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Acknowledgments -- Introduction -- Arrival in New England -- Invasion of the pine tree state -- Confronting franco-americans in maine -- Expansion in the granite state -- Rebuff in the Green Mountain state -- Confronting Irish Catholic politicians in the bay state -- Counterattack by commonwealth Catholics -- Attempt to americanize the ocean state -- Infiltrating the rhode island militia and implication in the sentinelle affair -- Encountering secession in the constitution state -- Reappearance in the late twentieth century -- Conclusion -- Notes -- Index
Since the development of photography in the mid-nineteenth century, the camera has been used as a tool of both discovery and preservation. Photographs bring alive our picture of the past and can open a floodgate of memories and nostalgia or inspire curiosity and a sense of history. Both joined and separated by the Androscoggin River, Brunswick and Topsham were carved from the same land grant in 1715. Despite their proximity, the towns developed separate identities: Brunswick became a manufacturing, commercial, and educational center, while Topsham combined its farms with factories. This fascinating pictorial history illuminates the daily lives of the residents of the two towns, and reveals how life has changed over the past 120 years.
In the Vanguard: Haystack Mountain School of Crafts, 1950–1969 traces the first two decades of the Haystack Mountain School of Craft’s history and its pivotal impact on the world of art and craft practice in the United States during the mid-twentieth century. The first scholarly investigation of this internationally renowned school, the exhibition, and the accompanying catalogue will feature work made at Haystack or influenced by time spent there by some of the most highly recognized names in the fields of fiber, glass, ceramics, jewelry, and graphic arts to demonstrate the school’s significant role in debates about art, craft, industry, and pedagogy in the United States during the 1950s and 1960s. Haystack’s model of brief summer sessions and changing instructors offered new ways of thinking about the status of craft as art and the nature of accessible design in the context of communally based, process-oriented learning. Anni Albers, Toshiko Takaezu, Jack Lenor Larsen, Kay Sekimachi, Arline Fisch, Robert Arneson, Harvey Littleton, Wolf Kahn, and Dale Chihuly are just a few of the artists who taught at the school between 1950 and 1969 and who helped define Haystack’s radically open-ended approach towards art and craft. With approximately eighty objects assembled from public and private collections and archives, many rarely or never before exhibited in a museum, In the Vanguard will establish the substantial legacy of this remote community of makers in the art and education world at large. Archival material installed throughout the exhibition will include original correspondence, photographs, brochures, architectural models, posters, and early ephemera. Published in association with the Portland Museum of Art. Exhibition dates: Portland Museum of Art, Maine: May 24–September 8, 2019 Cranbrook Academy of Art, Michigan: November 15, 2019–March 8, 2020