place,” Ingraham writes, representing “the heart and most vital aspect of Portland— its history, its working waterfront, and, most importantly, its fishing industry.” THE FUTURE of Maine’s waterfront weighs on the minds of the artists featured here, each of them testifying to the vibrancy of this distinctive milieu. Gregory Dunham is especially direct in his concern. In the 20-plus years he has lived on the Maine coast, he has witnessed change that disturbs him. “The lobster
Their art and words remind us of the beauty and poetry—and absolute necessity— of the working waterfront. traps have disappeared from a lot of wharves,” he observed, “as pressure builds to turn working waterfront into a cash machine for property taxes.” What we lose in the process, he warned, “is a way of life that has attracted generations of artists to Maine and an inspiration to generations of artists yet to come.” By lending their paint to the cause, so to speak, Dunham and company help preserve an ever more precious mainstay of the Maine coast. Their art and words remind us of the beauty and poetry— and absolute necessity—of the working waterfront. Carl Little contributed an introduction to the forthcoming Portrait of a Maine Island, a collection of photographs by Sarah Butler. He writes for Working Waterfront, Island Journal, and this magazine. For more information about these artists, visit the websites of the following: Caldbeck Gallery, Courthouse Fine Art, Firehouse Gallery, Gleason Fine Art, Greenhut Galleries, Isalos Fine Arts, Leighton Gallery, George Marshall Store Gallery, and West Island Gallery. www.maineboats.com
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