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  There Were Many

  Stephen Burt

  There Were Many reimagines the ubiquitous alphabet primer of the elementary schoolroom as a place where mystery abounds; an arena connected to nature, our origins and the power of the mythical; a place of fluid time, beauty and possibility. This work asks the viewer to slow down, to listen, to observe. It also contains a story of a world that is quite similar to our own. A parable. a call to action, an elegy-- perhaps all three. This work proposes that we find mystery again in the everyday, that we take the time to really see and love the things around us and that we cultivate beauty in all that we do.

  It is clear now that our writing and language has not prepared us for the challenges and crises of our current world. In fact, language has been used to cleverly obscure the very real and pressing issues of our time. It is time to reconfigure the uses of an education. Would it be that children were taught the values of reciprocity, taught to bring the utmost care to both our use of language and our relationships to each other and the natural world.

  There Were Many was drawn with a brush using ink and gouache in two-foot segments, culminating at a length of twenty feet. The animation is a slow pan of over 17 minutes through the entire drawing accompanied by Bach’s Chaconne from the Partita in D minor. Bach’s music has been a beacon for me in these troubled times--a masterpiece of emotional intensity that resonates with beauty, loss and hope. I have listened to it hundreds of times.

  Special thanks are due to my friend and colleague Oran Suta without whose assistance this work would remain just an idea. His patience and enthusiasm were a blessing. I also owe Channel Classics Records a special thanks for their permission to use this recording of the Chaconne by the masterful musician, Toyohiko Satoh. And finally thank you to the University of New England who provided me with sabbatical leave and grant funding to pursue my creative work where the initial spark of this project began.

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  The Dolphin Brain - A Digital Presentation

  Laura Taylor, Cally Gurley, Samia Pratt, and David Mokler

  This digital presentation has been reproduced from the 2019 University of New England Ketchum Gallery exhibition of original artwork, scientific data, and materials from the Peter J. Morgane Research Collection on the Cetacean Brain, 1962-2004.

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  The Artist’s Book: The Process And Products Of Collaboration From The Unique Object To Editioned Works

  Stephen Burt

  This presentation explores the processes and ideas behind the creation of the artist’s book from three vantage points. The first: a collaborative approach blending artistic and scientific disciplines. The second: an enterprise that uses words and ideas as an ignition point for the creation of images. The third: a curatorial view of the reception for editioned and one-of-a-kind creations. I will discuss my collaborative book projects completed with Dr. Pamela Morgan PhD., at the University of New England. I will also present other viewpoints gleaned by interviewing book artist and curator Rebecca Goodale, Program Coordinator-Kate Cheney Chappell '83 Center for Book Arts, University of Southern Maine, and Cathleen Miller, poet and curator, Maine Women Writers Collection, Abplanalp Library, University of New England. These professional educators will illuminate the reception of a wide range of artist’s books. They will also address current and possible future practices and how institutions can increase their support of this expressive mode of communication.

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  The Herbal Cabinet

  David J. Mokler, Amber Rigdon, and Samantha Schildroth

  Description of a historical Eli Lilly herb identification collection belonging to University of New England professor David Mokler, including herb scientific names, common names, ranges, and uses. Each herb bottle is pictured, its label information is reproduced, and each herb’s historical and current uses are briefly described.