MU­RALS

Baltimore Sun Sunday - - TRAVEL -

hair and the Phillips pack­ing plant, where many res­i­dents worked.

The mu­ral also promi­nently fea­tures sev­eral no­table ac­tivists. Glo­ria Richard­son, who or­ga­nized lo­cal ac­tions dur­ing the Civil Rights Move­ment and ex­plained struc­tural racism to At­tor­ney Gen­eral Robert F. Kennedy, speaks into a mi­cro­phone. Com­mu­nity health pi­o­neers Dr. J. Ed­win Fas­sett and Nurse Max­ine McGee treat an in­fant. The face of Harriet Tub­man (more on her later) an­chors the cen­ter. Rosato in­ter­sperses these im­ages with those of the ev­ery­day he­roes—a track run­ner, farmer and Tuskegee Air­man among them—that typ­ify this com­mu­nity’s en­dur­ing re­silience.

Lo­ca­tion: By the cor­ner of Mary­land Av­enue and US 50, Cam­bridge

‘Goose on the Ca­boose’

Hordes of Cana­dian geese visit the East­ern Shore’s ex­ten­sive wet­lands ev­ery Oc­to­ber, like clock­work. Many denizens see them as a noisy and dis­gust­ing nui­sance. Some hunt them for their meat. Rosato cre­ated “Goose on the Ca­boose,” lo­cated steps away from Cam­bridge Creek and Port­side Seafood Restau­rant, with a hap­pier story in mind.

“In Mich­ener’s ‘Ch­e­sa­peake,’ there’s a story of a fa­ther and his two sons,” he said. “He takes his kids out out­side, be­cause it’s Oc­to­ber, and he says, ‘To­day’s the day they come. And to­day, we’re not go­ing to shoot them. They’re al­lowed to come in and eat on my fields and har­vest, and we’re go­ing to en­joy the fact that we’ve been given one more year of these ma­jes­tic birds com­ing to visit us, and they won’t be shot—to­day.’ That doesn’t mean he’s not go­ing to go out and feed his fam­ily even­tu­ally, but to­day he al­lowed them in.”

The mu­ral’s name ref­er­ences the red train car on which it sits. To cre­ate the im­age of a goose al­most flap­ping be­yond the fourth wall, Rosato used a tech­nique called “trompe l’oeil,” French for “trick­ing the eye.” He em­ployed this vis­ual de­cep­tion in sev­eral other works along the mu­ral trail, in­clud­ing the most fa­mous and re­cent in­stall­ment.

Lo­ca­tion: Pow­ell Real Es­tate, 200 Tren­ton St., Cam­bridge

‘Take My Hand’

‘Take My Hand’: ‘Big Bird’: shads, a fish that vis­its the re­gion ev­ery year to spawn. “The oys­ters, the crab, the reeds com­ing down to the wa­ter— it’s all based on the land­scape, the fauna, the bounty of the bay.”

Lo­ca­tion: J.M. Clay­ton’s, 108 Com­merce St. (or the draw­bridge near Mary­land Av­enue and Acad­emy Street for a fuller view), Cam­bridge

‘East New Mar­ket’

The rest of the mu­ral trail takes trav­el­ers out of Cam­bridge and fur­ther into the East­ern Shore, start­ing with a pair of mu­rals in East New Mar­ket.

One such mu­ral, which uses trompe l’oeil so vis­i­tors can “feed” a horse, shows In­dige­nous peo­ples of the Nan­ti­coke tribe trad­ing with colo­nial set­tlers. Turn around and gaze across the street for the sec­ond mu­ral, which de­picts an­other era in the re­gion’s his­tory—and one of the East­ern Shore’s most fa­mous res­i­dents.

“It shows the old East New Mar­ket and the church that was very in­stru­men­tal in bring­ing the en­slaved peo­ple over and get­ting them go­ing on the Un­der­ground Rail­road, as well as es­tab­lish­ing them once they were eman­ci­pated,” Rosato said. “It’s not a story of East New Mar­ket as much as one of the East­ern Shore, as Fred­er­ick Dou­glass was from Tal­bot County, but he’s in there, as a free man walk­ing.”

Lo­ca­tion: Main Street and Rail­road Av­enue, East New Mar­ket

‘Na­tive Amer­i­can Life’

JERRY JACK­SON/BAL­TI­MORE SUN PHO­TOS

The mu­ral is lo­cated on the side of the Harriet Tub­man Mu­seum & Ed­u­ca­tional Cen­ter in down­town Cam­bridge.

The Vi­enna Com­mu­nity Cen­ter fea­tures a time­line of lo­cal his­tory, be­gin­ning with Na­tive Amer­i­can cul­ture through to the time of colo­nial set­tlers.

A great blue heron feast­ing on a blue crab feast adorns the side of J.M. Clay­ton’s Seafood on Cam­bridge Creek.

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