Poem Made of Water
A collaboration between Nancy Willard (author, poet) and Michelle Burgess (Artist and Founder of Brighton Press)
1992 Publication of the limited edition by Brighton Press (25 copies).
Image size: 9" x 6" - Matted
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Poem Made of Water
A collaboration between Nancy Willard (author, poet) and Michelle Burgess (Artist and Founder of Brighton Press)
1992 Publication of the limited edition by Brighton Press (25 copies).
Image size: 9" x 6" - Matted
Martin Provensen - Tony the Tiger and Nancy Willard
Martin Provensen was a well known illustrator along with his wife Alice. He developed the "Tony the Tiger" image for Kelloggs, and wrote and illustrated numerous children's books. In 1982 he was a runner up for the Caldecott Medal for his work on "William Blakes Inn" for which Nancy Willard won the Newberry Prize.
Information on Martin can be found at: https://en.wikipedia.org/wiki/Alice_and_Martin_Provensen
Provensen and his wife lived in Dutchess County NY, as did Nancy Willard, husband Eric Lindbloom and son James.
Interlaken was a rustic place in the 1970's. The beauty of the camp was in the setting and what it did rather than the facility. Camps have generally morphed into more sophisticated, resort- like facilities over the years. Back then, the camp season was 11 weeks: a week of training, nine weeks of campers, and a week of family camp. Ateret, our fierce leader and Camp Director, gave us the chance to make the season a bit longer by having us come up to help Alex, the caretaker, to get camp ready.
Alex was a camp character and a legend. He wasn't like most of the adults we middle and upper middle class young people usually encountered. Alex retired from his factory job and took up caretaking as his retirement career. He was at camp for 5 months. Open, maintain, and close. At the end of his camp season, as he locked the gate for the final time, he would say, "She Sleeps." It really came across as "She sh-leeps" because of his northern Wisconsin brogue.
Alex checked out the new truck that Larry and I captained up to Eagle River, and pronounced it adequate to haul the camps' rubbish to the dump. He customized it by pulling out the passenger seat to make more room for garbage, thren christened it the "Maggot Mobile."
Camp’s waste management system was centralized at the maintenance shack. If it didn’t burn in the incinerator, it would get tossed in the Maggot Mobile. The incinerator was nestled in the pines right next to the maintenance shack with the truck ready to take the non-burnables. Sometimes Alex, for fun, would toss some aerosol cans into the incinerator. It’d create a mini-explosion and would send flames out the back, the top and really blow through the short chimney. It remains eternal proof of God’s presence that the camp never burned to the ground.
Alex let us know that "the boss-lady" wanted us to get things done. He showed a manager's disdain for hourly employees by demonstrating the difference between hourly pay and "by the job" pay. Picking up a hammer and a nail, the hourly worker would take a light tap at the nail, and then grab his coffee or cigarette and take a well deserved break. The “by the job” worker, would pick up the hammer, and handful of nails, putting the extras in their mouth, and brutalize those nails till they were in place. Alex expected his charges to be "by the job."
The boss-lady, who would laugh when I called her "hard ass", let Alex know that we were to concentrate on building the tent platforms for K'far Noar, the newly developed teen village. When weather wasn't permitting, we were to repaint the windows in the Chadar (the dining room). The dining room had beautiful windows, most in the old simple style of multi-panes.
The framing for the tent pads was laid out, with the frame being mounted on cinder blocks to keep it off the ground, and to compensate for the uneven terrain. Alex did that with our muscle and his know-how. His know-how was certainly greater than our muscle.
First thing in the morning we'd meet Alex in the maintenance building. A single car garage that was the maintenance shack at camp. It was an absolutely horrendous conglomeration of springs, wood, screens, pipes, plumbing parts, drawers of screws and nuts/bolts. There was no real organization. In other words, just about perfect. Alex, though, was very particular about his tools.
Planning the day's tasks we'd stand in the garage listening to our leader. Every so often Alex, who must have been born with chewing tobacco in his mouth, would spit. He had a remarkable gift: he could spit around corners. We'd be at the open garage door in the front of the garage, and his tobacco spit would travel right around to the side of the garage -- swear to God. He was so good that his spit’s trajectory would miss the wood bin attached to the side of the building, every time. I still marvel at this gift
Springtime in Northern Wisconsin can be beautiful. Sunny, bright with cool mornings transforming into warm days. The rains, of course, came. The Chadar windows beckoned. We'd grab bushes, drop cloths, paint and scrappers. There were so many windows in the Chadar, and each had window 12 panes. I learned to paint in tiny places with a big brush. I learned that under the cloak of darkness all errors would be revealed. The places where the paint splotched on the windows (many) became magnified in the dark. Our eyes are a bit more forgiving in the light of day, but at night the eyes work harder and the errors are more apparent. Alex taught me that painting in tight places requires a good razor. That razor beats dried paint every time.
Most memories of camp, particularly those felt by people who were powerfully impacted by it, involve some mixture of the Three S's: Spirituality, Socialization, and Sexuality. While camp provides the Three S's in abundance, they are only a part of camp”s gifts and lifelong lessons. My relationship to Alex contributed to my understanding of work, of aging, and, not insignificantly, how to handle a paint brush.
Camp Interlaken JCC is the Resident Camp of the Jewish Center of Milwaukee. The camp first opened in 1966, having been purchased as a functioning camp. It is located in Eagle River Wisconsin.
David Friedman was at Camp Interlaken JCC
The summer of 1971 - Counselor and Nature Specialist
Summers of 1973, 74, 75 - Trip Leader
Summer of 1977 - Waterfront Director
Summers of 1985, 86, 87, 88, 89 - Camp Director (and the rest of the year too!}
Willy Jaeckel was a highly regarded German Expressionist and lithographer.
10 February 1888, Breslau - 30 January 1944, Berlin
His work appeared in the Olympics in 1928 and 1932, which at that time included art. He was a professor who lost his position when the Nazis came to power, though his students successfully lobbied for his reinstatement. Some of his work was classified as "degenerate." Jaeckel's studio was destroyed in 1943 during bombings of Berlin, and in 1944 his apartment was destroyed by bombing and he lost his life in the rubble.
Following are two pieces that were brought to the United States by author Ilse Vogel. Jaeckel was part of a group of artists and authors who resisted Nazism from within Berlin, and Ja. Vogel wrote a well received and successful book about her time in Berlin - Bad Times, Good Friends. Vogel married illustrator Howard Knotts and lived in Dutchess County. The works below were part of the estate of Nancy Willard (author and Illustrator) and her husband Eric Lindbloom (Photographer), who were friends of Vogel and Knotts, and who served as executor's of their estate. Knotts illustrated several of Nancy Willard's books.
Both of the works that follow are printed on paper from Verlag Euphorion. Euphion had published several of Jaeckel's works in books/portfolios, but these, while ready for inclusion, do not seem to have been ever made available. Verlag Euphorion ceased operation by early 1933. It's owner, Ernst Rathenau, emigrated to the United States. Rathenau was Jewish, and the Nazis suspended the operation of Verlag Eurporion in 1933. Consequently these works are probably from within the period 1925-1932. Rathenau was a collector and very interested in German Expressionism. Additional information about Rathenau and Verlag Euphorion can be found on a page published by MOMA. https://www.moma.org/s/ge/collection_ge/artist/artist_id-19268_role-3_thumbs.html
Sebastian was issued in a limited edition of 25.
Wikipedia provides a history of the song including some information on its written forms.
The version we show is a 1973 reprinting of the text from 1838 - Christmas Song from North Tyrol - 1838. The blocks were printed by Katie Krodel with specially designed blockprints by Helen Siegl. The work is on Ingress Paper, done in an edition of 25 artist signed copies.
This is copy #2 and we are not aware of other copies being available. The book is produced with pages in "accordion" style.