman

ByStephenMay

hadesCodman(1800-1842)was Maine’sfirstprofessionalpainter and,asthestate’sleadingartistin histime,gainedameasureof regionalfame.Ilisworksareinthe collectionsofMaine’sprincipalmuseums andotherinstitutionsinandoutofthe state.Yettheaccomplishedworkofthis Portlandartistislittleknowntodav.

Thelarge,comprehensiveretrospective onviewatthePortlandMuseumofArtfromNovember7throughJanuarv5providesalongoverdueandwelcome documentationofCodman’s achievements,tracinghisdevelopment fromskilledornamentalartistto confidentlandscapepainter.Itshouldgo alongwax'towardsecuringhisplace

amongtheoutstandingartistsofthePine dreeState.

theshowsuggeststhatCodman’s obscurityisduetosomeextentbecause helimitedmostofhisactivitiesto Portland,anisolatedpostintheartworld, andneverestablishedapatronagebase outsideMaine.Moreover,thebrevityof hiscareerpresentedhimfromachieving hisfullestpotential.

d'hcexhibitionalsoshinesanoverdue spotlightonPortland'spioneering journalist,JohnNeal(1,9s-1S/6), arguablyAmerica'sfirstartcritic,whose writingsandencouragementcontributed muchtoCodman’sshortbutsuccessful career.Neal(whoseresidenceat1,s-1/5 StateStreetisstillextant)isanimportant andfascinatingfigureofnational significancethatdeservesmorestudsandrecognition.

d'hcCodmanexhibitionhasbeen capablyorganizedbyJessicaNicoll,chief curatorofthePortlandMuseumofArt. Nicollhasunearthednewinformation abouttheartist’ssomewhathazy backgroundandhascastawidenetto assembleexamplesofhiswork.A numberofthePortlandMuseumofArt's

large(roseofCodmanworksareon display.Codmanloansfromaroundthe statehavebeenshippedinaswell, includingthosefromtheBowdoin CollegeMuseumofArt;ColbyCollege MuseumofArt;ParnsworthArt Museum;firstParishChurchof Portland;.MaineIlistoricalSociety;and

MaineStateMuseum.

Promfurtherafield,workswereloaned bvtheBostonAthenaeum;Bostonian Society;BrooklynMuseumofArt; ConwayPublicLibraryinNew 1lampshire;DiplomaticReception RoomsoftheDepartmentofStatein Washington,D.C.;PruitlandsMuseum

iiiHarvard,Massaclmsetts;Indiana UniversityArtMuseum;MuseumofFine ArtsinBoston;MuseumofOurNational HeritageinLexington,Massachusetts; andSantaBarbaraMuseumofArt.

'Thereisahandsome,illustrated cataloguewithessavsbvNicoll;Jessica SkwireRouthier,assistantcuratorofthe PortlandMuseum;andLaricC. Shettleworth,Jr.,directoroftheMaine HistoricPreservationOommission.Itwill betreasuredbvstudentsofMainehistorv aswellasbvartfans.

OcttingahandleonCodmanisdifficult becausedetailsofhisoriginsandearlvlife aresketehvasarehismovementsand exhibition11istorvaftermovingto Portland.Someofhisart-andNeal’s writingsabouthim-weredestroyedin Portland’sgreatfireof1866.

Nevertheless,itishardtooxerstate Codman’scontributionstothe developmentoffineartinPortlandand, indeed,inMaine.Therewereitinerant artistsinthecityandstatebefore Codman.ButasPortlandhistorian/writer WilliamOavidBarnpointsout: “[Codman|wasthefirstrealprofessional artisttodepictthelandscape,exhibitit.

sellit,andhaxeitreviewed.IIewasthe Alphapainter”whohelpedlaunch Portland’sartistictradition.

Prom\\batcanbepiecedtogether,it appearsthatCodmanwasborninor aroundBostonin1800.IIestartedoutas anapprenticetoanoutstanding ornamentalpainternamedJohnRitto Penniman.InthatroleCodmancould haxedecoratedeventhingfromfurniture andcarriagestopictureframesandclock faces.Suchwork,ingreatdemandcarlx inthe19thcenturv,placedapremium onbrightcolorandcontrastsoflightand dark.z\Masonicapron,saidtohaxebeen producedbyCodmanforaBoston-area lodge,isintheexhibition.

SincePennimanalsotriedliishandat portraits,histonpaintiiigs,and landscapes,xoungCodmanmaxhaxe dexelopedambitionsofhisowntocreate fine,seriousart.

heprecisebrushwork,deardesign, anddarkandlightjuxtapositionsof oneofCodman’searliestpaintingsViewoftheTwinMountainsin New /lampshire(1821)-reflecthisgrounding inornamentaltechniques.Thisstraight¬ forward,rcasonablvaccomplisheddepic¬

tionofpeopleandarusticcabinsuggests hisfamiliaritxwiththeWhiteMountains.

In1822,perhapstogetawaxfrom Boston'splethoraofskilledornamental painters.CodmanmovedtoPortland, thenregardedasaculturalbackwater withatlirixingeconomvandfewartists. Thecitv’spopulationduringCodman’s timehoxeredaround12,000.

ByOctoberofthatxcarthe22-\car-old artistwasadvertisinginthe(PortlandI EasternAr^ushisarrivalasa“Militan, Standard,Hancx;Ornamental,andSign PainteroxerMessers.JNJMcrill’sStore, No.7,Ilay-MarketRow.”(Ilaxmarket RowisnowMiddleStreet.)Amongother “branchesofPainting,”Codmanoffered todo"Letteringofexendescription... Painting,enameling,andletteringof glassfortimepieces,lookingglasses, ladies’needlework...”

IIealsoannouncedhisaxailabilitxIo provide“ornamentaldesignsforBusiness Cards,windowcurtains;TeaTravs;I.amps; ClockDials;[and]Apothocaries’bottles... paintedinaventastx'stxIe."Codman furtherofferedtocreateoilandwatercolor landscapesandMasonicpaintings.

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Charles Codman’s Pirate sRetreat,^ circa1830.oiloncanvas,23%’X31 noteforavotingartistnewtothe eonnnunitv:"Cfharlcs]Cfodtnan] flattershimselfthatheisabletogive satisfactioninalltheabovebranches,and wouldbethankfulforthesmallestfavor.” SoonafterhisarrivalinPortland, Codmanalsooffereddrawingand paintingclassesinhisstudio.According toBarry,itwas"thefirstartschoolin town,andCodman[was]thepioneer painter-teacher.Herewassparked Portland'svisualblazeofglory."

FakingadvantageofPortland’srelative lackofartisticcompetition.Codman effcctixckpositionedhimselftocapture theMainemarketforornamentalwork. Soonhebegantoattractagooddealof business.Bv1823theEasternArgus reportedthatCodman’sornamental creationswere“equalinpointof elegancetothosepaintedinBostonand elsewhere,"andurgedresidentsto patronizethelocalartist.Withintwo warsCodmanadvertisedintheEastern Argusthathecouldprovideworkwith “theBostontouchatPortlandprices."

Among Codman's earliest and most successfulventureswerebanners formilitiasandotherorganizations aroundthestate.Aftertherevolution, mostMainevillageshadsomesortof militaryunit.Theirbanners,carriedin paradesanddisplayedduringmeetings, wereagreatsourceofpridefortheunits andtheircommunities.Withelaborately

painteddecorationsonbothsidesofsilk, suchstandardswereamongthemost respectedandlucrativeformsof ornamentalpainting.

PraisingthequalityofCodman’s banners,theEasternArgusobservedin 1826thatthe\'reflected“honoronthe ingeniousartist”andurgedreadersto “stopsendingtoBostonformilitary standards”andgivetheworktotlicir residentbannerpainter.Thus Codman’spresenceandoutput enhancedopportunitiesforMaine, whichbecameastatesixscarsbefore,to demonstrateitsartisticandpolitical independencefromMassachusetts.

ThethreeCodmanbannersarcamong themostfascinatingobjectsinthe PortlandMuseumexhibition.The BannerfortheKennebecGuards(c. 1830),onloanfromtheMaineState Museum,measuresasizeable433/4x59 inches.Oneside,commemoratingthe -Marquisde1.afavette'svisittoAmericain 1824-25,showstheFrenchheroposedin frontoftheBunkerHillMonumentin Boston.Ontheothersidestandsafigure ofLibert)'withan/Americaneagle. 1helargestandmostambitious standard,createdfortheCalaisFrontier Guardaround1838,is60x48indies. Iheovalimageatthecenter,sur¬ roundedbyflags,leases,andgarlandsof Bowers,showsGeorgeWashingtonwith RevolutionaryWartroops.Itisadaytime

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Across from the Portland museum of Art 594Congress Street, Portland WWW.HAYGALLERY.COM 207-773-2513

DONOGIER, TheEasternPromenade,CascoBay, 20”x30”, oiloncanvas

versionofIhomasSulksnocturnalWash¬ ington'sPassageo/theDelaware(1819). Eurtherdemonstratinghisskills,Codman paintedtheMainestatesealontheother side.Thishandsomebannerisinthe collectionolMaineIlistoricalSociety. Decidedivnon-militanisPannerforthe TemperanceSocietyolKllsworth(1842). fromthecollectionoftheEarnsworthArt Museum.Ononeside,goldscrollswith flowersaboveandbelowframefigureson arocksoutcroppingattheedgeofwhat appearstobeNiagaraballs(which Codmanwouldhaveknownfromprints). Arainbowmarkstheleft.Theinscription reads: “TO YOUR I’LEDCE BE EAU1IEU1.EllsworthJulvMst1841." 1heversofeaturesastern,stiffbut clearkrecognizablebustof\\ashington, surroundedbvaflower-festoonedgold leafborder.Thewordingreads: “\\ASIIINCTONT[otal|Abstincncej SOCIE D PRESENTED BY THE IADIESIS42”.

Consideringtheirage,thevigorous cark’usestowhichtheywereput, andthefragilityofsilk,these bannersareinremarkablygoodshapeandmakeforinterestingviewing.

Neal,whowasalreadyknownforhisart criticism,discoveredCodmanafterhe relumedtoPortlandin1827froma sojourninEngland.Whilediningatthe ElmTavern,thejournalistnoticed interestingblack-and-whitedecorations adorningitswalls.Ashelaterreported,he foundthat“Itwasaforest...fulloftrees, reachingfromthefloortotheceiling,and soadmirable,sofinelycharacterized,that whenIleftthetableandexaminedthem, Iwasnotalittleastonishedtofindthat theywerepaintedinoil-colors,butwitha freedomandspiritseldomfoundinthe finestfresco.”

1.earningthattheartistlivedinPortland. NealwenttoCodman'sstudio,wherehe “foundthelittlemanupto[his;earsin thetrumperyhehadbeencollectingfor

manyavear,bowsandarrowsandstuffed birds,andwarclubs,andtatteredpictures andcuriositiesofallkinds."

Codman,Nealwrote,“wasasmallman, aboutfivefeetfour,withlarge,darkeyes, apleasantcountenance,andgreat simplicityofmanner."Theserious,welldressedgentlemanintheSelf-Portrait(c. 1830),thoughttobeoftheartist, generallyfollowsthatdescription.

Nealpromptlyaskedtheyoungartistto doapaintingforhim.Codmanproduced alandscapethatappealedtothecritic's affinityforquick,spontaneouscanvases. Nealreportedthathewas“captivatedcharmed-bythefree-handling, sprightliness,andbravedrawing"of Codman'spainting.

Nealbecamethepainter'smostardent champion,constantlyencouraginghim inprivate,praisinghisworkinprint,and drumminguppatronage.Nealincluded Codmaninhisartwritingsforthenext 40years.

Nealurgedthevotingartisttodevote histalenttothenewlvpopulargenreofa landscapepainting,whichCodmandid. WithNeal’shelp,Codmanexhibitedat suchprestigiousnationalvenuesasthe BostonAthenaeumandtheNational AcademyofDesigninNewYork.The Mainepainter’sworkthuscametobe displacedalongsidecanvasesnotonlvbv suchAmericancontemporariesas ThomasCole-founderoftheIhidson RiserSchoolofpainting-butalso alongsidewellknownEuropeanartists likeClaudeLorrainandSalvatorRosa. Touchesoftheirinspirationcanbe foundinlaterCodmanworks.

AfrugalYankee,Codmansalvaged wood from pews when Portland’soldesthouseof worship-thehistoricEirstParish Church("OldJerusalem”)-was demolishedin1825forthecurrent graniteedifice.IIebuiltabusvtrade paintingscenesonthesepanelsas mementos for church members. landscape(1828),a30x46-inch pictureofacabininthewoodsbva stream,bearsthisinscriptionontheback: “PaintedbvCharlesCodmanin1828on woodenpanelfromStephenLongfellow pewintheEirstParishChurchPortland, Maine.PresentedtoRewJ.T.C.Nichols sonoftheRev.IchabodNicholswhowas the'lliirdPastoroftheAboveChurchfor 50YearsBvStephenLongfellowin 1875”.(StephenLongfellowwasUenrv WadsworthLongfellow’sfather.)

Anotheraptlvnamedpanelpaintingis Romanticlandscape(c.1830),which bearsanotationonthebackdocu¬ mentingthatthewoodcamefromthe pewofE.N.Norton.

Neal,whosaidCodman’schurchpanel landscapeswereamong"hismost beautifulpaintings,”ownedtwohimself. 1lesaidtheartist“hadahankeringfor theantiqueandthemysterious,andwas notonlvadesperateantiquarian,buta greatenthusiast.”

OneofCodman’smostimportant patronswaswcalthvPortlandshipbuilder JamesDeering,whocommissioneda numberofpaintingsandatleastfivelarge fireboardsforhismansion.(Thelatterwas demolishedin1949tomakewavforthe UniversityofSouthernMaine.)

Eireboards,decorativepanelsplaced oxerfireplacesinthesummer,were designedtobeintegralelementsina room’sdecor.Codman’sarefullv

PAUL BLACK STUDIO

Foundation OJames Wyeth, Portrait of Nureyev, 2001 (detail)

Charles Codman’s LandscapewithIndians, 1830,oilonmattressticking,26Vrx33Vrfinishedoillandscapes,oftenwith claborateh-stcnciledgoldleafborders. AmongtheworkscreatedforDeering areanimaginaryscene,LaneyPiece (1829);aviewofDeering'sextensive estate,whichextendedtoDeeringOaks, titledlandscapeSaidtoBeDeeringOaks (c.1829);andoneofCodman’smany depictionsofCroatDiamondIsland, SceneofLastCove(1829).

TheartistpainteddozensofwidelyacclaimedviewsofCroatIlog Island,whichbecameknownas CreatDiamondIsland,inCascoBay. Thepicturesqueisland,muchofwhich wasownedbytheDeeringfamily, becameapoptdardestinationfor summersightseers.Theyarrivedbyboat topicnic,stroll,andadmirethescenery. Codmanrecordedallthisinpainting afterpainting,especiallyinviewsof DiamondCove,asmallinletonthe northeastcorneroftheisland.These fireboardsandcanvasesshowedsmall groupsoftouristspicnickingandwalking alongtheshadybanksofthecove,with pleasureboatsanchoredjustoffshore andthebayinthedistance. Themasteqiicceoftheseriesisafire¬ boardfortheDeeringmansion-Viewof DiamondCovefromGreatDiamond Island(c.1829)-nowownedbythe

Portland\luseumofArt.Measuring roughly31x48inches,itincludesa small,two-mastedboatanchoredinthe right-middledistancethatisthoughtto betheDeeringfamily’s28-footschooner. Iliesamevesselappearsinallof Codman’srenderingsofthesetting. Codman’sdepictionsof(meat DiamondIsland,alongwithits popularityasanexcursiondestination, stimulatedotherstopaintit./Among thesewereRobertSalmonandwriter HarrietBeecherStowe.Oneof Codman’spaintingsalsoinspireda poembySylvesterB.Beckett,who calledthepicture“almostasbeautifulas thereality.”

ManyofCodman’slandscapeswere compositesofactualandimaginedsites, drawnfromanumberofsources, includingprints.1lisinterestinromantic sceneswascertainlyabettedbvNeal’s beliefinspontaneousartthatwas stimulatedbyanartist’semotional responsetoarealsceneorliterarysource. Withtheirtwistedtreetrunks, dramaticlighting,threateningweather, andhumanfiguresdwarfedbvnature. Codman’simaginarylandscapes respondedtoNeal’scalltotranslatethe sublimeinnatureintoworksofart. Paintingsinthecurrentshow,suchas

ApproachingStorm(]S31)andUntitled LandscapewithProminentMossy1’ree (noelate)clearkechoXcal'sroman¬ ticsensibility

Pirate'sRetreat(c.1S>0)issetinsucha fantasticalhrockslandscapethatitputs oneinmindmoreofAlbertBierstadfs \lps-likerenderingsoftheAmerican WestandCole’sviewsoftheIIndson Valles.Iliescenerecallsthetimewhen piratesroamedtheAtlanticcoastline andbroughtcontrabandashoreat secretlocations.

Closeexaminationreseatstinsfiguresof piratesaroundacampfireoutsideadark caseintheforeground.Abosethema lookoutssithaspsglasskeepsssatchoutto sea.besondthepirates’sailingsesselin theharbor.

Thisromanticimagecausedastirwhen exhibitedattheBoston\thenaeum. Phssician/ssliterOliser\\endcllIlolmes ssasmosedtopenapoemthatbegan:

Onasolitarycoast biquietgloomitlay: A silentandsombreplace Itall-hiddenfromtheday. 'thetallcliffsreartheirheadsabove. Thegrevrocksfrownbelow: \ndthewaveswithacold,dark-heavingswell. Idlearounditflow.

In1818Oldmandisplayednolessthan >6paintings,rangingfromportraitsto marinescapestogenrescenes,atthefirst exhibitionandfairoftheMaine CharitableMechanicAssociation,heldin Portland’sCits1kill.Pirate'sRetreatssas singledoutbsXeal,sshossrotethe catalogueasa“picturesshichhundreds otsearsfromtodas.ifitbeinexistence, ssillbesufficienttoestablishthe reputationofthepainter,Takenasa sshole,itisoneofthefourorfiscbest thingshehaseserproduced.”Todas;the

paintingispresenedinthecollectionof theEarnsssorthArtMuseum.

LikeotherAmericanpaintersofhis das;Codmanoftenfound inspirationinprintsbs-Britishand Europeanartists.Ilissomesshatasskssard effortatfigurepainting[LittleWanderer 182>s5)ssasbasedonSirThomas Iassrence’sMasterI.ambton. Codman alsodress-onthepoetrs-ofSirWalter ScottinMtdyoftheMike(e.1S35).'Ihe DuelIc.1828-38)capturesa melodramaticmomentsshenthe apparentlsmortallsssoundedduelist,his fallensssordontheground,iscomforted bs-hisfriendsasthesictormoscsoff, wipingbloodfromhissssord. SomethingofanodditsisPicnicScene (c.1830)insshichthecasualls-resting figuresoftssomenaredssarfedbs'an enormous,oserhangingoaktreessitha blastedtreetrunktooneside.Incontrast tothebeautiful,tranquilcnsironsin

whichthispopulartheme*wastxpicalk set,tliisisadark,dankplacethatconxcxs theominousfeelofaexpressswamp. Muchmoreinlinewiththegrandeur andnaturalbeautyoftheworkofCole andotherIludsonRiserSchoolpainters arc(kidman'sI'Ootbridgeinthe Wilderness(1830)and1jmdscapewith Indians(c.1830),bothinthePortland MuseumofArtcollection.Other impressixeCodmanlandscapesinclude theexocationofhot,liazx’summerdaxs inDogDays(1831)andtheexpansixe SebagoPond(1831).whichmaybethe paintingexhibitedattheNational AcadcnwofDesignin1832.

Ahighlightoftheretrospeetke,on loanfromtheBrookknMuseum,is EntertainmentofBostonRifleRangersby thePortlandRifleChibinPortland 1larbor.August12.1829(1830). Recordingthefestixe\isitoftheBoston militarxunitandband,itoffersa panoramicxiewofthegalaoccasionon Joy’sMount(MunjoyIlill),repletewith militarx-meninfullregalia, encampmenttents,flags,andthe historicredObserxatorx,withboatsin CascoBax’asthebackdrop.Arthistorian TracicFelkerobserxesthat“Thesiteis recognizable,buttheeffectispoetic ratherthantopographical."

Thepaintingwas1ikekcommissioned bytheBostonRifleRangers.Whenitwas putonpublicdispkw,arexiewerforthe BostonDailyEveningTranscriptwrote that"IlieColoringisrichand harmonious,andthewholepicture...is ahighlv\aluablespecimenofart... W]ccongratulatethecompanx-upon theacquisitionofanornamentfortheir annorx,whichwouldbeprizedinaiw gallcrxorparlor."Thepaintingprosedso popularthatahand-coloredlithographof itwasproducedthatsamesear.

Ofparticularinteresttohistorybuffs willbeCodman'sViewoftheOriginal StateIlouse.Augusta(1836),which showsarchitectCharlesBulfinch's forthrightCreekRexkalStructure, completedin1832.Inthisexocatke image,aclumpoflowbuildingscluster aroundthestatehouse,whilecowsgraze amidsttreestumpsinoutkingfields. Ihisbucolicxiewiscspeciallxinteresting becausesubsequentexpansionsofthe building,in189]and1910,radicalk altereditsoriginalappearance.

I'orallhisprolificoutputofpaintings andthegenerallyfaxorablereception

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Charles Codman’s TheEntertainmentof’ BostonRifleRangersbythePortlandRifle। ClubinPortlandHarbor, circa 1830, j oilonpanel,24’/s-x32Vr theyreceived,Codmanoftenstruggledto makealiving.Inadditiontocontinuing hisornamentalprojects,heoccasionally openedhisstudioasagallery.“Losersof Paintingarcinvitedtocallandexamine thecollection...beingthefruitsofhis winterlabors,"readoneadintheEastern Argusin1832.

Sometimes,cspcciallvwhen businesswasslowforhis landscapes.Codmanwouldput20 or30worksupforsaleviaalotteryor raffle.Thelocalpressresponded favorablytotheseundertakings.The PortlandAdvertiserin1835,forexample, urgedresidentsto"rallvroundtheir townsmanathisspringsales."

Evenafterthemid-1830s,afterhehad establishedhimselfasMaine’sonly professionalpainter.Codmancontinued toaugmenthisincomebyteaching.Itis unclearwhohisstudentswere,but WilliamMatthewPrior(1806-1873),the folkartistfromBath,mayhavebeena pupil.PortlandpainterCharlesOctavius Cole(1814-1858)atleastfound inspirationfromCodman’spaintingsfor hisownwork.

Codman’sstylewashisownanddidnot changemuchduringhiscareer.He influencedyoungerMainepaintersnot somuchtoemulatehisworkastotry seriouspainting.Stimulatedby Codman'sexampleandNeal’s encouragement,the1830shadadozen seriousartists,accordingtoBarry.The state’sproudartistictraditionhad beenlaunched.

Reportedlyamanofindulgenthabits

thatun¬ derminedhis

health.Qoclman was plaguedbv illnesstoward theendofhis life.His outputwas limitedtothe extentthat fewpaintings aredated after1836. When he diedof consumption in1842he wasonly42 yearsold.At hisdeath,his championNealcalledCodman“a manofgenius”andlamentedthatthe painterwas“justenteringonacareer fullofhopeandpromise."'Thereal causeofbisdeath,saidNeal,wasnot “consumption...butabrokenheart" inthefaceofneglectandindifference tohisworkbywealthypotentialpatrons inPortland.

CodmanwasburiedinhistoricEastern CemeteryonCongressStreet.11is headstonewasvandalizedinrecent rears;allthatremainsisanunidentified marblefragment.

Untilthecurrentretrospective, Codman’spaintingsandotherobjects harebeenshownonlyintermittentlyandinsmalldoses.Reccnthhisworkhas beenchampionedbyBarr,Shcttleworth, andcuratorNicoll.Visitorstothis comprehensiveshowwillencounteran entertainingarrayofworks,oftendarkin tone,butcomposedandpaintedina highlyaccomplishedmanner.4'herwill seetouchesofcolorandluminous highlightsthatbelieCodman’slimited artistictraining.Itis,insum,asuperb assemblageofworksbyapioneering Maineartistwhoseoutputwillstandthe testoftime.

WlienCodmanexhibitedaviewof ScbagoLikeatNewYork’sprestigious NationalAcademvofDesignin1832,a reviewerfortheNewYorkAlirrorcalledit atrulybeautifullandscapebyanartist "hoshouldbebetterknown.”

1haterahiationwillringtrueformanv "hoviewthisrewardingexhibitionatthe PortlandMuseumofArt.

DoubleArtists

MaineArtistswhocollectMaineArtists.

StorybyLanceTapley,PhotosbyJohnMcNeil

Whenasked“Whatisart?"Picasso replied,“Whatisnot?"

Ifyou'rethecollectorhpc,you appreciatethisvariationontheold truththatbeautyisintheeveofthe beholder.WlicthcrvoucollectOld Mastersorbottlecaps,you'reawarethat theattention,education,andskillsat arrangementthatarcrequiredforagood collection-thevarcsummedupbvthe "ords“goodtaste”-canturnacollection °falmostanvthingintoaworkofart.The

collector,therefore,isanartist. Andartistsarccollectors.Thevdiscover aswellascreatebeauty. forexample,photographersandwriters frcquentlvfindbeautyintheugliest scenes.Soanartistwhocollectsother artists’worksisbothanartist-collectorand acollector-artist-doublyblessed.Mans' artistsare.

Ifvou’rea“nonartist"collectorof Maineartwhowantstoincreasehisor herartisticattention,education,and abilityatarrangement-thatis,hisor

hertaste-voumightwanttotakea lookatwhatMaineartistscollect.You don’thavetogrowgrapestoknowwhat goodwinetasteslike,butpeoplewho spendeverydaygrowinggrapesand tastingwinedeveloptheirtastebuds. 1lerearefourofthestate’sartistswho havenotableassortmentsofMaineart. Thethreepainters-z\lauBrayof Saugcrville.JurisUbansofPortland, andPaulPlanteofWinslow-arcwellestablishedintheircareers. TanjaHollander,thePortland photographerwhocollectsMaine photographers,isvoungerandless established./\pprop-riately,she representsavoungerandlessestablishedart.althoughMainehas longbeenoneofthepointsofcon¬ vergenceforAmericanphotography, asithasbeenforpainting.

BecauseMaineisasmallvillage,the threepaintershavecollectedsomeofthe samepeople,andaconsensusonwhom tocollectisalwavsinstructivetosee.All theseartistsalsohaveaconsensusinthat theydon’tcollectasaninvestment.Most generally,theydoitforloseofthe

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objectstheyassemble-alwaysthegold standardinacollection.Still,eachof themisadifferentkindofcollector.We willcallthemnative,teacher,appren¬ tice,andworshiper.

AlanBray,56

I'hecollectorasnative

Bray,56,oneofMaine’sbest-known painters,isanunpretentious,tanned, oudoorsvlocalbow/Mthoughhestudied attheArtInstituteofBoston,the UniversityofSouthernMaine,andVilla SchifanoiainFlorence-fromwhichhe receivedamaster’sdegree-he’slivedfor neark30yearsinanoldhouseonhisin¬ laws’Christmastreefarm,acrosssome deeplywoodedhillsfromhisoriginal hometownofMonson.

Hiscareermightbesummedupthis way:LocalboymeetsGothicandearly Renaissancemasters.SeeingGothic landscapepaintingsinItaisgavehimthe courage,hesass,toreturntolandscapes, “whichweren’tcoolorhot”whenhe wasanartstudent.IlissometimestroublinginlandMainescenesarc paintedintheItalianmedievalmedium

oftemperaonwood.Makingupforhis yearsinobscurity,theSchmidt-Bingham Gallen-inNewYorksellshisworkfor $8,000to$16,000.

Bray’scollectionshowslovaltvtoplacepartlv.tohome.Hehasacoupleofquiet

oilsbyapainterlittleknowninsouthern .Maine,SethSteward,whoworkedin Monsoninthecarlv1900s.ButSteward hasafollowing.

“Thev’llgofor$1,500to$1,600," Bravsax's.

Hehasa1948drawingofawoodpile bythebetter-knownCarl Sprinchorn,whoalsoworkedin Monson.ThissummerSprinchornwas featuredinnofewerthanthree exhibitionsinMaine,includingoneat theBatesCollege.MuseumofArt.’I'he drawingcostBrav$800.

LocalsthatBraycollectsincludePhillip WassBrownofDover,whopaintedin theearly20thccnturv.1Iehasa crumbling-around-the-edgesoilsketchby Brownthathefoundatayardsale.1Ie alsohasworkbyhispleinairdrawing partner,PeterEldredgeofGuilford, whomhecalls“underrated.”

Braycollectsmorefar-flungMaine works,amongthempiecesbyJuris Ubans,hisUSMteacherandonce-a-year fishingbuddy.Prominentinhisliving roomisUbans'sbigIrisgiclecprint,a superinkjetcomputerproduct(Irisisthe

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Fifty years ol global exploration tan Ik a hard act to follow. Unless you happen to be driving a Freclander, the most recent addition to our celebrated family. With Hill Descent Control and permanent all-wheel drive, |Ik livelander exhibits su|Krl» ulbroad chops. White a five-speed automatic transmission with Command Shift and a lively24-valve,V6enginecompiletomakeslx»rtworkolallthatpeskyasphalt.ItsnotanotherSUVIt’saI.andRover. The most well-traveled vehicles on earth.

JurisUbanswithAlanBray’s FlightintoE machine'sname),ofaCupidandPsyche statue,whichisbasedonaphotograph theartisttookin1,atviaandthen computer-changedintoafoggy;ahnostpointillist,image.

RichardWilson,MichaelMoore,and DennisGilbertarethreeotherPortlandassociatedartistswhomBravcollects-all friends.Someworkshebought,somehe tradedfor.Inhisstudioheliasapairof Gilbertwatercolorsofforestscenes,from whichheistryingtochooseonetobuy. Iledoesn'tknowwhatGilbert,aIISM writinginstructor,willchargehim,but"it wouldcostsomebodyathousndatleast.

“Thisisnotaspeculator’scollection.'' Braesaws.“It'safriendlycollection.”

JurisUbans,64

I’hecollectorasteacher

JurisUbanstellsofaknockonthe doornotlongafterhehadsettledinto Portland.ItwasthelegendaryMichael Watermanpeddlinghisartworkfroma littleredwagon.Thevsatintheliving room and Waterman showed him

somedrawings.

“Ilowmuchisthis?"Dhanswouldsax. ‘'Eight,”Watermanwouldreply.

"Iwasthinking,‘Well,eighthundred, that’salot’,"Ubansremembers.

Iteventuallydawnedonhimthat WatermanwastalkingaboutS8.1Iehas boughthimeversince.Oneofhis proudesthangingsisanoilportraitof himselfthathecommissionedin1988 for$500.“Atremendousartist,"hesavsof Waterman,whosepaintingsnowfetch uptoseveralthousanddollarseach. ManyofthecognoscentiinPortland (suchasgallonownerJuneFitzpatrick) feelthatin100yearsWatermanwillbe rememberedasoneoftheimportant Maineartists.

“Collectingisanexpressionof friendship,”Ubanssavs,echoingformer studentBraw

Butforthislong-timeartprofessor, consultantonMaineart.andlocally "ell-exhibitedartist,hisbuyingof.or tradingfor,Maineartliasalsobeenan expressionofhisdesiretoshapethe

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cl;nofthestate’sartworld-likea goodteacher.

"1startedchallengingtheartists,"he sass,referringIohisstudentsandthe peopleheexhibitedatUSM’sgallery, whichhedirectedforrears.“1waskindof

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anirritant...Okay,whatareyougoingto donext,Uric?”hewouldaskhisstudent IsricIlopkins,nowoneofMaine’smost successfulpainters,andofwhomhehasa numberofworks.

Often,lwwayofencouragement,

Ubanswouldbuvpieceshisgallery exhibitedbecausetheuniversitycouldn’t affordto.

11iscollectionishousedinhisgraceful 1893JohnCalvinStevensbrick-and-tile home,nestledinPortland’sWestI'aid. Parlierthisvear,theUniversityofNew England'sgalleryinWestbrookpresented "AnArtistO>]lccts,”anexhibitionof56 artistsfromthecollection. youthfid64,Ubanswasbornin Latvia,thesonofaprominent painterandteacher.(Ilisnameis pronouncedUR-risOO-baans)./\n immigranttothiscountryasachild,he waseducatedatSyracuseandPennState andbeganteachingatUSMin1968. SincethefalloftheSoyictUnion,hehas hadasecondcareerasapromoterof 1.atvianart,includinghisfather’s paintings,whicharescatteredthroughout hishouse.

lieuseshiscollectionabundantlyinhis teaching.Oneofhisfavoritepaintings, whichhangsinhiscntryxvav,isBray’s allegoricalPlightinto^gypt(1982).1lis studentsseeitalongwithanexplanation writtenbvtheartist.Itconstitutes“a

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cursor}'analysisofwesternlandscape painting,”Brayclaims.

AmongotherMaine-connectedpeople inUbans’scollectionarethe“notwellknown”painterandsculptorWolcott Dodge(alsoacarpenterwhobuiltafence forhim);painterxVIargucriteRobichaux; andpainterItaloScanga,whospentfixe yearsinPortlandandwhodiedlastyear.

Ubansalsohasagoodnumberofpieces invariousmediabymasterprinter RichardWilson.1Iehasa1lopkinsprint executedbyWilson.(JuneFitzpatrick notesofWilson'swork:“Isoldexcrything ofhisinthelastshowIhad.1Ie’s reasonablypriced.”)

“1bringpeopletogether.Iwanttwo guystocollideandformsomething,” Ubanssays.Itisateacher’sdesire.

TanjaHollander,30

Ihecollectorasapprentice

“Idon’tcollectasmuchasIliketobe surroundedbybeautifulthings,”says Tanja1lollandcr.

Andtheysurroundherinasmall,spare PleasantStreetapartmentwithaharbor viewifyoustandontiptoe.Itswallsarc

Hollander’sphotoofaroadgonetoseedbyAndrewCrossofPortland:“It’salotlike?! Scott’s[Petennan’s]andmywork.It’samarsh,there’sfog,theroadgoesoffintothe* distance.It’sunclearaboutwhereitisandthetimeofday.Ithassubduedcolors.You s canconcentrateonthemmorethanifyouhadavividpicture.Ijustlikethisqualityof infinity.Igotitinatrade.1fellinlovewithitalmostimmediately:”

fullofpicturesbyPortland photographer-friendsaswellasherown.

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TanjaHollandersittinginherstudio

11ercollection-shesaysshehasabout 100piecesofart,halfphotographs, acquired“mostlybytrade”-includesa lotofworkbyherassociatesintheBakery PhotographicCollective,whose darkroomisafewstepsawayintheold CalderwoodBakcrvBuilding.Ihereshe makeshercolorprints,workingwith16 other“diverse,eclectic”members.Sheis thecollective’sco-director.

t30,dark-hairedandslightly diffident,1lollanderisaPortland nativeandIlampshircCollege graduatewhoworkspart-timeasa paralegalinherfather’slawfirmasshe buildsherartcareer.Butherreputation isfastincreasing.

“She'ssomeonetokeepaneyeon.says JuneI’itzpatrick.

RepresentedbvtheMillerBlock Gallen’inBoston,shewasoneofsix photographersin“LocalColor,’a

PortlandMuseumofArtshowlastyear. Shedoes"largecolorworksinandoutof beingabstract,”asshedescribesthem, lately,shehasbeendoingfoggywinter landscapes.Shetriestosellherwork frombetween$600andSI.000aprint.

Ilerfriends'reputationis increasing,too.

“Portland’srightupthere”asa photographyscene,shemaintains“thoughtherearen'talotofgalleriesthat showphotos."

Amongthepeopleshethinksaredoing goodworkareIlenn\\ohniec(shehas acolorful,abstract,digitalcollageofhis) andJoeDellaValle(shehasapairof black-and-whitephotosonherkitchen "all,oneofthemofDeliaValle'saged fatherLouisinaswimmingpool).

“1knelieingwithhim,”shesassof Louis,whodiedrecently.“'Ilietonesare beautifulinthispicture.Ithasa gleamingquality.Iboughtitfornotalot

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Hollandershow'saGarryBowrottphoto,al left,andonebyScottPeterman,ofwhichsb comments:“Theguyisjumpingoffabridge into.thewateratnight.It’ssimilartotheice shackshowtheobjectrelatestothe

inaBakeryCollectivebenefitsale.”

Anotherphotographersheregards highlx'isGarnBowcott.Shehasacolor workthathetookinhisnativeScotland frominsideacar.Itoverlapsimagesofa villagestreetandsomeonemowinga lawnoutsideacastle.Shecomments:“It givesxoutotalis-theperspectiveofdriving downthestreet."

PossiblythePortland-areaphotographer shemostrespectsisScottPeterman,who hasgainedlocalfameforshootingice fishingshacks.IIeappearedwithherin themuseumshowlastsear.Oneofhis iceshackphotoshasappearedin Ihirper’smagazine.

“W'cthinkofthesameideas,butwe workdifferentlv,”shesays."W'cargue aboutwhatwhiteisactualkwhite."

She’smoreinterestedintheabstraction inaphoto;he’smoreinterestedinthe objectsthemsclses,shesays.Shehas severalofhisbigprints,whichnowsell for$2,500andmoreeach.("Hewill appreciate,”sawsJuneFitzpatrick.)

PaulPlante,59

I’hecollectorasworshiper

PaulPlante,atrim,white-haired,59sear-oldSanfordnative,hastwo vocations.IIeworshipsGodasaRoman

ronment.Theboyisoutoffocus,butthe ctionisinfocus.ThemysteiyofitIlove.I vthereisnowayheknewwhathewas ng.Alotofpeoplethinkwephotographers vwhatisgoingtocomeout.”

CatholicpriestinWinslow,whereheis pastorofSt.JohntheBaptist,serving 1,400families.Ileworshipsbeautyasa painterandartcollector.Thevocations areintimatelycoupled.

AlthoughPlantesavshe"alwayshad doneart,eveninseminary”inCanada inthe1950sand1960s,liedidnot reallybecomeprofessionaluntilliegot hisdegreeatthePortlandSchoolofArt 'nowMaineCollegeofArt)inthemid1980s.Ilepaintsstrikingsmalloil pastelsofplums,birds’eyes,and apples,oftenframingthemingroupsof upto40.

“IfIwereamonkintheMiddleAges. Idbedoingminiatures,"hesays. Hiscareerseemstobetakingoff. IIe’shadthreeshowsalBoston’s NielsenGallery.'1heColbv CollegeMuseumofArtgavehiman exhibitionlastyear.1Ieisthesubjectofa featureintheJuly-AugustYankee magazine,whichdescribeshimasagood artbin.Oneofhisunframedpaintings cancostlessthan$100.Theframedsets costinthehundreds.

Uisworkisabargain,andhemodestly sayshisimpressivecollectionofmostly Mainepaintings,drawing,prints,and sculpture-fillingthewallsofthelarge

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rectory-hasbeengatheredunderthe ruleof“wherevertheremightbea bargain.Thisrulehasbeennecessary becauseofhislimitedincomeasapriest. “Collectingcanbedonewithouta hugebudget."heinsists.Butanotherrule is:“Iwanttosurroundmyselfwith inspiringmaterial.’’

Fromthetestimonvofhiscollection, inspirationfromartisahugepartof hislife.

1lisdevotiontoMichaelWaterman’s “She’sagood,affordableartist.It’sveryfresh; verydirect.Thetreesarealmosthuman-like. Theyremakingaprofoundbow.Tirelittle branchesarelikefingers.”

worksisparticularlyevident.Plante’s diningroomisfilledwiththePortland artist’slargeoilsonreligiousthemes, includingoneofTheI,astSupper. "IIe’saspiritualperson,”Plantesins ofWaterman."It’samazingthathe’s soinchochwho’sabletorethink'Ihe LastSupfjerandnotjustredodaVinci. Ilereit’sagroupofpeoplehavingan intimatetime.’’

ButbynomeansisPlante’s collectionlimitedtoreligious themes,unlessperhapsit’s consideredtobepantheist.IIe plentifullycollectspaintingsand drawingsofoutdoorMaineaswellas sculpturesofanimals.Thesesubjects arerenderedbvthelikesofthe renownedBernardI,anglais(whomlie firstmetatI,anglais’sfather’sfuneralin OldTowninthe1960s),Marguerite Robichaux.AbbotMeader,Vincent Ilartgcn,AlfredChadbourn, ChristopherIhmlington,Stephen Ktnicr,W'illiamThon,CarlSprinchorn, andAlanBrav.

Plante’sdevotiontonatureandhislove ofabargainarccombinedinhisrecent enthusiasmforthepaintingsofJoan Ireiman,aRocklandsocialworkerwho isbarclvknownintheartworld.

Pointingtoheralmost-miniature landscape,CamdenItills(1997),he exclaims:“Thisisoneofmvfavorite paintings.Isn’titwonderful 9Igotitfor S50atTheDowntownGallen'in Washington[Maine]."

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LifeafterPortlandStage Company hasn’t exactly put formerartisticdirectorChris Akerlindinthe“WhereAreThey Now?”’ranks.Especiallyifyou’re tryingtofindthelightingdesigner ofahitBroadwayshowandits nationaltour.

The show is the long-running [TheTaleof] TheAllergist’s Wife, which formerly starred anotherPortlandexpatriate, LindaLavin,andiscurrentlya showcase for television veterans Richard Kind(Mad About You, SpinCity”), MariluHenner(Taxi, Evening Shade), and Rhea Pearlman(Cheers).

Akerlinddesignedtheoriginal lightingfortheshow,andwhen thelatestcastofValerieHarper, Tony Roberts, and Michele Lee leften massetoprepareforthe nationaltour,Akerlindwascalled upontorepackagehisoriginal conceptfortheroad.

“Iusedtwo-thirdstothreequarters of what was used in New York,”’heexplains.“It’sbothan economicandlogisticalissue. Youhavetodistillthedesigninto

somethingslightlysmallerthat canbeloadedinandoutwithin 24hours.”’

Butthelightingdoesn’tchange intheNewYorkproduction,even withdifferentcasts.

“It'sacostthatcanbedefrayed, askingthelightingdesigner back,”’Akerlindsays.“Ifthe designisn’tviabletobeginwith, whoever’sonstageatthe moment could find themselves with some awkward blocking.”’ Kind,forone,appreciatesthe Akerlindtouch.

“As an audience member I never seewhatgoesintolighting,”’he admits.“OnstageIsee.

“He[Akerlind]littheplayforLinda Lavin,TonyRoberts,andMichele Lee.TonyandImovearoundthe stagedifferentlyandI’mnotlit subtly,buttheladiesare.’”

Bythetimethecurrentcastwas midway through its second week, Kind says, everyone was comfortable with each nuance of thelighting;themark,Kind asserts,ofasoliddesign.

Akerlind’sotherprojects includeaproductionof The

House of Bernarda Alba,starring ChitaRivera,atL.A.’sMark Taper Forum, as well as assignments for the New York CityOperaandtheLaJolla Playhouse. He also teaches at theCaliforniaInstituteofthe Arts, which keeps him West Coast-bound during most of the academicyear.(“Although,”’he says,“I’vebeenknowntotake the redeye back from New York in order to make a Monday morningclass!”’).

Tokeepupwiththebusy Akerlind,checkouthiswebsiteat www.chrisaketlind.com.

She's best known as USM’s artseventsdirector,but Emmanuelle Chaulet has long wanted to start her own theater company. Now, thanks to grants from the Maine Arts Commission, the French Embassy in New York, Peace Action Maine, and the World Affairs Council of Maine among others, her Two Lights Theatre Ensemble presents its second production,“LaPromise,”’atthe St. Lawrence Arts and Community Center through September 15.

The drama, by contemporary FrenchplaywrightXavier Dutringer,focusesonthevictims ofawar-tornvillageasthey strugglewiththeaftermathof heroism,rape,desertion,andthe calltoviolenceinthenameof

patriotism.(It’sperformedin English,withtranslationby Chaulet and USM theater alum James Shay).

Wellknownasafilmactressin hernativecountry,Chaulethas workedpreviouslywithDurringer asbothactressanddirector, includingonUSM’swell-received productionofATasteofKilling on the Tonguein1998. La Promisefeatureslocalactors Caleb Wilson, Odelle Bowman, and Sean Demers of Portland; Michael Toth of Gorham; and KellsyMacGilliganofKennebunk.

With show dates including September 11, Chaulet saw the opportunitytousetheplay’s themes to illuminate insights gained during the past year, including post-show discussions with panelists from Peace Action Maine, Maine Veterans, the United States Army, and other groups.

Light,infact,iswhatChauletthe directorisallabout.

“I’mexcitedaboutusingenergy andlightandputtingthatintothe work, based on Michael Chekov’s techniques,”’sheexplains.“One eveningIwasatTwoLightsState Parkandthought'TwoLights?To Light?Whynot!’”’

(Accordingly, the company logo dropsthe“w”’and“s”’.)

Forshowdates,times,and ticketinformationcallthebox officeat(207)839-9819.

The Armory Restaurant in the Portland Regency Hotel.Spectacularcuisine.OldPortcharm,ftimpec¬ cableserviceinanelegantyetcasualatmospherew/ freshdinnerspecialsfromlandftsea.Unforgettable house specialties-Seafood Fettuccine w/ lobster, shrimp,crab,ftmussels;SteakDiane,ftBlackAngus Sirloin.Alsoopenforbreakfastftlunch.Reservations recommended. 774-4200.

The Audubon Room at the Inn by the Sea on Route 77 in Cape Elizabeth. Breathtaking views of the Atlantic Ocean ft culinary masterpieces featuring freshlocalproduce,nativeseafoodspecialties,ft exceptionalhandmadebreadsftdesserts.Grilledcrab ft macadamia encrusted swordfish w/orange pepper basilcoulisftsauteofMainelobsterftvealonfresh angelhairw/roastedtomatobeurreblanc.Patiodin¬ ingftoffpremisecateringavailable.Servingbreak¬ fast,lunchftdinnerdaily.767-0888.

Bayou Kitchen Serving cajun and traditional style breakfast ft lunch 6 days a week until 2 pm daily. Closed Tuesday. Fresh baked biscuits and cornbread go great with a bowl of gumbo or jambalaya. Daily blackboard selections including crawfish or black¬ ened gulf shrimp scrambled into your eggs. See our review at www.foodinportland.com 543 Deering Avenue, Portland 774-4935

Barbara's Kitchen'and Cafe, 388 Cottage Road, South Portland, across from the Portland Players Theater,headingtoFortWilliams.Casual,creative,ft modestlypricedcuisineforintimatediningbysun¬ lightforbreakfast,candlelightfordinner.Vegetarians can savor our Eggplant Ravioli with a Roasted Red Pepper Cream Sauce. NY strip steak w/ Portobello Mushroomsftdemi-glazeisafavoriteofcarnivores. The rosemary focaccia is reason alone to pay a visit."-Downeost. Full bar available. Reservations 767-6313. www.barbaraskitchen.com

BealeStreetBarbequeftGrill-Underthebridgein Knightville.So.Portland.Featureshickorysmokedand grilledmeats,poultry,fishftseafoodaswellascreative dailylunchanddinnerspecials.Fullbarfeaturing Maine microbrews on tap. Reservations are not accepted.Childrenarewelcome.Openallday,seven days a week. 90 Waterman Dr. So. Portland 767-0130

CafeUffa,Deliciousfoodservedincasualftfriendly cafe that features local artists' work. Almond EncrustedSalmononaSugarSnapPea,VidaliaOnion and Butternut Squash Ragout. Beef Tenderloin with Mustard Sauce and Scalloped Potatoes. Asparagus, Wild Mushroom ft Corn Risotto. Entrees S10-S18 Breakfasts feature creative scrambles and omelets, MaineBlueberrypancakeswithrealmaplesyrup,and thickslicedsmokedbacon.S4.50-S7.DinnersW-Sat. 5:30-10pm; Breakfasts Sat. 8am-noon, Sun. 9am2pm.190StateSt..Portland.775-3380.

Falmouth's landmark Italian restaurant is the award-winning Casa Napoli Ristorante featuring multi-regional authentic Italian specialties. Choices for lunch consist of soups, salads, sand¬ wiches and simple veal ft pasta dishes. Dinner entrees include traditional pasta dishes, pesce or seafood,veal,sirloinandchickenservedalongwith salad, homemade bread and the chefs choice of a side dish and vegetable. The Casa Napoli prides itself on an extravagant wine list of whites and reds, imported and domestic. Lunch is served from 11:30-2 Mon.-Fri; dinner from 5-9 Sun.-Thurs., 510 Fri. and Sat. Res. highly rec. Sun.-Thurs., required Friday-Sat. 781-3342.

Takeadvantageof5-starchefTonyFrechette'scre¬ ative touches at Cafe Stroudwater at the Embassy

Suites Hotel. With an emphasis on Maine native seafoodftprimecutsofbeef,CafeStroudwateroffers eclecticbistro-stylecuisineftavarietyofselectfine wines.Foramostuniquediningexperience,reserve aplaceatPortland'sonlychefstable,whereyouft yourguestswillbepamperedbyChefFrechettefthis staffwhileenjoyinga6-coursemealpreparedesp.for you.Breakfast,lunch,ftdinnerdailyw/aspectacular Grand Sunday Brunch every 3rd Sun. of the month. Maj.creditcards,res.suggested.775-0032.

Crickets Restaurant in Freeport Delicious food at reasonablepricesFreshlocalseafood,lobster,week¬ endprimerib,steaks,fajitas,pasta,salads,specialty sandwiches,vegetarianselections,dailyblackboard specials.Privatefunctionroom.Fullservicelounge. Maine micro-brews on tap. Easy parking only 1/2 milesouthofLLBean.BreakfastSatftSun.Brunch Sun., 11-3. Main Street, Freeport. 865-4005. Reservations/majorcreditcardsaccepted.

You can’t beat the location of DiMillo's Floating Restaurant at 25 Long Wharf off Commercial StreetforfabulouswaterviewsofPortlandHarbor. Escapefromthehustleftbustleofthecity.Watch the boats go by. Enjoy fresh Maine lobster yearround, steak, seafood dishes, ft more. Open 7 days a week from 11am-11pm. Children's menu avail¬ able.Fordrinksftalightermenu,tryourPortside Lounge. 772-2216.

Dimitri's is a restaurant owned by native-born Greeks who have brought their homeland here in foodandmusic.SpecialtiesincludeSouvlaki(skew¬ ered pork), Avgolemono (egg and lemon soup), Mousaka, Mama’s Spanakopita, Lamb Shanks Mytilini,andwood-grilledfishoftheday.TheGreekstyle mussels are fantastic and the grilled banana dessert unique. Minutes from Portland at 185 Route One in Scarborough. Open 7 days, lunch 12-2:30 and dinner from 5 p.m. 883-9800.

Flatbread Company, voted Portland's "Best New Restaurant" is serving award winning all natural flatbreadpizza,bakedinawood-firedearthenoven. RelaxandenjoytheshowastheFlatbreadcrewpre¬ pares,bakesandservesyourflatbreadfromanopen kitchen, placed in the middle of the dining room. LocatedintheOldPort,onthewater,inabeautiful wharf building overlooking the Casco Bay Ferry dock. Open Mon thru Sun 11:30 to close. MC, Visa, AMEX.

Deep in the heart of the mysterious Woodfords area at 540 Forest Avenue is the Great Lost Bear, where you'llfindafullbarfeaturingover50draughtbeers, predominantly from local micro-breweries. Accompanying them is an enormous menu w/ every¬ thingfromsoups,salads,ftsandwichestovegetarian itemsftsteaks,aswellasalargevegetarianselection ftthebestnachosftbuffalowingsintown.Discover wherethenativesgowhenthey'rerestless!Serving 11:30am-1l :30pm 7 days/week. 772-0300. Visit us on-line at: www.greatlostbear.com

Jameson Tavern. Consists of two welcoming parts, a casual bar ft lounge ft a more formal dining room ■ eachofferingacomfortableplaceforeasydining.The buildingisthesiteofthesigningoftheconstitution for the state of Maine when it broke away from Massachusetts. Classic preparations served in a gracefulftelegantsettingmaketheJamesonTavern afineretreatfromfrenziedoutletshopping.115Main St,Freeport,865-4196.Creditcardsaccepted;reser¬ vations recommended.

EatatMarcy'stoexperienceatruePortlanddiner, locatedintheheartoftheArtsDistrict.Marcy'sisa

favoriteamonglocalsforbreakfastftlunch.Enjoy blueberry,raspberryorchocolatechippancakes,chili ftcheeseomeletsorfrenchtoast.Burgersarebigand juicy, pastrami grilled to perfection and homemade stews. Daily ft weekend specials for $2.95 include Italiansausage,B.B.Q.KielbasaandCanadianstyle Bacon.Takeoutftphoneordersavailable(774-9713) onthecornerofFreeftOakSt,ServingBreakfastft Lunch from 6 am - 2 pm daily.

It’s "Mex to the Max!" at Margaritas Mexican RestaurantsftWateringHole!Twogreatlocationsin Portland, others in Lewiston, Augusta, Orono ft Portsmouth, Margaritas serves up "oversized" meals ftcolossal-sizeddrinks!There'salwaysfreehotchips ftsalsa,ftdownrightlegendarymargaritas,ftthe housespecialtyisthesizzlingfajita!HappyhourM-F, 4-7pm, free hot appetizers. In Portland at 242 St John St, Union Station Plaza, 874-6444 & 11 Brown St near the Civic Center, 774-9398. Lunch at Brown StFridaysonly.

Maria’sRistorante,est.1960byowner/chefAnthony Napolitano,offersPortland'sfinestItaliancuisine with a very good Italian wine selection. Spacious, beautiful, Italian decorated dining rooms. Private roomsavailableforlargegroups.Vealsaltimbocca, fettucini toscano, zuppa de pesce. Classic Italian desserts, Anthony's own pistachio gelato. Lunch: $5-$8, Tu-F, 11:30am-2 pm. Dinner: $9-$18, Tues.-Sat. from 5pm. 337 Cumberland Ave., free parkingavailable.Pleasecall772-9232.

Oriental Table, Szechuan, Hunan ft Cantonese. We willprepareanyofourdishestoyourliking.Weare happy to accommodate your special request; please let us know your preferences. We serve many vege¬ tarian and heart-smart choices. Hrs: Mon-Thu 11:30am-8pm, Fri ft Sat 1l:30-9pm, Sunday closed. 106ExchangeSt.(topoftheOldPort)Portland.Tel: 775-3388, Fax: 772-3388. Food: —1/2, Service: Value for the $ —• from Portland Press Herald-Go CheapEats,Nov.,2000

Parker's Restaurant. Since 1989 Parker's has been a cornerstone in North Deering Area. Open seven days a week 11:30 am til midnight. Homemade soups, great salads, hand-cut steaks make for the perfect business lunch. Fresh seafood, pasta and chicken round out a perfect menu. 1349 Washington Ave. 878-3339

ThePepperclubisaprize-winningrestaurant("Best Vegetarian" ft "Best Value" in Frommer's Guide to ' New England) featuring creative world cuisine. Its blackboardmenutypicallylistsfivevegetarian,three fish,ftthreemeatentrees,includingasuperborgan¬ icbeefburger.Peppercluboffersrelaxed,colorful, unusually affordable dining on the edge of the Old Portw/easy,freeparkingftgoodwines&beers.Open nightlyat5p.m.;creditcardsaccepted.78Middle Street,nearFranklinArtery.772-0531.

Portland Dine Around Club offers a dining rewards program at over 75 restaurants throughout coastal, centralandwesternMaine.Enjoysavingsof$10-S25 whenever two people dine. Use your card twice and you'vemorethanpaidforyourMembership(stillonly $29.95).Withmorethan33newrestaurantsthisyear, youhavemorechoicesthaneverinfinedining,fami¬ lydining,regional,innovative,whateverthepalate desires.Call77504711,orvisitdineportland.comfor moreinformation.Treatyourselftoaculinaryadven¬ turetonight!

Saigon Thinh Thanh, 608 Congress Street, Portland. "Of the 137 restaurants listed in the

1996-97 edition, Saigon Thin Thanh is a fourstar restaurant ranked first in value. Saigon Thin Thanh is Maine's-and probably New England'sfinest Vietnamese restaurant."-Portland Dining Guide. "Four stars for food, service, Ft value for money. With good, healthy, flavorful food Ft quick service in a pleasant, clean atmosphere, Saigon Thin Thanh is worth investigating."— PressHerold. 773-2932.

Snow Squall restaurant voted a favorite by the locals; “You gotta, try the restaurant". Succulent Duck two ways, Large Lobsters, Grilled Atlantic salmon with frizzled leeks, Baked Haddock, and * Maine Crab cakes with Grain mustard Aioli, are standouts on our wide ranging menu. Dinner is served nightly Lunch Monday to Friday and " Sunday brunch 11 a.m. to 1 p.m. Sunday Dinner from 12 noon to 8 p.m. Enjoy our cozy fireside lounge, featuring a lighter menu or the full din¬ ner menu for casual dining. Private rooms to accommodate 100. Reservation are always wel¬ come at www.snowsquall.com or 799-2232

Tony Roma's "Famous For Ribs" is conveniently locatedattheendofExit7oftheMaineTurnpike, adjacent to the Howard Johnson's in South Portland Ft just minutes from the Maine Mall. Tony Roma's across the country specialize in the best barbecue ribsw/ouroriginalsauce.Thegrillisalwaysfired up for a full menu of chicken, prime rib, steaks, seafood,Ftsandwiches,Ftourfamousloafofonion rings.Breakfastbuffetopensat7am.LunchFtdin¬ ner 7 days a week. Enjoy the casual atmosphere of Tony Roma's. 1 ' .

Tortilla Flat has been serving New Englanders fine MexicanfoodFtdrinkfornearly30years.At1871 ForestAvenueinPortlandyoucanfindfavoriteslike nachos, fajitas, chimichangas, tamales, burritos, tacos,enchiladas,Ftfrozenmargaritassevendaysa week, as well as seafood, steak, pork ft chicken cooked w/ a Mexican flair. With lunch specials starting at $4.95, a children's menu, nightly spe¬ cials, a Chili Happy Hour, a screened-in deck, ft take-out, Tortilla Flat is a memorable Mexican experienceyoucanaffordanytime.Formoreinfor¬ mation, call 797-8729.

Wok Inn Szechuan, Hunan, Cantonese ft Thai. Excellent food, fast and affordable. Choose from more than 130 delicious menu items. Eat in or take out. Delivery to Cape Elizabeth, Cumberland, Falmouth, Gorham, Portland, Scarborough, South Portland, Westbrook, Yarmouth Hours: Sun-M 11:30 am - 9:30 pm, Th 11 am - 11 pm, F-Sa 11 am - 2 am. 1209 Forest Ave., Portland. 797-9052 or 797-9053

Woody's Bar and Grill 43 Middle St. Portland. Serving creative, fast food cuisine. Featuring local natural beef and chicken, and a focus on fresh local ingredients. Make sure to try the already famous “Woody Burger", and the soon to be famous Fish Tacos. Daily specials, including natural steaks, vegetarian and vegan dishes, soups, and seafood. There is a great selection of rfood friendly beer and wine. There's also gelato and other fresh deserts. Woody's serves this all up in a relaxed, cozy, and casual atmosphere. "A .burger joint in the best sence of the word," Portland Press Herald. Open for lunch Tuesday thruFriday.DinnernightlyTuesdaythruSaturday. Call (207) 253-5251 Check us out at: www.woodysburgers.com

RESTAURANT

REVIEWTHE LOTUS EATERS

MallChineseiswhatyonmight expectina.suburbanshopping plaza.ButIxitus,situatedin FalmouthShoppingCenteronRoute1 inFalmouth,istheexceptionthatproses therule.

WhenownerJamesIIanrelocatedhere fromBrunswickninemonthsago-fora widerpublicandbetterparking,he vowedtomakeLotusthe“numberone ChineserestaurantinMaine.”Hemav wellhavesucceeded.

Withhisolderbrother,Tao,aschief chef,Han,48.anativeofTaiwan, broughtinJackZang.36,bomin Shanghai,asmanagerandgavehima freehandindesigningtherestaurantand hiringthestaff.Zang’sexperience includesbeingamanageratthe1000seatChineseculinarycitadelknownas theWeylusinSaugus,justoutsideof Boston.He’salsoheldmanagerialposi¬ tionsinItalianandFrenchrestaurants, contributing,probably, toadistinctandwel¬ cometablesideatten¬ tivenessaswellasan enthusiasticapprecia¬ tionofwine.

AlthoughLotusboasts asushibarstaffedbva Japanese-trainedC3hinc.scchef,itis regardedbyZangand1Ian“chicflvas entertainment.Morethan90percentof ourbusinessisChinesefood."

Withtwofriendstohelpsamplethe wide-rangingmenu,westartedwithvege¬ tariansteameddumplings(S4.95for6), scallionpancakes($2.95for6),and springrolls(SI.75).Allweresuperbbut thedumplingswereunique.Xobland pastryandfillinghere.Hventhepastrvis handmadefreshdaily,andthefillingisa substantialandsurprisingmixofspinach, spicesandtofu.Idon’tknowofanother restaurantinthestatetomakeits dumplingsfromscratch.

Alargebowlofwonderfulchickenand

ricesou])followed($5.95),ladledand servedtousatthetabic.Followingthe soupwesharedShrimpRoyal(S13.95)tenderjumboshrimp,shreddedporkand mushrooms,andthemeatiestlittlebam¬ booshoots,allmadeslightlvzestywith justenoughhotpepper.Theseasonings hintattheMandarin-Szechuancuisine prevalentintheIxitusmenu.

ForentreeswetookZang’sadviceand orderedtwoofthedavsseafoodspecials: Soft-ShellCrab($16.95)andBaked WholeFish($25.95).Freshistheword here,aswellasdelicateseasoning,beautv inpresentation,andjustdownrightgood eating.Wefoundthecrab, lightlyflouredandsauteedto aperfectcrispness,arare treat.Thewholefish,agor¬ geousChileanSeaBass splendidtoallthesenses,was carvedandservedtousby Zangandourwaitresswitha greatandcolorfulflourishbefittingthe lovelydish.

Savoringalltheseflavorsmorethan pleasedourpalates,butZang,noticinga lackofgreenvegetableaccompaniment, servedabeautifulplateofnicelvsea¬ sonedstir-friedasparagus,“onthehouse.”

WlienweateattheIxitus,wetooka friendwhoseexceptionalknowledgeof Chinesecuisinedatesbacktohisnaval visitstoChinamorethan50vearsago. WehadtodraghimoutofIxitushe loveditsomuch.

-DianeHudson

IxHus. 251 IS Route1.lalmouth.Mondayto rhursdav.11:50to0:50p.m.,IridavandSaturday. 11:50to10:30p.m.,andSunday,fromnoonto0:50 p.m.C0~)~Sl-5‘155.<20~i~M-5J5~.

C O U N T R Y I N N

PortlandStageCompany.PortlandPerforming ArtsCenter.25AForestAxenue.Portland.'Hie PortlandStageCompanykicksoftheseasonwith TomStoppard’sArcadia,showingfromOctoberI toOctober20.Se\anilscience,literatureandlovetimeslipseasilyfrom1809to1993asthree researchersinhabitanidylliccountryestatein Englandanddiscoverevidenceofthechaostheory. (207)774-0465orwittt.[Xirtlandstage.com.

LyricMusicTheater,176SawyerStreet.South Portland.TheMusicMantwistsandturnsthrough itsmazeofdeceptionsattheLyriconSeptember27. continuingthroughOctober13.(207)799-1421.

ThePortlandPlayers.120CottageRoad.South Portland.TheSoundojMusicbeginsthePlayers* 72ndseason,withperformancesscheduledfrom September27toOctober13.(207)799-7337.

TwoLightsTheatreEnsemble.St.l^twrenceArts andCommunityCenter.76CongressStreet, Portland.TheperformanceioPromiseispresented toask.oneyearafter9/11."Whatisjust,intimesof war?"Theauthor.XavierDurringer,oneofthemost criticallyacclaimedcontemporaryFrench playwrights,useslanguageandimagesrangingfrom therawestrealismtothemostpoeticphilosophy. Shows,andthreeaccompanyingpost-show discussions,arescheduledforSeptember6to14. (207)839-9819orwww.twolights.org.

CenterforCulturalExchange.OneLongfellow Square.Portland.Thefallschedulehereincludes dazzlingperformancesbySusannaBacafromPeru onSeptember17;gospelwithHolmesBrotherson September20;andjazzguitargiantHowariliMden onSeptember28.(207)761-1545.

CumberlandCountyChicCenter.OneChic CenterSquare.Portland.AlanJackson.September 15;AaronCarter.September19:andNeilDiamond. September20.(207)775-3458or(207)775-3331. www.lheciviccenter.com/events.html.

FriendsoftheKotzschmarMemorialOrgan. Portland.The9()thanniversarycelebrationfeatures organistsperformingonPortland’sownKotzschmar MemorialOrgan.America’sfirstmunicipalpipe organ,locatedinPortland'sMerrillAuditorium.Ihe ThursdayPopsseries,performedat7:30p.m.. concludestheseasonwiththeSeptember12 performanceofThomasHazleton,fromAllentown. Pennsylvania./Admissionisbydonation,withS7 suggested,andnoallianceticketsaresold.

PortlandConcertAssociation,Merrill /Auditorium.Portland.TheLincolnCenterJazz OrchestrawithWyntonMarsalis|xrformson September27.Presentedincollaborationwiththe KeyMaineJazzFestival,theshowwillswingwith worksbyDukeEllington.CountBasie.Louis

Annstiong.PletcherHenderson.TheloniousMonk. ManlouWilliams.BillyStrayhorn.DizzyGillespie. BennyGoodman.CharlesMingus.SyOliver,and OliverNelson.WyntonMarsalis,thefastjazzartistto beawardedthePulitzerPrizeinmusic,hitshelped propeljazztotheforefrontofAmericanculture throughhisbrilliantperformances,recordings,com¬ positions.educationalefforts,andvisionasartistic directoroltheworld-renownedartsorganizationJazz atLincolnCenter.Thinkingofmissingthisone? Don'tliethatway.(207)H42-OS(X).

PortlandSymphonyOrchestra.477Congress Street.Portland.Musicdirectorandconductor ToshiyukiShimada's17thseasoninPortlandbegins withzl FestiveOverture, aspecialnon-subscription concertcelebratinguniversalbrotherhoodon Saturday.September21.at8p.m..withBeethoven's SytuphoityNa 9andBarber's Toccata/'estiva. Peaturcdperformersinclude:organistPayComils: SarahGritlull,soprano:NargaretYauger.mezzo soprano:RayBauwens.tenor;MalcolmSmith,bass; andthePortlandSymphonyOrchestraChorus.The TuesdayclassicalseriesopensOctoberSwiththe worldpremiereofanewworkwrittenbyMaine composerElliottSchwartz.(207)842-0S(X)or www.portlandsyinphony.com.

SacoRiserGrangeHall.SalmonTailsRoad.Bar Mills.Treatyourselftoanexcitingcelebrationof bluegrass,folk,andcountrywithdashesofblues. Cajun,andCelticastheMainetrioTurkesHollow fillsthislovelysenuewithgreatsongcraft,inspired harmonies,andstagepresenceguaranteeingatoot■apping,hand-clapping,andsing-alonggoodtime. September14.'TittiesSsvingDance."aBuxtonHollisHistoricalSocietyfundraiser,willtakesou backintimewithAlDoane'sswingeraBigBand sound,onSeptember28.TheCascoBayTummlers. Portland'ssuperbKlezmerensemblethatsvas warmlyembracedinLithuaniaonitstourthereand

Not using 3M' M Scotchtint''1Window Film canleavequiteanimpression.

Sunlightcanmakeatunelessdesignlookoldfast.3MSoMchtintWindowHimhelpsprotectaroomanditsfurnish¬ ingstromthesunsharshultravioletraoandintenseheatB>installingScotchtintWindowFilm,yourfurnishing' willlookgoodtorsearstocomeIormoteinformationandafreeestimatepleasecall

MAINE SUN SOLUTIONS 12071 7X1-9917

welcomedhometotheir"nativesoil”beconcert halldirectorsfortheirrichauthenticity,appearatthe grangehallonOctober5.(207)929-6472.

Ga|l|llelr|i!e|si|

AbbeMuseum.BarHarbor.Theexhibition"Four Mollys:WomenoftheDawn"exploresthepersonal historiesoffourMaineNativeAmericanwomen andisbasedontheaward-winningKxik Womenoj theDanil bywriterandanthropologistBunny McBride,exhibitioncurator.(207)288-3519.

ArtGallery.UniversityofNewEngland.716 StevensAvenue.Portland."911:Preludetoan Apixalypse"openswithapublicreceptionon September10andcontinuestoOctober26.Artists fromMaineprovideworksthataddresstheirown personalvisualandwrittencommentaryaddressing 9/11/01.ParticipatingartistsincludeDozierBell (seephotoonthisissue’stableotcontentspage). SusanBickford.JoanneCameron.AbbyShahn. WallyWarren.KatarinaWeslien.NatashaMayers. JackMontgomery.MegBrownPayson.Richard Lethem.Lihual.ei.JohnHultberg.ClaraCohan, anilToddDadalearus.

AticociscoGallery,attheEastlandParkHotel. 157HighStreet.Portland."ArtSince9/11:Words andImages."theL’SMArtAlumniAssociation AnnualJuriedShow.continuesthroughSeptember 2SvvithanopeningreceptiononPortland’sFirst FridayArtWalk.September6from5to8p.m. Accompanyingactivitiesincludeapaneldiscussion withjurorsAbbyShahn.JessicaSkwireRouthicr.and ChristopherThompsononSeptember14from2to4 p.m.andanopportunitytomeettheartistson September18from5:30to7:30p.m.(207)874-2060.

AticociscoGallery.615CongressStreet.Portland. "TedArnold.Paintings"continuesthrough September28withaFirstFridayArtWalk receptiononSeptember6.from5to8p.m.andan opportunitytomeettheartistonSeptember14from 2to4p.m.(207)874-2060.

BatesCollegeMuseumofArt.AndrewsRoad. Lewiston.Anoutstandingcollectionofworksby LewistonnativeMarsdenHartley.(207)786-6158 orwvvvv.bates.edu/adm/museum.

BrickStoreMuseum.117MaineStreet. Kennebunk."EnduringCharm:ColonialRevivalin theKennebunks.1860-1930."anexhibitofthe Colonialrevivalists,fix-usesonthenotedhistoric architectureofthearea.(207)985-4802.

BowdoinCollegeMuseumofArt.Brunswick. "RixkweliKentandHisContemporaries"continues throughOctober13andpresentsKentslandscapes withthoseAmericanartistswhobothinfluenced himandwerehiscontemporaries,suchasRobert Henri.JohnSloan.N.C.Wyeth,andMarsden Hartley.Freeadmission.(207)725-3275.

CenterforMaineContemporaryArt.Maine CoastArtists.162RussellAvenue.Rockport. Celebratingits50thyear.MaineCoastArtists

presents"Past/Present/Future"withaninvitationto 55artistsfromthegallery'spasttoselect55Maine artiststoexhibitwiththem,litecenterwillhostits AnnualCraftExhibitionandStile."Workofthe Hand."onOctoberI1toOctober20.withagala receptiononFriday.October11from5to8p.m.. (207)236-2875.

CenterforMaineHistory.489CongressStreet. Portland."Longfellow.TheManWhoInvented America"continuesto2(X)3.Theexhibit complementstherenovationofthehistoric Wadsworth-Longfellowhouse.Themyths Longfellowcreatedwith Hiawatha,Evangeline.the CourtshipofMilesStandish,anilPaulRevere’s Ride setculturaltrendsthatevennowinfluence Americanlife.(207)774-1822.

TheArtGallenatTheClown.123MiddleStreet. Portland."EssenceoftheFigure-FourArtists' Works."featuresworksbypaintersJeanneO'Toole HaymanandWillaVennema.sculptorScottStoll, andphotographerKimberlyRoseberry,www.theclown.com.(207)756-7399.

FarnsworthMuseumofArt.MainStreet. Rockland.Currentshowsinclude:"N.C.Wyethin Maine."throughSeptember15;"Capturing Nureyev:JamesWyethPaintstheDancer."through January5;KennethNoland:ThemesandVariations, continuingthroughOctober13:"WillBarnet:The Nineties."throughNovemberI:and"Andrew Wyeth:SelectedWorks."openingNovember4. (207)596-6457orwww.famsworthmuseum.org.

ForeStreetGallery.366ForeStreet.Portland. "HeightofLand"showsthroughSeptember, featuringoilsbyJohnBickfordandwatercolorsby PamEllis.(207)874-8084.

ColdsmithGallery.41CommercialStreet. BoothbayHarbor."NewPaintingsbyJohnVander" showsfromSeptember7toOctober16.633-6252.

GreenhutGallery.146MiddleStreet.Portland. AlecRichardson,oils,showsthroughSeptember28. (207)772-2693orwww.greenhut.com.

HarborSquareGallery.374MainStreet. Rockland.Sinceitsinceptionin1981.HarborSquare GallenhasbecomeoneofNewEngland'spremier angalleries.Housedinoneofthearea’smost beautifulhistoricbuildings,theremarkablecollection ofsculpture,paintings,andfineartjewelryis anchoredbytheworkofdirectoranddesigner¬ goldsmithThomasO'Donovan.(207)594-8700.

HayGallery.594CongressStreet.Portland.Three exhibitsonviewatTheHaythroughSeptember22 include:"LittleJourneys."pastelsandaerylieson boardbySeattleartistDarwinNordin:"Fabricof theLand."ethereallandscapesfrommemoryand imaginationbyMaineartistCrystalNichols:anda groupshowofMaineartists.(207)773-2513or "ww.haygallery.com.

InstituteofContemporaryArtatMaineCollege ofArt.522CongressStreet.Portland.

Jf ortland

Maine’s longest running Community Theater

Coming Next Season 2002-2003

SoundofMusic(Sept.27-0ct.13)•IHateHamlet(Nov.1-Nov.17)

OnceUponaMattress(Jan.24Feb.9)•LoversandOther Strangers(Mar.18-April13)•TheMusicMan(May16/un.1)

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Theexhibit"WilliamPopeL;eRacism.ottersthe firstcomprehensivehx>katWilliamPope.l.s criticalperformance,installation,andobjectorientedart.l-.ventsconnectedtotheexhibitinclude Eracism. aperformanceworkbyWilliamPope.l. presentedatthePortlandStageCompanyon September13and14followedbyanaudience discussion,and Crawl:PortlandMl:. withWilliam Pope.l.conductingoneofhissignaturecrawIs(date JBA.)nghthereintheforestCity.withMame CollegeofArtstudentsintow(207)S79-5742\229 orwww.meca.edu;ica(?meca.edu.

Huston-Tuttle X Callers One. 365MameStreet. Rockland.WorksbyKell}Thorndikeopenswitha publicreceptiononSeptember13andshowsto October4(207)594-5441.

JosephsonFineVrt.67DodgeRixid.Edgecomb. Astudiodedicatedtotineart.experiment,and discoxerx.whereartisaprocess,andthatprocessis life.(207>SS2-9445.

LeightonCaller}. ParkerPointRoad.BlueHill. RobertHamilton.WilliamIrvine.JacqueRochester. JohnWisseman.CabotI.ylord.LiseBecu.Doug Erati.BernardLangle}.andC}nthiaStrout.The galleryisopensexendaysaweek.(2071374-5001.

Local1S.SCalleryandTapasBar. 1SSState Street.Portland.Eclecticshowsandmixedmedia. TuesdaxtoSaturda}from11a.m.toclosing;tapas availablefrom4p.m.;Sundaybreakiastinthe galleryfrom9a.m.to3pan.(207)761-79(M.

Museumof.AfricanTribal.Art. 122SpringStreet. Portland.Visitaworldclasscollectionotunique Africantribalmasksandartifactsrepresentingoxer 1.000yearsotCentralandWestAfricanhistory Admissiontothegalleryistree(207)S7I-71SS

Portland Museum of Art. 7CongressSquare. Portland."Neo-lmpressionism:Artistsonthe Edge."featuringmorethan55paintings, watercolors.prints,anddraxxingsculledfrom privateandpubliccollectionsthroughouttheInited SatesandEurope,isonxicxxthroughOctober20. ArtistsincludeGeorgesSeurat,originatorofthe movement.PaulSignac.HennEafmondCross. MaximilienLuce,andITieoxanRysselberghe. amongothers."TheArtthatisGlass;Selections fromtheGreenbergCollection.”aspecialexhibition celebratingtheartglasscollectionotthelateSylxia andMorrisGreenberg,bequeathedtothemuseum latein2(XX).continuestoDecember15.Eree admissionEridayexeningsIron)5p.m.to9p.m. (207)773-ARTSor(SIX))639-4067.

Alaine Narrow Gauge Railroad & Museum, locatedinthehistonePortlandCompanybuilding' (at5SloreStreetinPortland),wherehundred'ot 'teamlocomotixes.includingMainenarrow-gauge engine',xxerebuilt.Opendaily.10a.m.to4p.m. withtrainridesonthehourfrom11a.m.until4p.m. SeetheonlyMainetwo-foot-gaugeparlorcar.built in1901tortheSandyRixerandRangeleyLakes Railroad.WalkthroughthePondicherryanilMt. Pleasant,twocoachesbuiltfortheBndgtonXSaco

RixerRailroadintheearly1880s.(207)S28-08I4.

Maine State Museum. 87StateHouseStation. Augusta."ReflectionsofMaine:Glassfromthe MaineStateMuseum."Tireearliestimageinthe displayisa2"x23/8""ambrotype"ofawomanin the1850s.AstereographofThomastonin1870can beviewedthroughastereoscopicviewer,givinga threedimensionalappearance.Thelargestimages, two14x17"negatives,showtheironbridgeat Caratunkl-'allsandtheinteriorofthe.Moosehead PulpandPaperMillatCaratunkballs.Feature photosoflifeinAugusta,includingStateHouse politicsandmilitaryactivitiesatCampKeyesare includedinthesectionolpictorialjournalismas wellasimagesdepictingcelebrityvisitsfromRudy ValleeandAmeliaRarhart.(207)287-2304.

Ogunquit Museum of American Art. 183Shore Road.Ogunquit."LandscapesbyWolfKahn"and "MitchellRosenzweig:RecentPaintings"continue throughOctober15."NewAcquisitionstothe OMAACollection."alsoonview,includesworks byWillBarnet.PaulCadmus.JohnJ.Ennneking. WilliamGropper.JacobLawrence.JackLevine. MichaelLoew.F.liotO'Hara.WilliamThon. GeorgeTooker.AndrewWinter,andWilliam Zorach.(207)646-4909.

TheSaltInstituteforDocumentaryStudies.110 ExchangeStreet.Portland.'IlieSaltGalleryfeatures ashowofMonheganIslandphotographsbyAmy Toensing.Saltalumnaandfreelancephotographer forNationalGeographic. the HostonGlobe and otherpublications.Theexhibitisdrawnfrom Toensing'scolorphotographs,madeinMonhegan during1999and2(XX)whileonassignmentfor NationalGeographic (publishedintheJuly2(X)I issue),documentinglifeonMonhegan.(207)7610660orwwvv.salt.edu.

SteinGallery. 195MiddleStreet.Portland.Long recognizedasoneofthelargestandbest-known contemporaryglassgalleriesintheUnitedStates. Steinfeaturesover1(X)Americanstudioglass artists.BothAnneandPhilipSteinhavemorethan 25yearsofexperienceworkingwithnationallyrecognizedartists,extensiveknowledgeofthe studioglassmovement,andanunderstandingof past,current,andfuturetrendsinstylesand techniques.(207)772-9072orinfod?steinglass.com wvvw.steinglass.com.

Thomas Moser Cabinetmakers. 149MaineStreet. Freeport.ContinuingthroughSeptember11isan exhibitoflandscapepaintingsoftheMainecoast andinteriorwoodlandsbyDavidLittle:Formore information,call865-4519.

ZeroStation. 380CottageRoad.SouthPortland. Exhibitingandsellingcontemporaryananddesign ofvariousmediaincludingphotography,digital prints,andceramics.ZeroStationisalsoacustom frameshopspecializinginuniquehand-stained hardwooddesignsandcontemporarystylegoldleaf. PleasewatchfortheirnewlocationinPortlandon AndersonStreet.(207)767-2788. -CompiledbyDianeHudson

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Olympic Karate Center 1053ForestAvenue,Portland

Saturday,October5,2002 10a.m.to 7p.m.Free.

Celebratethereopeningofthe Museum'srestoredMcLellanHouse (1801)andL.D.M.SweatMemorial Galleries(1911).

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AFederalOasis

TheNathanielDyerHouse,1803,enticesbridgeboundmotoristsat$379,000.

ListedontheNationalRegisterof 11istoricPlaces(andpurchasedby formerMaineMaritimeAcademy superintendentPrankC.Rodwayforjust SI.000backinthelate1950s),the NathanielDyerIlouseisforsaleagain thisfall,for$379,000,thesellershaving movedtoCharlotte,NorthCarolina,after buvingthepropertyfromRodwayand livingherethreeyears.

Brickb'ederalhomeswithdirectharbor views-nottomentionabuildable historicallyrestrictedadjacentlot includedintheprice-aren’talwayslisted soreasonably,butthislandmarkhome facestheswooshoftrafficasitheadsover theCascoBaytoSouthPortland.

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Yetit'stheolderpartsthatcharm.A shallowcentralfederalstaircasewith originalhardwoodbanistergreetsvisitors uponentry.Totheleftisthesalon,with pumpkinpinefloors(sometwofeetwide inthishouse),crownmoldingtrimmedin abuttermilkshade,largefireplace,and fourdeep-paneledcasementwindowseats.

Totherightisthediningroomincoffee colorswithtwowindowseatsand fireplace;therearefivefireplacesinall, includingacookingfireplacewith originalbreadoveninthe19,0skitchen, ifvondon’tcountthefireplacethat’s walledinbetweenthediningroomand bath.I,usciousrawplasterwallsarerichly paintedorwallpaperedinperiodstyle.

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Uniqueproperl}intheRangeleyregionoffers136acresof openfields,woods,andfabulouswesternmountainviews. Spaciousnewloghomewithfieldstonefireplaceand4bed¬ roomsiswellsituatedtoenjoyprivacyandviews.Thereisa largewell-maintainedbarnforworkorplay,andacharming oldfarmhouseforafuturerestorationproject.S55O.OOO

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LocatedonFederalStreetwithinwalkingdistanceof BowdoinCollege,thismostattractivecolonial-stylehomehas stoodthetestoftime.Morespaciousthatitappearsfromthe outside,itfeaturesakitchenwithlaundryarea,formaldining nx>m,livingrwmwithfireplaceandbuilt-inKx>kcases,study orofficewithoutsideentrance,possibledownstairsbednxim and1/:bathsonthefirstfkxrr,threebedroomsandtwobaths onthesecondfkx>r.Hardwixxlfkxirs,atree-shadedlot,and convenientin-townlocationaddtoitscharms.$339,500 CallDeborahMorton

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Loons

ByMichaelBarth

Thelakeisstill.Thehulkingtree massesalongtheshoreprovidea mottledreflectiononthelake surface.And,highaboveit,thelastraysof thesettingsuncatchthefourrounded peaksofPleasant.Mountainandbounce inasparklingspeckofwhitelightoffthe firetoweronitssummit.Thelakelies beneaththemountain,challengingthe sizeoftheelevatedrockmasswiththe sheervolumeofitsdepths,whicharenow blackenedasthenightdescendson western.Maine.

Thelakesurfaceisstill.Yet,suddenk, asswiftlyasashootingstarthatwinksfora momentbeforedisappearingintothe gatheringdarkness,acreatureappearsin thecenterofthelakecarryingitsbill erect,itsblackevesglisteninginthe growingshadowlight.

Nightisalsofallingonthetownof Denmark,whereashapeemergesfroma roadthroughthetangledpineandbirch treesandentersthepooloflightthat surroundsReggie’sConvenienceStore. Inthewanlightbythegaspumps, Robertisseenstandingstillinhisraggv jeansandblack-and-bluecheckered lumbershirt.1Ierakeshisthickblond hairandstaresblinkingkatthestorein thesummerdusk,hesitatingbeforegoing farther.Inhisscuffedleatherbootshe eventuallylumbersuptothestorefront andopensthedoor.

Abelltinkles.Standinginthedoorwin, Robertnoticesayoung,brightlv-dressed couplethatisjustintheprocessofleasing. Theyarechuckling.Theyarelaughingat me,Robertimmediatelythinks.'Ilienhe chideshimself.No,thatisacrazsthought. Youhavegottostopbasingcrazsthoughts.Theywereprobablyjust laughingatsomethingthecashiersaid.Be calm.Becalm,hetellshimself.

I'urtiselsheducksdownandaisleatthe endofwhichisthemilkcase.Icamehere togetmilk,Robertthinkstohimself.1Ie walksosertothecaseandopensit.IIe feelsagushofchilledairashereachesin andtakesoutagallon.Thatisenoughfor today,Robertthinks.Ibetternotpushit. Betternottodotoomuch.Nowjustpas’ thecashierandyouareoutofhere.

Carryingthemilk.Robertwalksoserto thecounter.Vickiisworkingtonight.She isplump,attractise,andRobert’sage. “Justthemilk?”shesass.

"Yes.'Ihat’sit,”muttersRobertashe

triestorefrainfromconscrsation.

Vickigraspsatsomethingtosas -:“Did youseePsychoKilleron'IVlastnight?”

“No,”Robertreplies,thenadds:"We don’thasea'IVatthecabin."

“Ijustthoughtyoumight’scseenit,” sass\Yckisadly.Thensheadds,“Ilore’s jourslip.Haveanicenight.”

"Thanks.You,too.”

Robertducksoutofthedoorssas-ofthe storeintothefallingnight.

Withasilentmotionthatisassmoothas asnakedisappearingingrass,theloon slipsunderwaterandthelakesurfaceis

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Anonlookercouldstareatthelakefora fullfiveminutesandeasilyconsideritto bedesertedbeforebeingsurprisedtosee theloonridingcomfortablyonthe smoothsurface.Alientheloonfinally doessurfaceagain,itisquitesome distancefromwhereithadpreviously been.Itisablack-and-whitestripeddot thatisscarcelyvisibleonthelakeskin.

Thefirsteveningstarsarcvisibleinthe skvandarereflectedonthesurfaceofthe lake.Themoonisathincusponthe easternhorizon,butitistoosmalltocast muchlight. Robertwalksdownthedirtroadinthe growingblackness.Nighthasalready settledontheforest,anddayonlylingers asafaintsheeninthewesternsky.The roadrunsthroughtheforestand occasionallyatenderpineboughleans outoxerit.Thedeepwoods,filledwith blackshadows,arcrelativelysilentexcept forafewcrickets.Batsflitintheopenair abovetheroad,blendinginperfectly withthedarkness.Astonewallruns alongsidetheroad,andthereisalsoa ditchfilledwithbrackishwaterandferns. AsRobertstridesalonghebeginstofear whatmightlielurkingforhiminthe darknessoftheforest.1lunters.People. AmbodwAbear.Alioknowswhatcould bekinginwaitformeontheotherside ofthestonewall?Maybesomeonesaw ’meatthestoreandisnowfollowingme throughthewoods.Robertturnsand looksback,butallheseesistheroad,the

forest,andthedarkness.

*z\shewalksalong,itseemsthatthe darknessincreasesundertheoxerhanging ►branchessothathecanonlyseeafew feetinfront.Thedarknessisenveloping, threatening,choking,liefeelstrapped. Hefeelsparanoid.Hebeginstonm, runninginterror,yetcautiouslysoasnot *tostumble,throughtheblacknessuntil heseestheglowinglightbytheback »doorofthecottageandknowsthathehas madeit.

Whenheentersthecabinhisfather greetshim.

"Well.1low 7didthingsgo?”

*“Fine.Somepeoplewerelaughing,but 1handleditallright."

»"Good.Iamgladthatvouwent,”says hisfatherwithconcern.

Roberttakesthemilkoutthebagand ksetsitintherefrigerator.Thenhegoes intothe1ivingroomandthrowshimself »downintoanarmchair.And,pleased withhimself,heeasesbackinthechair # andletsoutamadchuckle.

Onthelakesurfacetheloonisresting calmly.Itsstripedbodyisnowonewith •thedarkness.Butforsomestrange ornithologicalreasonknownonlytoloons s,-maybeit’sseensomethingonitstrip underwaterormaybeitisjustlaughingat thegenerallunacyoflife-itsuddenly raisesitselfupinthewater,puffsoutits chest,andletsoutatremendous,cackling ►loonlaughthatresoundsoverthelakeand penetratesintotheforest,whereRobertis k s'Wngcomfortablyinthecabin.

$8.6MillionFacelift

MainersknowthePoriLindMuseum otArtasthemodernbrickCharles ShipmanPaysonBuildingfacing CongressSquare-youknow,withthe lunettes-whichopenedin1983.

However,thecompletedmuseuman$8.6millionproject-willbe unveiledatafreecelebrationon October5.Themuseumplansto integratetherestored McLellan House (1801) and I DM Sweat MemorialGalleries(1911)withthe Charles Shipman Payson Building, creatinga"museumofmuseums," theculminationoftheoriginaldesign by I.M. Pei.

Kristen Levesque hastoldusabout someinterestingfindsduringtheres¬ toration,includingan1801brickwith apawprintinitaswellastheglass etchingofsomeone'sname,aformer managerofoneofthebuildings.

TheMcLellanIlouseandtheLDM SweatMemorialGallerieswillhouse 19th-centuryworks,whilethecurrent CharlesShipmanPaysonBuildingwill feature20th-and21st-centuryart.

Notablepoliticiansanddignitaries atthe’ribbon-cuttingceremonywill includeguestofhonorFirstLady Laura Bush.

Beach 2 Beacon

Withover400attending,the Beach to Beacon 10K lobster bake was held at Ram IslandFarmonthepropertyof and John Higgins ontheeveningoftherace.

"Se.tf.tvdonatedthelobstersandclams,"says Meg Dempsey. "We had 450 pounds of lobsters,aswellassteamers.Thecateringwas done by Az'sCatering.

"Ofcourse, Joanie (Benoit Samuelson, pictured insetwithracedirector Dave McGillvrayl was there,aswere94-year-oldBostonMarathon legend Johnny Kelley (inset,top,whohasrun theBostonevent61times,finishing58|,local dignitaries,andseniormanagementfrom PeoplesBank.WepresentedJoaniewitha beautifulinlaidbox.DaveMcGillvravwasgiven aphotographofPortlandHeadLight."

JimCiampibookedCityLights,aPortland band,fortheevent."Theyplayedmusicfrom thelastsixdecades,rangingfromSinatrato Santana.Itwaswonderful."

Time Capsule

The TimeAVarner timecapsuletorthe History Channel stoppedattheMaineState Pier recently, commanded by Ben Beksel of Vacaville, California, and I- M r of San Diego,shownflanking Marilyn Monroe.

"We’vebeento50citiesinthiscapsule,all overAmerica."saysBrian."Wetravel1I monthsoftheyearlandno,wenevertireof it11."Alsoenjoyingthedisplay:visitor Betty Dombrowski ofPortland,right.z\fewdays later,thecapsulepulledoutottownandBen andBrianwerehistory.

StillLife

AlexGnidziejko'sfineart(seehis PeachesandMums, eggtemperaoil emulsion,16"x24",above)delights travelerswhostopathisCamdengallery, butit'shiscommercialworkfromanother life(likesomanyMainers)thatmakeshim asurprise.Turnsouthe'spaintedtwo coversfor Time Magazine,aswellas editorialartfor NewYork magazine, NationalGeographic,SportsIllustrated... the list goes on. AMWatson

Submitcolorphotosofyourorganization’sFlash event(pleaseincludefullnames&captions)toFlash, PortlandMagazine, 578CongressSt.,Portland04101.

PHOTO

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~ CONGRATULATIONS ~

toSEtSRealtyGroupLtd.fortheirrecentacquisitionofthe68,000+/-S.F.mixedusedbuilding locatedat865SpringStreet,Westbrook,Maineandknowntomanyasthe"PortlandGlassBuilding."

Currently,thereisanestimated8,000+/-S.F.ofsubdividablesecondfloorofficespace availableatthelowleaserateof$8.00/S.F.NNN. ExistingtenantsincludeArchitecturalDoorsFtWindows,PortlandGlass,Young'sFurnitureware¬ house,WinXnet,Inc.andGorhamSavingsBankoffices. CloseproximitytoExit7AoftheMaineTurnpike(1-95)andPortlandInternationalJetport.Come andjointhisgreatmixofbusinesses.Recentimprovementsincludeanewlypaved/linedparkinglot andlandscaping.Don’tdelay,callCharleneM.Jordan orRichardN.Gendronformoreinformationonthishighlyvisiblelocation.