Podcasts about cape ann museum

“Art is a form of prayer … a way to enter into relationship.”Artist and theologian Bruce Herman reflects on the sacred vocation of making, resisting consumerism, and the divine invitation to become co-creators. From Mark Rothko to Rainer Maria Rilke, to Andres Serrano's “Piss Christ” and T.S. Eliot's Four Quartets, he comments on the holy risk of artmaking and the sacred fire of creative origination.Together with Evan Rosa, Bruce Herman explores the divine vocation of art making as resistance to consumer culture and passive living. In this deeply poetic and wide-ranging conversation—and drawing from his book *Makers by Nature—*he invites us into a vision of art not as individual genius or commodity, but as service, dialogue, and co-creation rooted in love, not fear. They touch on ancient questions of human identity and desire, the creative implications of being made in the image of God, Buber's I and Thou, the scandal of the cross, Eliot's divine fire, Rothko's melancholy ecstasy, and how even making a loaf of bread can be a form of holy protest. A profound reflection on what it means to be human, and how we might change our lives—through beauty, vulnerability, and relational making.Episode Highlights“We are made by a Maker to be makers.”“ I think hope is being stolen from us Surreptitiously moment by moment hour by hour day by day.”“There is no them. There is only us.”“The work itself has a life of its own.”“Art that serves a community.”“You must change your life.” —Rilke, recited by Bruce Herman in reflection on the transformative power of art.“When we're not making something, we're not whole. We're not healthy.”“Making art is a form of prayer. It's a form of entering into relationship.”“Art is not for the artist—any more than it's for anyone else. The work stands apart. It has its own voice.”“We're not merely consumers—we're made by a Maker to be makers.”“The ultimate act of art is hospitality.”Topics and ThemesHuman beings are born to create and make meaningArt as theological dialogue and spiritual resistanceCreative practice as a form of love and worshipChristian art and culture in dialogue with contemporary issuesPassive consumption vs. active creationHow to engage with provocative art faithfullyThe role of beauty, mystery, and risk in the creative processArt that changes you spiritually, emotionally, and intellectuallyThe sacred vocation of the artist in a consumerist worldHow poetry and painting open up divine encounter, particularly in Rainer Maria Rilke's “Archaic Torso of Apollo”Four Quartets and spiritual longing in modern poetryHospitality, submission, and service as aesthetic posturesModern culture's sickness and art as medicineEncountering the cross through contemporary artistic imagination“Archaic Torso of Apollo”Rainer Maria Rilke 1875 –1926We cannot know his legendary head with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low, gleams in all its power. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared. Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast's fur: would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.About Bruce HermanBruce Herman is a painter, writer, educator, and speaker. His art has been shown in more than 150 exhibitions—nationally in many US cities, including New York, Boston, Washington, Chicago, Los Angeles, and Houston—and internationally in England, Japan, Hong Kong, Italy, Canada, and Israel. His artwork is featured in many public and private art collections including the Vatican Museum of Modern Religious Art in Rome; The Cincinnati Museum of Fine Arts print collection; The Grunewald Print Collection of the Hammer Museum, Los Angeles; DeCordova Museum in Boston; the Cape Ann Museum; and in many colleges and universities throughout the United States and Canada.Herman taught at Gordon College for nearly four decades, and is the founding chair of the Art Department there. He held the Lothlórien Distinguished Chair in Fine Arts for more than fifteen years, and continues to curate exhibitions and manage the College art collection there. Herman completed both BFA and MFA degrees at Boston University College of Fine Arts under American artists Philip Guston, James Weeks, David Aronson, Reed Kay, and Arthur Polonsky. He was named Boston University College of Fine Arts Distinguished Alumnus of the Year 2006.Herman's art may be found in dozens of journals, popular magazines, newspapers, and online art features. He and co-author Walter Hansen wrote the book Through Your Eyes, 2013, Grand Rapids, Wm. B. Eerdmans Publishing, a thirty-year retrospective of Herman's art as seen through the eyes of his most dedicated collector.To learn more, explore A Video Portrait of the Artist and My Process – An Essay by Bruce Herman.Books by Bruce Herman*Makers by Nature: Letters from a Master Painter on Faith, Hope, and Art* (2025) *Ordinary Saints (*2018) *Through Your Eyes: The Art of Bruce Herman (2013) *QU4RTETS with Makoto Fujimura, Bruce Herman, Christopher Theofanidis, Jeremy Begbie (2012) A Broken Beauty (2006)Show NotesBruce Herman on Human Identity as MakersWe are created in the image of God—the ultimate “I Am”—and thus made to create.“We are made by a Maker to be makers.”To deny our creative impulse is to risk a deep form of spiritual unhealth.Making is not just for the “artist”—everyone is born with the capacity to make.Theological Themes and Philosophical FrameworksInfluences include Martin Buber's “I and Thou,” René Girard's scapegoating theory, and the image of God in Genesis.“We don't really exist for ourselves. We exist in the space between us.”The divine invitation is relational, not autonomous.Desire, imitation, and submission form the core of our relational anthropology.Art as Resistance to Consumerism“We begin to enter into illness when we become mere consumers.”Art Versus PropagandaCulture is sickened by passive consumption, entertainment addiction, and aesthetic commodification.Making a loaf of bread, carving wood, or crafting a cocktail are acts of cultural resistance.Desire“Anything is resistance… Anything is a protest against passive consumption.”Art as Dialogue and Submission“Making art is a form of prayer. It's a form of entering into relationship.”Submission—though culturally maligned—is a necessary posture in love and art.Engaging with art requires openness to transformation.“If you want to really receive what a poem is communicating, you have to submit to it.”The Transformative Power of Encountering ArtQuoting Rilke's Archaic Torso of Apollo: “You must change your life.”True art sees the viewer and invites them to become something more.Herman's own transformative moment came unexpectedly in front of a Rothko painting.“The best part of my work is outside of my control.”Scandal, Offense, and the Cross in ArtAnalyzing Andres Serrano's Piss Christ as a sincere meditation on the commercialization of the cross.“Does the crucifixion still carry sacred weight—or has it been reduced to jewelry?”Art should provoke—but out of love, not self-aggrandizement or malice.“The cross is an offense. Paul says so. But it's the power of God for those being saved.”Beauty, Suffering, and Holy RiskEncounter with art can arise from personal or collective suffering.Bruce references Christian Wiman and Walker Percy as artists opened by pain.“Sometimes it takes catastrophe to open us up again.”Great art offers not escape, but transformation through vulnerability.The Fire and the Rose: T. S. Eliot's InfluenceFour Quartets shaped Herman's artistic and theological imagination.Eliot's poetry is contemplative, musical, liturgical, and steeped in paradox.“To be redeemed from fire by fire… when the fire and the rose are one.”The collaborative Quartets project with Makoto Fujimura and Chris Theofanidis honors Eliot's poetic vision.Living and Creating from Love, Not Fear“Make from love, not fear.”Fear-driven art (or politics) leads to manipulation and despair.Acts of love include cooking, serving, sharing, and creating for others.“The ultimate act of art is hospitality.”Media & Intellectual ReferencesMakers by Nature by Bruce HermanFour Quartets by T. S. EliotThe Archaic Torso of Apollo by Rainer Maria RilkeWassily Kandinsky, “On the Spiritual in Art”Amusing Ourselves to Death by Neil PostmanThings Hidden Since the Foundation of the World by René GirardThe Art of the Commonplace by Wendell BerryAndres Serrano's Piss ChristMakoto Fujimura's Art and Collaboration

We kicked off the program with four news stories and different guests on the stories we think you need to know about!Candace Lightner, founder and president of We Save Lives with ending the ‘Back Seat Driver' Stigma—Speaking Up Saves Lives! U.S. Marks National Passenger Safety Week—Jan. 20-27.January marks National Poverty in America Awareness Month. Alison Carter Marlow – Boston Executive Director of the Jeremiah Program joined Dan to discuss Supporting Single Moms During Poverty Awareness Month. Michael Kiernan, MD, MBA, Tufts Medicine discusses Tufts Medical Center Completes 70 Adult Heart Transplants in 2024 to Break Own New England Record for the Second Straight Year.Oliver Barker, Director of the Cape Ann Museum brings us “Gloucester's So Salty” Fourth Annual Festival Brings Together Cultural Institutions and Businesses to Provide Free Activities to Community! Saturday, Jan. 25 and Sunday, Jan. 26 from 10 a.m. to 5 p.m.Ask Alexa to play WBZ NewsRadio on #iHeartRadio and listen to NightSide with Dan Rea Weeknights From 8PM-12AM!

Suellen Wedmore and a first-order Fresnel lens on display at the Cape Ann Museum in Gloucester, Massachuetts. Melanie Correia Suellan Wedmore‘s poetry has appeared in many publications and she has won numerous awards, including first place in both the Writer's Digest Rhyming and the Non-Rhyming Poem contests. The poems in Suellen's book A Fixed White Light enter the lives of six of courageous and mostly forgotten female lighthouse keepers, giving readers the opportunity to experience their heroism as well as their trials in a time when they were often met with skepticism and discrimination. Inside the New Bedford Whaling Museum The second guest in this podcast episode is Melanie Correia, associate curator of exhibitions and collections at the New Bedford Whaling Museum in southeastern Massachusetts. The city of New Bedford was a whaling capital and the richest city in the world in the mid-1800s. Today the museum plays a critical role as champions for whale preservation and guardians of the area's heritage and culture.

Study: Over 70% of employees blame work stress on breakups and divorces. We discuss it with Renee Marino, a Communication Coach.In the Round: 20th Century Cape Ann Sculpture Exhibition Will Celebrate the Sculptors of Cape Ann. With Oliver Barker, the Director of the Cape Ann Museum.Matt Brown's Upcoming Fundraiser and Participation in the Boston Marathon. And, Dr. Fahmi Farah, cardiologist joined Dan to discuss hospitals that are not excited about eclipse mania, Hospitals are on high alert for increased traffic accidents, the potential for mass casualty events and, of course, eye damage.

The So Salty events in Gloucester came to be during the Omicron surge as a way to keep community spirit alive despite the cold and COVID. Now, WBZ's Jay Willett tells us it's only grown since.

First up is the upcoming New Hampshire Primary with NH Gov. Chris Sununu.Oliver Barker, Director of the Cape Ann Museum told us about “Gloucester's So Salty”, the third Annual Festival that brings together cultural institutions and businesses to provide free activities to community.Joe Connolly – Director of KIA (a group of Vets who come together to honor hometown heroes) and how the group helped return a WWII letter found on the street to rightful family.And, Professor Peter Ubertaccio, Vice President for Academic Affairs at Stonehill College with the current state of politics.

Gloucester Times Reporters discuss Essex High School, Cape Ann Museum, and much more. 1623 Studios is a #nonprofit organization dedicated to producing community programming for #CapeAnn—Gloucester, Rockport, Manchester-by-the-Sea, and Essex—and to providing a forum for the free exchange of information and ideas. We also provide a full spectrum of creative services to support our mission. Learn more at https://1623studios.org

To see a painting by Edward Hopper is often to feel loneliness in scenes from ordinary urban life. He is considered one of the greatest American painters of the 20th century but had only sold one painting by the time he turned 40. Everything changed during his summer of love in 1923, 100 years ago, when Hopper visited Gloucester Massachusetts north of Boston and met his wife. He found the inspiration that catapulted his career. The Cape Ann Museum in Gloucester is hosting an exhibition of more than 60 of Edward Hopper's paintings, etchings and drawings that explore the importance of place as a catalyst for creativity. It's called Edward Hopper & Cape Ann: Illuminating an American Landscape Dr Elliot Bostwick Davis is the curator, and talks to Jesse.

Edward Hopper stands as a mythical figure in American art. As a new exhibition at the Cape Ann Museum reveals, the artist known for rendering the haunting isolation of urban life mastered his craft by spending summers by the sea. Special correspondent Jared Bowen of GBH Boston reports for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

"In our 148 year history this is the single largest exhibition that we have ever tried to mount." Oliver Barker, Director of the Cape Ann Museum told WBZ's Kendall Buhl

It took time for the now legendary 20th-century artist to find his visual voice. A new exhibition at the Cape Ann Museum transports visitors back to a pivotal summer 100 years ago when Hopper met the woman who would become his model, muse, manager and wife: Josephine Nivison.

A conversation with author and curator Elliot Bostwick Davis about her new book “Edward Hopper & Cape Ann: Illuminating an American Landscape” and the accompanying exhibit which runs July 22 to October 16 at the Cape Ann Museum in Gloucester, Massachusetts. Both the book and the exhibit examine the impact of Hopper's wife Jo on his work and the trajectory of his career. Their relationship started in the summer of 1923 there in Cape Ann and it wasn't long before the 41-year-old Hopper became a rising star in the art world.https://a.co/d/9stfbjChttps://www.capeannmuseum.org/exhibitions/edward-hopper/

[Help us reach our $25,000 end of year goal! Give online to the Yale Center for Faith & Culture today.]We often think that telling the truth only applies to words. But American painter Winslow Homer (February 24, 1836 – September 29, 1910) told the truth in pencil, water color, and famously, oil paintings. Coming of age in antebellum America, starting his artistic career as the Civil War began, and dramatically painting truth to power during the complicated and failed Reconstruction era—Winslow Homer looked long and hard at America in its moral complications and struggle toward justice. But he also looked long and hard at the natural world—a harsh, sometimes brutal, but nonetheless ordered world. Sometimes red in tooth and claw, sometimes shining rays of grace and glory upon human bodies, Homer's depiction of the human encounter with the world as full of energy and full of spirited struggle, and therefore dignity.William Cross is author and biographer of Winslow Homer: American Passage—a biography of an artist who painted America in conflict and crisis, with a moral urgency and an unflinching depiction of the human spirit's struggle for survival and search for grace.  As a consultant to art and history museums, a curator, and an art critic and scholar, when Bill sees the world, he's looking long for beauty and grace, and often finding it in art. In this conversation, Bill Cross and I discuss the morally urgent art and perspective of Winslow Homer. We talk about the historical context of American life before, during, and after the Civil War. Including the role of Christianity and religious justification of the Confederacy and the institution of slavery. Bill comments on the beautiful and bracing expression of Black life in Winslow Homer's work—truly radical for the time. But Homer's work goes beyond human social and political struggles. We also discuss the role of nature in his work—particularly the human struggle against the power and indifference of the ocean and the wild, untamed animal kingdom.Throughout, you might consider referencing each of the paintings we discuss, all of which are available in the show notes and can be found online for further viewing and reflection.Show NotesGive toward the Yale Center for Faith & Culture $25,000 matching campaign. Donate online here, or send a William R. Cross, Winslow Homer: American Passage (Farrar, Straus and Giroux, 2022)Winslow Homer: CrosscurrentsPaintingsClick below for painting referencesPrisoners from the Front (1866)The Brush Harrow (1866)Dressing for the Carnival (1877)Visit from the Old Mistress (1876)The Gulf Stream (1885)Fox Hunt (1893)About William CrossWilliam R. Cross is an independent scholar and a consultant to art and history museums. He served as the curator of Homer at the Beach: A Marine Painter's Journey, 1869–1880, a nationally renowned 2019 exhibition at the Cape Ann Museum on the formation of Winslow Homer as a marine painter. He is the chairman of the advisory board of the Yale Center for Faith and Culture. Cross and his wife, Ellen, the parents of two grown sons, live on Cape Ann, north of Boston, Massachusetts.About Winslow Homer: American PassageThe definitive life of the painter who forged American identity visually, in art and illustration, with an impact comparable to that of Walt Whitman and Mark Twain in poetry and prose—yet whose own story has remained largely untold.In 1860, at the age of twenty-four, Winslow Homer (1836–1910) sold Harper's Weekly two dozen wood engravings, carved into boxwood blocks and transferred to metal plates to stamp on paper. One was a scene that Homer saw on a visit to Boston, his hometown. His illustration shows a crowd of abolitionists on the brink of eviction from a church; at their front is Frederick Douglass, declaring “the freedom of all mankind.”Homer, born into the Panic of 1837 and raised in the years before the Civil War, came of age in a nation in crisis. He created multivalent visual tales, both quintessentially American and quietly replete with narrative for and about people of all races and ages. Whether using pencil, watercolor, or, most famously, oil, Homer addressed the hopes and fears of his fellow Americans and invited his viewers into stories embedded with universal, timeless questions of purpose and meaning.Like his contemporaries Twain and Whitman, Homer captured the landscape of a rapidly changing country with an artist's probing insight. His tale is one of America in all its complexity and contradiction, as he evolved and adapted to the restless spirit of invention transforming his world. In Winslow Homer: American Passage, William R. Cross reveals the man behind the art. It is the surprising story of a life led on the front lines of history. In that life, this Everyman made archetypal images of American culture, endowed with a force of moral urgency through which they speak to all people today.Production NotesThis podcast featured William R. CrossEdited and Produced by Evan RosaHosted by Evan RosaA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

For this episode, Phil traveled to the wonderful Cape Ann Museum in New England while making 'Hopper: An American Love Story' and discussed William Meyerowitz's 'Gloucester Humoresque' with chief curator Martha Oakes.

Phil travels to the Cape Ann Museum in New England while making 'Hopper: An American Love Story' and discusses William Meyerowitz's 'Gloucester Humoresque' with chief curator Martha Oakes

Gloucester is celebrating what it considers its 400th anniversary next year.

Plus, we visit the Cape Ann Museum for a special 400th anniversary celebration, and the Concord Museum, which is celebrating the life of local ornithologist William Brewster.

Today on Boston Public Radio: Art Caplan begins the show by updating listeners on the latest in the pandemic, including why cases are on the rise in some parts of the country and how to have a safe Thanksgiving. Caplan is the Drs. William F. and Virginia Connolly Mitty Professor and founding head of the division of medical ethics at NYU School of Medicine in New York City. Then, we ask listeners their safety plans going into Thanksgiving as cases rise. Ali Noorani shares his thoughts on President Joe Biden's immigration policy, and updates listeners on the status of the evacuation from Afghanistan. Noorani is the president and chief executive officer of the National Immigration Forum. His forthcoming book is “Crossing Borders: The Reconciliation of a Nation of Immigrants.” Corby Kummer talks about how climate change could make food less nutritious and how New Mexican chiles made it to space. Kummer is the executive director of the food and society policy program at the Aspen Institute, a senior editor at The Atlantic and a senior lecturer at the Tufts Friedman School of Nutrition Science and Policy. Jared Bowen previews the latest in Boston's arts scene, including the play “The Last Five Years” and what's new at the Cape Ann Museum. Bowen is GBH's executive arts editor and the host of Open Studio. Sy Montgomery explains how turkeys went from being almost extinct to a common Thanksgiving favorite, and her favorite personality traits of whales. Montgomery is a journalist, naturalist and a BPR contributor. We end the show by broadcasting the news that the three men on trial in Georgia were found guilty of the murder of Ahmaud Arbery, and heard listener reactions to the verdict.

Grocery stores, restaurants - sometimes even street corners - remain full of masked faces. Gloucester's Cape Ann Museum to send out art supplies to residents of the region to make their own self-portraits.

Arun Rath speaks with Oliver Barker, director of the Cape Ann Museum in Gloucester, about a new memorial the museum is installing to remember those who've died from COVID-19.

Arun Rath speaks with Oliver Barker, director of the Cape Ann Museum in Gloucester, about a new memorial the museum is installing to remember those who've died from COVID-19.

Today on Boston Public Radio: We opened the lines to callers to hear their thoughts on Trump’s choice to not comply with House impeachment proceedings. Media maven Sue O’Connell discussed three LGBT descrimination cases that the Supreme Court heard on Tuesday. CNN analyst Juliette Kayyem discussed President Trump’s decision to pull troops out of northeast Syria, as well as the latest on the House impeachment inquiry. WGBH Executive Arts Editor Jared Bowen reviewed Trinity Rep’s production of “Prince of Providence,” as well as “Homer at the Beach,” a gallery of Winslow Homer paintings on display at the Cape Ann Museum. Listeners phoned in to discuss whether cell phones have any place in theaters and schools. Boston Globe columnist Alex Beam discussed his latest piece, which bemoans a new interior design trend:  Judging books exclusively by their covers and using them as decorative objects. Listeners phoned in to give their thoughts on reading in 2019.

March 21, 2019 at the Boston Athenæum. In the late 1860s, an ambitious New York illustrator – not yet recognized as an artist – made his first picture of the sea. Winslow Homer (1836-1910) was 33 years old, freshly back from France, and finding his way. Over the next 11 years Homer’s journey would take him to a variety of marine destinations, from New Jersey to Maine, but especially – and repeatedly – to Gloucester and other parts of Cape Ann, Massachusetts. It was on Cape Ann that Homer made his first watercolors, and where he learned his great calling: to be a marine artist. And it was there, in Gloucester in 1880, at the end of these 11 years, that he enjoyed the most productive season of his life, composing more than 100 watercolors of astonishing beauty. In August, 40 public and private collections will share some of Homer’s finest marine works at the Cape Ann Museum, in the heart of Gloucester, for the first close examination of the making of this great marine artist. Homer’s journey forever changed his life, and the art of his country. This exhibition – running concurrently with a complementary Homer exhibition at Harvard – will reveal new aspects of Winslow Homer, for the first time placing these paintings, drawings and even ceramic work in their rich geographic, cultural and historical settings. Hear the two curators of Homer at the Beach preview the exhibition on March 21st.

In 1883 fisherman Howard Blackburn was caught in a blizzard off the coast of Newfoundland. Facing bitter cold in an 18-foot boat, he passed through a series of harrowing adventures in a desperate struggle to stay alive and find help. In this week's episode of the Futility Closet podcast we'll follow Blackburn's dramatic story, which made him famous around the world. We'll also admire a runaway chicken and puzzle over a growing circle of dust. Intro: During Oxfordshire's annual stag hunt in 1819, the quarry took refuge in a chapel. With the introduction of electric light, some American cities erected "moonlight towers." Sources for our feature on Howard Blackburn: Joseph E. Garland, Lone Voyager: The Extraordinary Adventures of Howard Blackburn, Hero Fisherman of Gloucester, 1963. Louis Arthur Norton, "The Hero of Gloucester," American History 35:5 (December 2000), 22. "The Terrible Odyssey of Howard Blackburn," American Heritage 33:2 (February/March 1982). Peter Nielsen, "Howard Blackburn: Heroism at Sea," Sail, July 31, 2017. Matthew McKenzie, "Iconic Fishermen and the Fates of New England Fisheries Regulations, 1883-1912," Environmental History 17:1 (January 2012), 3-28. R. Guy Pulvertaft, "Psychological Aspects of Hand Injuries," Hand 7:2 (April 1, 1975), 93-103. Paul Raymond Provost, "Winslow Homer's 'The Fog Warning': The Fisherman as Heroic Character," American Art Journal 22:1 (Spring 1990), 20-27. "Ask the Globe," Boston Globe, Jan. 24, 2000, B8. Michael Carlson, "Obituary: Joseph Garland: Voice of Gloucester, Massachusetts," Guardian, Oct. 6, 2011, 46. Larry Johnston, "During a Struggle to Survive '83 Blizzard, a Sailor Becomes a Hero," Florida Today, June 21, 2006, E.1. Herbert D. Ward, "Heroes of the Deep," Century 56:3 (July 1898), 364-377. "Alone in a Four-Ton Boat," New York Times, June 19, 1899. "Passed Blackburn's Boat," New York Times, Aug. 11, 1899. "Capt. Blackburn at Lisbon," New York Times, July 21, 1901. Sherman Bristol, "The Fishermen of Gloucester," Junior Munsey 10:5 (August 1901), 749-755. Patrick McGrath, "Off the Banks," Idler 24:3 (March 1904), 522-531. John H. Peters, "Voyages in Midget Boats," St. Louis Republic Sunday Magazine, Dec. 11, 1904, 9. M.B. Levick, "Fog Is Still the Fisherman's Nemesis," New York Times, July 19, 1925. "Capt. Blackburn Dies," New York Times, Nov. 5, 1932. James Bobbins, "Two Are Rescued as Boat Capsizes," New York Times, Jan. 30, 1933. L.H. Robbins, "Out of Gloucester to the Winter Sea," New York Times, Feb. 12, 1933. Robert Spiers Benjamin, "Boats Dare Ice and Fog," New York Times, Dec. 22, 1935. Cape Ann Museum, "Captain Howard Blackburn, the Lone Voyager" (accessed July 1, 2018). Listener mail: Below the Surface. Kristina Killgrove, "You Can Virtually Excavate Artifacts From a Riverbed in Amsterdam With This Website," Forbes, June 30, 2018. "Home to Roost! Clever Hen Takes Flight and Opens a Glass Door After Eyeing Up Chicken Feed Inside," Daily Mail, June 30, 2018. Listener Sofia Hauck de Oliveira found this f on the Thames foreshore: This week's lateral thinking puzzle was contributed by listener James Colter. You can listen using the player above, download this episode directly, or subscribe on Apple Podcasts or Google Play Music or via the RSS feed at http://feedpress.me/futilitycloset. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

February 6, 2018 at the Boston Athenæum. In this richly illustrated talk, Georgia Barnhill sheds fresh light on the beloved American luminist painter and printmaker Fitz Henry Lane, the subject of her current exhibition, Drawn from Nature & On Stone: The Lithographs of Fitz Henry Lane at the Cape Ann Museum. Barnhill, curator emerita of graphic arts at the American Antiquarian Society, considers Lane’s work within the context of his contemporaries, Benjamin Chimney, Robert Cooke, Benjamin F. Nutting, Robert Salmon, David Claypoole Johnston—among others and explores his deep association with the Boston Athenæum, where the artist first exhibited in 1841.