Monthly Archives: January 2012

The American Style Magazine Top Arts Destination In the Country Get Out The Vote

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Last year we helped make Gloucester the number 3 Arts Destination In the Country in American Style Magazine.  This is something we already know obviously but really don’t we deserve to be number one?

With your help and vote it helps the entire community by supporting our local artisans and allowing them another feather in their marketing cap to come visit, check out our vibrant art community and leave some cheddar behind Smile

Like the picture they used in the postcard announcing the contest?  You may recognize it as one of mine. Claire Higgins at seARTS did a bang up job with the design.

Anyway lets support our local artists by voting!

Click on the button below to go vote, and thank you for supporting Gloucester and the arts!

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I just checked out the contest and it’s easy peasy lemon squeezy. Not to mention you could win five hundred dolla yo!

Let’s Do This!

Here’s the presser from seARTS who with Kristine Fisher and Jackie Ganim DeFalco have been responsible for putting this initiative into play from the beginning.

2012 American Style “Top Arts Destination” Campaign Kicks Off
In 2011 seARTS, working with the arts community, secured the nomination for Cape Ann/Gloucester as a Top 25 Arts Destination by American Style Magazine. Thanks to your votes, we won the #3 spot on the list for small U.S. cities. Voting time is here again, and this year, we want to aim for the #1 spot and increase our visibility as an arts destination.
Securing Gloucester/Cape Ann on this list again this year as one of America’s Top 25 Arts Destinations will elevate Cape Ann on the national stage. We have over 2,000 working artists on Cape Ann and a thriving community that celebrates the arts of all disciplines. After all, our Rocky Neck is the country’s oldest continuous working art colony in the U.S. while Rockport draws visitors all year long!

To achieve this distinction, seARTS is requesting the entire community’s help in spreading the word. This is a city-based ranking, but all of Cape Ann was included in the destination information submitted and the article in the magazine.

There are many ways to help before March 3. Here are some suggestions!
1. Go in right now and vote from your computer, your phone, and your laptop! http://www.surveymonkey.com/s/3YYDSTL
2. Put the link and/or icon at the bottom of all your emails in the signature line!
3. Use the promotional postcard jpeg in your literature and emails: http://bit.ly/ypN3y0
4. Link to the voting icon http://bit.ly/A3MD3D
5. Blog & Tweet the Survey Link
6. Share with your employees
Having this designation gives all of the cultural organizations and artists and businesses a chance to embed the Award in all their literature and promotion around Cape Ann as a branded arts destination. Please contact seARTS to find out more about how you can do this. info@searts.org 978-281-1222.

Kwan Yin

Known as The Goddess of Mercy, Gentle Protectoress, Bodhisattva of Compassion, even the 
savior of seamen and fishermen, she holds many titles. The spelling of her name varies, but it is 
not so much the arrangement of letters as it is the effect that her spoken name produces on those 
with a Buddhist background, similar to a reaction in the West when one is speaking of the Virgin
 Mary.

Did You Know? (Bay View Cemetery)

That the Bay View Cemetery was established in 1728 and is the third oldest cemetery in Gloucester?  The Ancient Burial Ground, also known as First Parish Burial Ground and Old Bridge Street Burial Ground, was established in 1633 and is the oldest cemetery in Gloucester.  The Second Parish Burial Ground, also known as the Thompson Street Burial Ground, located in West Gloucester, is the second oldest burial place in the community, having been established in 1716.

I always feel a little sad when I pass this cemetery; it is so forlorn looking.  It has a nice fresh sign though.

E.J. Lefavour

Antennae for Design

Depression Era Quilts

For the first installment of Antennae for Design I wanted to share with you a very special gift that my mother- and father-in-law gave me this Christmas past. My husband’s family lives in Cincinnati, Ohio, a beautiful city sited along the Ohio River. The landscape so reminded early German settlers of the Rhine River and valley, that to this day there is an area of the city still referred to as ‘Over the Rhine.’ The above butterfly buttonhole appliqué quilt was made in Fostoria, Ohio. Ohio’s long quilt-making heritage is similar to that of many states throughout America.

Quilts and quilt-making techniques are a reflection of the life and times of the women who made the quilts. The technique of quilting (encasing an insulating fabric between two layers of an outer fabric and stitching firmly in place) has existed throughout history. Quilted garments have been discovered in ancient Egyptian tombs and quilted garments and bedding began to appear in Europe after the return of the Crusaders from the Middle East. The medieval quilted gambeson and aketon were garments worn under, or instead of, armor of maille or plate armor. The oldest American quilts in the Smithsonian date from approximately 1780.

Thinking about the fascinating history of quilts and quilt making in this country, one of my very favorite periods of quilt making was after WWI and through the early 1940’s. Quilts made during this period are commonly referred to as Depression Era quilts; although to look at their cheery colors and patterns, you would never know the women who created them were living in the midst of a depression. Magazines needed to be resourceful during this period of extreme economic hardship, and they were, by selling fashion and optimism. Another way to survive was by including quilt patterns and tips in their publications. Quilting was an activity that women could do to fulfill their creativity while still making something practical for their families. The quilts were typically made from sewing scraps, out-grown clothing, and feed sacks. Part of the war reparations with Germany after the First World War included their formulas for aniline dyes, which allowed for an explosion in color depth and hues, as well as stability in dyes; purple finally became reliable, as did black.  Charming and sweet prints along with lovely pastels served in stark contrast to the depressive economy. A particular shade of green, now referred to as “thirties green,” was so popular amongst quilters, that the strips that were used to bind the quilt edges came packaged in a can!

Depression Era Butterfly Quilt

Dating quilts is fascinating. If you have a question about a quilt or would like to share information about a family heirloom, please write.

The above quilt was my interpretation of a 1930’s butterfly quilt, which I made for our daughter when she was five. Following in the depression era method of using what was on hand, you can see the dress scraps from which the quilt was made in her blue gingham dress in the old photo below.

I found a basket full of Scotty dog squares at a yard sale last summer. Scotty dogs were a popular design motif during the first half of the 20th century and this particular Scotty pattern was created in 1940. When I have some spare moments, I’ll look for fabric to back the quilt. Purchasing quilt squares or an unfinished quilt top is a great way to acquire a depression era quilt because, if the squares or top have been properly stored, the fabrics will come back to life with cleaning and pressing, and will not have been used.

Did anyone see Henri Smith at the Tsongas Arena on Monday?

mlk2012

He was there for the sixth year straight singing Gospel at the Martin Luther King Day Celebration.  Watch the video and see his answer to the question Peter posed on Wednesday.

If you had any doubts about the winter music scene here in Gloucester and on Cape Ann, tonight’s lineup will put them to rest — for good!  Choose from a dozen artists in a dozen venues.  And our friend Erinn 2N Brown is back in town!

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Buoy #2 up for bids!

Octopus and Turtle buoy by Janelle Downey

Underwater Scene by Janelle Downey

In case you missed it yesterday, we’re starting the bidding on some of our artist buoys here over the next week so you get a preview of some of the great stuff you can see if you come to Cruiseport next week!

All the buoys from this year’s lobster trap tree will be auctioned off next Friday, the 27th at Cruiseport Gloucester as a fundraiser for Art Haven, including the ones featured here. But you can put your bids in now to get your name in the hat. Again, the details:

-If you like a buoy you see, bidding starts at $20, and you can just bid in the comments section below the post, HOWEVER

-Your bid doesn’t become official until you send Art Haven an email (arthaveninfo@gmail.com) saying you’re serious and letting us know how to get in contact with you.

-Finally, if you’re the highest bidder on the blog, that makes your bid the starting bid at the auction. We’ll be in touch about your max bid if you can’t make it to the auction.

If you’ve got any questions, leave ‘em in the comments section. Also, check out the artist buoys on Art Haven’s Facebook page and tell us if there are particular buoys you’d like to see go up here. And remember, your money is helping more kids on Cape Ann have access to crazy fun art activities :)  Happy bidding!

Causeway Fish Chowder

To call a bowl of Causeway Fish Chowder simply a bowl of fish chowder is leaving out the fact that the amount of fish in the Causeway’s Fish Chowder is the amount of fish that you would normally find in three bowls of fish chowder at most other joints.

You might think that allowing such a generous portion of fish that they use some inferior product  but after handling millions of pounds of fish in my lifetime I can assure you I know fish and the fish used in this chowder is as fresh as you can get.

I don’t get over to the Causeway for three seasons of the year because we are just too busy here at the dock and it’s on the other side of town.  The place is generally mobbed with people who travel from all over the northeast who have read the rave reviews on websites like yelp and trip advisor so this is the perfect time to go there when the touristas aren’t out in full force and you can get a table.

insider tip- skip lunch and go around 3 in the afternoon.

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Catching Up With the Progress On The Bow to Stern Overhaul of Gloucester’s Coast Guard Cutter The Grand Isle

Huge thanks To Lieutenant Christjan Gaudio who is the Commanding Officer of the GRAND ISLE along with CWO Manny Munoz at Coast Guard Station Gloucester want to make our Coast Guard Station and Boats ingrained with the community, for you to feel welcome to ask questions and want you to know that they are here for you.

Lieutenant Gaudio forwards these photos and descriptions of the Grand Isle in the Coast Guard shipyard in Baltimore MD.

The first is a picture of GRAND ISLE coming up off the pier for our fleeting (this is a water test where they placed us in the water to ensure that the hull settled out following the replacement of 550 square feet of hull). cgc grand isle 1

The second picture is of the crew checking the seals and through hull fittings for leaks before being placed completely in the water

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The third picture is of us being lifted off the pier.

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The Grand Isle being pushed to the pier for the fleeting.

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Some of Lieutenant Gaudio’s crew standing in front of our new props prior to going into the water for fleeting.

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This is the barge used to lift 110 footer cutters out of the water.

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BM1 Monaghan being awarded his permanent cutterman’s pin.  This is a big moment in the professional life of a cutterman as it is symbolic of his attaining seniority in the service having accrued the sea time and professional competence necessary to be awarded the status of cutterman and to wear the cutterman’s pin permanently on his uniform.

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Grand Isle going into the water for fleeting.

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Grand Isle newly painted, going into the water.

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Click here for a slide show of the Grand Isle from Photos I’ve taken over the past 4 years-

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Who makes someone pose like this?

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I’m just checking something out online and then I run across this.  Now I ask you, when was the last time someone was about to take your picture, gave you time to think about it and then you went ahead and struck this pose?

Am I alone on an island in my thinking that this is a little ridiculous?  You think this guy has a severely messed up grill and he’s trying to hide his teeth?  Or is this the, “I’m an artist so I’m supposed to look pensive for my portrait look.”

Dude a centimeter and a half to the right and you’re flat out picking boogers. 

I’m just saying.

So if you’re gonna sit down for a photo shoot and some photographer tells you to put your hands up on your face like this just get up and kick him in the nuts.  When he asks why you did it, tell him to wise up and stop trying to make you look like a dope.

Edward Hopper Houses of Gloucester, MA Compiled by Daniel Marley courtesy of Julietta House www.juliettahouse.com

forwarded by Tim Blakely at www.gloucesterbytes.com

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The Mansard Roof (1923). Watercolor on paper. Brooklyn Museum of Art.

Edward Hopper: “At Gloucester, when everybody else would be painting ships and the waterfront, I’d just go fish around looking at houses. It is a solid-looking town. The roofs are very bold, the cornices bolder. The dormers cast very positive shadows. The sea captain influence I guess — the boldness of ships.”

From Hopper’s Places (1998, Univ. of California Press), by Gail Levin: “Hopper painted The Mansard Roof in the Rocky Neck section of Gloucester, which even today is something of an artists’ colony. He described Rocky Neck as ‘the residential district where the old sea captains had their houses’ and later recalled that it had interested him ‘because of the variety of roofs and windows, the mansard roof, which has always interested me…’ He also noted that he had ‘sat out in the street… it was very windy’ and offered: ‘It’s one of my good watercolors of the early period.’ Actually, Hopper’s view was from the back of the house, down toward the water, which must have increased the effect of the wind he so vividly recollected. Today the house is well preserved but missing the yellow awnings that he caught fluttering in the strong breeze.”

From Silent Theater: The Art of Edward Hopper (2007, Phaidon Press Ltd.), by Walter Wells: “To be sure, not all of Hopper’s houses yield symbolic narrative. William Boyd’s distinction between the oils and the more ‘straightforward’ watercolors needs recalling: Hopper’s watercolors of architectured structures tend simply to manifest his affection for that genre. Even so, his preference for certain anachronistic styles makes even those watercolors metaphors for a real or imagined past. Hopper’s attraction to mansard roofs, for example, while expressing itself in exquisite representational watercolors like Talbot’s House, Haskell’s House, or The Mansard Roof, also makes each an allusion to that bygone period in America — the 1870s, immediately before his birth — when French Second Empire style was the vogue in domestic architecture.”

NPR’s All Things Considered featured a segment related to The Mansard Roof (and a Museum of Fine Arts, Boston retrospective on Hopper) in July 2007. That segment can be listened to here.

http://hoppertour.tumblr.com/

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