Return to Humboldt Park

Posted on November 18, 2015 by admin

Another place we went on Saturday — which I suspect will be the last warm Saturday of the year — was Humboldt Park, one of Chicago’s major parks. The last time I was there, summer was ending, but it was still summer. In mid-November, the park’s a different place, one of autumnal gray and brown and smidgens of green.

There are still a lot of birds around. Ducks and geese mostly, still foraging in the unfrozen waters.

Near the park’s Boat House is a dead tree refashioned into artwork: “Burst” by Mia Capodilupo (2014). A ex-locust tree plus hose, rope, extension cord, and fabric.

According to WTTW, it’s one of a number of such transformations citywide: “The Chicago Park District has teamed with a local sculptor’s group to turn trees that were condemned into public art. The stay of execution for the mighty elms, ash and locust trees is also an opportunity for artists to make a very public impression.”

Not far from “Burst” is a more traditional kind of park art, a statue of explorer Friedrich Wilhelm Heinrich Alexander von Humboldt. I saw it last year but couldn’t make an image.

Note the globe behind him. There’s an iguana back there, too. WBEZ reports: “[Humboldt Park] was laid out in 1869. The statue arrived in 1892, the work of Felix Görling. It was paid for by German-born brewer Francis Dewes, who was also responsible for a flamboyant mansion on Wrightwood Avenue.

“When the statue was erected, the neighborhood around it was heavily German. The Poles later settled in, and for many years Humboldt Park was the site of the Polish Constitution Day Parade. Then the Poles moved on and were succeeded by the Puerto Ricans… One of the park’s roadways is now named for Luis Munoz Marin — the first elected governor of Puerto Rico.”

The 18th Street Station, Pink Line

Posted on November 17, 2015 by admin

En route to the National Museum of Mexican Art on Saturday, I passed through the 18th Street Station of the CTA’s Pink Line. A number of El stations feature public art, but 18th Street, which serves the Pilsen neighborhood, is lavishly decked out.

According to Chicago-l.org, which has detailed information about many aspects of Chicago’s elevated and subway system, the 18th Station “features two art installations contributed by members of the local Hispanic community, both installed under the auspices of the CTA’s Adopt-a-Station Program.”

The first is a mosaic mural on the exterior of the station on the east side of the entrance, installed soon after the station opened in the early 1990s (the current station replaced a earlier one dating from the 1890s). I didn’t see that mural this time, since I headed westward to visit the museum.

In 1998, local artist Francisco Mendoza and the Mexican Fine Arts Center Museum (now the National Museum of Mexican Art), along with the city-run youth art program Gallery 37, created a second art installation at the station, notes Chicago-l.org. “Art teacher Mendoza enlisted his students at Gallery 18, a satellite program of Gallery 37, along with anyone else in the neighborhood who could paint to create colorful murals throughout the station.”

That’s what I saw. Since CTA platforms now feature screens that estimate the arrival time of the next train — a very handy use of information tech, I believe — I had time to wander around the station and take pictures. Such as of the painted stairwells.

“Concentrated largely on the platforms and in the stairwells between the station house and platforms, the artwork covers any solid surfaces that could be utilized, including the lower panels on the side walls on the west platform and the full-height walls on the east platform under the platform canopy, and the walls, window and wall framing, and risers in the station stairwells.”

The station could look like an ordinary metal-and-concrete facility, but the painting makes it distinctive. It’s a good example of being someplace, rather than just anyplace.

The National Museum of Mexican Art’s 2015 Day of the Dead Exhibition

Posted on November 16, 2015 by admin

In January 1990, when I knew I was leaving Chicago and not sure I’d ever move back, I spent some time visiting local places I hadn’t gotten around to. That included a few smaller museums, such as the DuSable Museum of African-American History, the Balzekas Museum of Lithuanian Culture, and what was then known as the Mexican Fine Arts Center Museum. Now it’s the National Museum of Mexican Art, but the museum is still located in Harrison Park in the Pilsen neighborhood of Chicago. I made it back there on Saturday for first time in 25 years.

Mainly I wanted to see the museum’s notable Día de los Muertos exhibit, which it mounts every October through December. Who can resist colorful skulls, in two and three dimensions?

But there was much more. “Come celebrate the Day of the Dead with the works of over 90 artists of Mexican descent from both sides of the border,” the museum web site notes. Among other works, “thirteen ofrendas and installations were created to remember distinguished artists and members of the community alike. Folk art, paintings, and sculptures comprise the largest annual exhibition of Day of the Dead in the U.S.”

The ofrenda (“offering”) consists of objects arrayed on a ritual altar for the Day of the Dead, to honor someone who has died. The one that really caught my attention was for El Santo of Lucha Libre fame.
The title of the ofrenda in full: “Santo in the World of the Dead: Altar to the Silver Masked Wrestler/Santo en el mundo de los muertos: ofrenda al enmascarado de plata,” by Juan Javier and Gabrielle Pescador of Michigan.

I had only the vaguest notion of El Santo, so I read more about him: Rodolfo Guzmán Huerta (1917-1984), one of the biggest stars of Lucha Libre. It’s too bad that some of his many movies, dubbed clumsily in English, didn’t show up on Saturday afternoon TV when I was young. Such as Santo vs. las Mujeres Vampiro, a poster for which is part of the ofrenda. After all, we did get the likes of The Robot vs. the Aztec Mummy on English-language TV in ’70s San Antonio.

Not to worry, in our time the original version of Santo vs. las Mujeres Vampiro is posted in its entirety on YouTube. If you watch it, and maybe a few other Santo clips, you might start getting YouTube commercials in Spanish, which I find easier to ignore.

(Something that made me smile from the Wiki entry on The Robot vs. the Aztec Mummy: “The movie shows a notable lack of awareness of Mesoamerican civilizations…” There’s a shocker.)

Another large ofrenda was for a woman in a rather different walk of life, though a public persona all the same: Irene C. Hernandez (1916-1997), who was on the Cook County Board of Commissioners from 1974 to ’94.
The work was created by a number of artists, including students at Irene C. Hernandez Middle School in Chicago. A lot of skeletons have their parts to play.
Other ofrendas and installations honored the likes of Anthony Quinn, Selena, Brooklyn artist Ray Abeyta, and notable Chicagoans like Soledad “Shirley” Velásquez. Considering that the theme is death, they’re remarkably life-affirming.

Prague 1994

Posted on November 8, 2015 by admin

Earlier this year, when I read about Prague in Patrick Leigh Fermor‘s A Time of Gifts, I found myself wondering, did I really visit the same city as he did? The answer is yes and no. He was there in 1934. I was there in 1994. That makes a considerable difference. But more importantly, he had a sharper eye for detail than I did, than I ever could hope to, and was informed by a better education and an all-around aptitude for the road.

But at least I’d heard of the Second Defenestration of Prague, which made it a really cool moment when we saw the window from which it happened.

And I knew about the Golem. Or at least the concept. So I was interested in Prague to pick up Golem by Eduard Petiška, a Czech author and poet in a country that seems to take its poets seriously (and who managed to have an asteroid named after him). The book is his own telling of the various stories about Rabbi Loew of Prague and the creature he created to protect the Jewish population of the city. What is it about the Czechs and automatons? After all, another Czech author, Karel Čapek, gave the world the word robot.

Speaking of authors from Prague, we also made our way to one of the places where Kafka lived. It’s the little blue-hued structure on this pedestrian street. At the time you could buy his works inside. Probably that’s still true.

Kafka seems to be fairly well known in Japan, which might be something of a surprise, except when you consider the Kafkaesque elements of a salaryman’s life. Anyway, Yuriko was familiar with him.

And why is it always Kafkaesque? Guess Kafka-ish or Kafka-like or Kafka-oid don’t convey that sense of dread in the face of anonymous, malevolent functionaries.

The Waxahachie City Cemetery

Posted on November 3, 2015 by admin

Jay and I passed through Waxahachie in Ellis County, Texas, on October 22, and besides visiting the handsome Nicholas P. Sims Library for a little while, we also spent a few minutes at the Waxahachie City Cemetery a short distance away.

According to a Texas Historical Commission marker on site, “the first burial here occurred on Jan. 1, 1852, after the death of pioneer merchant Silas Killough (b. 1805), one of the founders of this community. The original 4.16 acre tract was given in 1858 to trustees of the Methodist church by Emory W. Rogers (d. 1874), who was Waxahachie’s first settler (1846) and donor of land for the townsite. About 1900, the cemetery was transferred from church to municipal jurisdiction. By gifts and purchases of additional land, the site has grown to 65 acres and contains about 10,000 graves.”
It had been dry in this part of Texas since a wet early summer, so the cemetery was rich in earth tones in October ahead of the massive rains that fell over the next few days.

Not the most ornate cemetery or the shadiest one, but a nice small-town Texas boneyard, something like the one I saw in Flatonia, Texas a half-dozen years ago, and not as tumbledown as the old San Antonio cemeteries I saw earlier this year.

Waco Mammoth National Monument

Posted on November 2, 2015 by admin

In July, using his authority under the Antiquities Act of 1906, President Obama created three new national monuments on the same day, including ones in California and Nevada, but also Texas. In a place I pass through sometimes: Waco. The new Texas monument is the five-acre Waco Mammoth National Monument, though it’s been open to visitors since 2009.

The Washington Post notes that the “Waco Mammoth in Texas ranks as a major paleontological site, featuring well-preserved remains of 24 Columbian Mammoths. The mammoths date back more than 65,000 years, and the site includes the nation’s first and only recorded discovery of a nursery herd of mammoths.

“Rep. Bill Flores (R-Tex.) has sought to make the area a national monument through legislation, and the site has been developed and protected by the National Park Service, the City of Waco, Baylor University, and the Waco Mammoth Foundation.”

Jay and I arrived on the afternoon of the October 22, just in time to catch up with a tour of site — which is the only way to get into the locked building built over the diggings. The structure protects the fragile relics from the elements and wankers who would steal them.
Inside the building is a wide walkway overlooking the diggings, with a few paintings to illustrate Columbian mammoths, who were not the better known cold-habitat woolly mammoths. Columbians were better suited to warmer weather, and Texas had a warmer climate even then.
Our guide, an affable young woman, told us about the diggings and the bones, using a laser pointer. The archaeological consensus is that floods trapped and drowned the luckless beasts. On view in situ are whole or nearly whole skeletons, including skulls, tusks, teeth, vertebrae, ribs, femurs and more.
In our time, the first of the bones were only discovered in 1978, having been in the ground for between 65,000 and 72,000 years. A lot of the bones are now stored at the Mayborn Museum Complex in Waco, which is part of Baylor University. Other animals uncovered in the area included a Western camel (Camelops hesternus), dwarf antelope, American alligator, giant tortoise, and the tooth of a juvenile saber-toothed cat.

White Rock Lake, Dallas

Posted on October 29, 2015 by admin

The State Fair of Texas was interesting, but before long you get tired of crowds. Such as in the main indoor food court of the fair.

On October 19, a very warm afternoon, I sought out someplace a little less crowded: White Rock Lake.

Less crowded with humans, that is. There were plenty of birds and some insects, too. The manmade White Rock Lake in northeastern Dallas, created by damming White Rock Creek in the early 1910s to supply water to the city, covers 1,015 acres. These days it’s for recreation. All around the lake is a city park, White Rock Lake Park, which includes a nine-plus mile track around the water, boating ramps, a dog park, picnic areas, and the Bath House Cultural Center.

This is the back of the Bath House, facing the lake. As the name implies, it used to be a bath house that served a beach on White Rock Lake, but swimming has been prohibited on the lake for decades. The building, originally built in 1930, was renovated in 1980 and now offers exhibits by artists and holds various concerts, workshops, lectures and other events. Since I visited on a Monday, it was closed.

White Rock Lake has a long and varied history. For instance, I’ve heard that the lake, and the White Rock Lake Pumphouse, were featured in the low-budget Mars Needs Women (1967), which was shot in Dallas. I’m not sure I’ll ever be in the right frame of mind to watch that movie, but who knows.

I’ve seen the pumphouse before, but I wasn’t close by this time. Mainly I walked on the walking-jogging-cycling path near the edge of the water.

On October 12, somewhere along the path around White Rock Lake, a jogger named Dave Stevens was murdered, apparently at random, by a lunatic armed with a machete. Seems that the perpetrator was known to be mentally ill, but not violent. While walking on the same path a week later, you try to puzzle that one out, but of course it can’t be puzzled out. Death just shows up. The crime had a sad coda a few days ago: the victim’s wife seems to have committed suicide.

To avoid ending with a sad story, I turn to Sol Dreyfuss Memorial Point, a small rise near the lake. At the foot of the rise is a short wall, and on the wall is a plaque. That was my cue to stop and read it, take a picture, and later find out about it.

According to the Texas State Historical Association: “Sol Dreyfuss, merchant, was born on August 12, 1885, in Dallas, the son of Gerard and Julia (Hurst) Dreyfuss. His father, a native of France, owned several chains of stores before Sol’s birth, including one with his wife’s father founded in 1879 and called Hurst and Dreyfuss… On August 11, 1910, the doors opened to the first Dreyfuss and Son clothing store, a one-story building on Main Street. By 1950, at the time of Dreyfuss’s death, the store was a six-story building at Main and Ervay streets.”

Besides being a merchant, “Dreyfuss owned the Dallas Baseball Club from 1928 to 1938, when the team was known as the Steers. He was a director of Hope Cottage. He was active in the Community Chest and Red Cross and was a member of the Salesmanship Club, the Citizens Charter Association, the Lakewood Country Club, the Columbian Club, and B’nai B’rith. He was also on the board of directors of both the Republic National Bank and the Pollock Paper Company.” No wonder he had a lot of friends.

Hall of State, Fair Park

Posted on October 28, 2015 by admin

At one end of the Fair Park Esplanade is the Hall of State, a stately hall indeed. “The Hall of State, a museum, archive, and reference library, was erected in 1936 at a cost of about $1.2 million by the state of Texas at Fair Park in Dallas to house the exhibits of the Texas Centennial Exposition and the Greater Texas and Pan-American Exposition of 1937,” explains the Texas State Historical Association.
“The structure, designed by eleven Texas architects, is characterized as Art Deco… The front is 360 feet long, and the rear wing extends back 180 feet… The walls are surfaced with Texas limestone. A carved frieze memorializing names of historical importance encircles the building. Carvings on the frieze display Texas flora.”

I went inside for a look, and soon was face-to-face — or maybe face-to-plinth — with six statues of early Texas luminaries: Stephen F. Austin, Sam Houston, Mirabeau B. Lamar, James Fannin, Thomas J. Rusk, and William B. Travis. Here’s Lamar (1798-1859), second president of the Republic of Texas, among other things.
Pompeo Coppini did the sculptures. I’d run across his work before at the Texas State Cemetery in Austin. If it’s a monumental sculpture in Texas done in the early to mid-20th century, odds are he did it.

Then I entered Great Hall.
The TSHA again: “The Great Hall, or the Hall of the Six Flags, in the central wing, has a forty-six-foot-high ceiling. Murals on the north and south walls depict the history of the state and its industrial, cultural, and agricultural progress. These were painted by Eugene Savage of New York.” I’d run across him before as well.

During my visit, the Great Hall happened to be sporting an exhibit about Texas musicians, and I will say that I learned that Meat Loaf was from Dallas, something I didn’t know. Actually I didn’t know much about many of the Texas musicians mentioned in the exhibit, such as various bluesmen and Western swing players and Tejano bands.

On the back wall of the Great Hall is a gold-leafed medallion with the Lone Star emblem of Texas surrounded by representations of the six nations whose flags have flown over the state.
The United States and the Republic of Texas are at the top; the Confederacy and Mexico in the middle; and France and Spain on the bottom. The six together are a persistent theme in symbolic representations of modern Texas.

A Stroll Down the Fair Park Esplanade

Posted on October 27, 2015 by admin

My afternoon at the State Fair of Texas wasn’t the eat-it-now experience that the Wisconsin State Fair was. I ate two things: a fried chocolate pie like the kind to be found near the Texas-Oklahoma border, and a cheese and jalapeño corn dog, the best corn dog I’ve had in years, maybe ever. It’s the thing to eat at the fair, which is one of the claimants for introducing the food to the world.

Mostly I looked around. I spent some time in the animal barns, for example.

I missed the pig races, but I did see some riding acrobatics.

I also saw a temporary exhibit at the former Museum of Nature & Science, which left Fair Park a few years ago to become the Perot Museum of Nature and Science. The exhibit was called Canstruction, featuring structures made of cans. Such as “Big Reunion,” a model of Dallas’ Reunion Tower by JHP and RLG, two Dallas architecture firms, made out of 3,064 cans — carrots, spinach, mixed vegetables, tomatoes, and beans — plus wiring and LED lights (all that info is on the sign).
I liked this one too.
“St. Basil’s Cathedral, Moscow,” by Humphreys & Partners Architects, using 2,090 cans: corn, jalapeños, tomato sauce, chilis, and mandarin oranges, among others.

I also got a good look at Fair Park itself, one of the deco marvels of the world. I’d been to the park before, but barely took the opportunity to walk around and gawk at the likes of this.
That’s the South Entrado of the Centennial Building, featuring a statue of the Republic of Texas, complete with the lone star and cotton flower. It’s part of Fair Park’s grand Esplanade, with buildings and sculpture on either side of a long reflecting pool. There are six monumental statues along the Esplanade.
Fairpark.org says of the Esplanade that “the principal axis of the Texas Centennial Exposition was developed along the existing layout of the State Fair grounds. [Head architect] George Dahl strengthened the formal axis by adapting existing, unrelated State Fair exhibition halls with new, monumental facades and projecting porticos on each side of a 700-foot-long reflecting pool.

“The porticos establish the visual framework of the Esplanade and accentuate the grand perspective leading up to the Hall of State. Monumental artwork deftly combines with additional site features to complete the visually complex – and dramatic – spectacle.”

Each of the six statues represents the six nations that have asserted sovereignty over Texas or parts of it — what the Six Flags Over Texas refers to — namely Spain, France, Mexico, the Republic of Texas, the Confederacy, and the United States. France, Mexico and the U.S. were by Raoul Josset, a French sculptor (remarkable how many Euro-sculptors were active in Texas), while Spain, the Republic, and the C.S.A. were by Lawrence Tenney Stevens.

The Esplanade also featured a lot of murals, such as this bas relief mural by Pierre Bourdelle. This was one entitled “Man and Angel.” One source tells me it symbolizes air transport. It’s one of many murals along the Esplanade, each about three stories high.

At the eastern end of the pool are two large figures, the striking David Newton replicas of Lawrence Tenney Stevens’s 1936 sculptures, “The Tenor” and “The Contralto.” The originals were lost, maybe melted down for their metal during WWII, but exact replicas were created in 2009.
As I was taking pictures of “The Contralto,” a group of boys came up to the statue. “Hey, is that a chick?” “Yeah, that’s a chick.” Some laughter. Yep, it’s an aluminum deco chick, companion to the aluminum deco dude nearby.

The State Fair of Texas 2015

Posted on October 26, 2015 by admin

Since I happened to be in Dallas during the State Fair of Texas this year — which is held in October, because August would be insane considering the high heat — the thing to do was attend the State Fair of Texas. Especially since I’d made it to the Wisconsin State Fair not too long ago. I took the No. 60 bus to Fair Park and spent the afternoon of October 16 at the fair.

The event has it origins in the late 19th century as a moneymaking venture, but according to the Handbook of Texas online, “the Texas legislature banned gambling on horse races in 1903, thereby eliminating the fair’s main source of income, the association faced a financial crisis. To protect this valuable community asset, the Texas State Fair sold its property to the city of Dallas in 1904 under an agreement that set aside a period each fall to hold the annual exposition.”

Sounds like one time to visit would have been not long after that: “President William Howard Taft visited the fair in 1909, and Woodrow Wilson delivered a speech in 1911. Automobile races and stunt flying exhibitions became the top attractions. Attendance passed the one million mark in 1916.”

More was to come. “In 1934, largely through the efforts of civic leader R. L. Thornton, Fair Park was selected as the central exposition site for the proposed Texas Centennial celebration. No state fair was scheduled in 1935, and construction began on a $25 million project that transformed the existing fairgrounds into a masterpiece of art and imagination. The 1936 Texas Centennial Exposition attracted more than six million people during its six-month run.”

My mother, who turned 11 that year, went to the Centennial Expo with her family, coming from South Texas. Separately, my father, who was 13, attended with members of his family (not sure which ones), coming from Mississippi. It was a big to-do.

Robert Lee Thornton (1880-1964), a banker who also did stints as the president of the State Fair and as mayor of Dallas, is now a bronze in Fair Park.

His plaque says: For more than forty years an inspired leader and a powerful force in the development of the city he loved from village to great metropolis.

Mayor Thornton’s not the best known statue of the fair. That distinction belongs to Big Tex.
The figure’s been at the fair since 1952, standing at more than 50 feet and weighing three tons, held up by a cage-like skeleton of 4,200 steel rods. Originally a giant Santa Claus in the town of Kerens, Texas, he was remodeled for the fair to wear cowboy duds, including a “75 gallon” hat, though the details of his clothes have changed over the years. A voice appears to come from his mouth, extolling the amusements of the fair.
Big Tex is a popular fellow. A lot of people besides me were taking pictures of him.

Along with selfies with Big Tex in the background.
Two years ago, he caught fire and burned up while the fair was on.

I’m a little sorry I missed that. The one I saw this month is, of course, a phoenix of a Big Tex, rebuilt because the show must go on.

Been There, Seen That

By Dees Stribling

Category Archives: Been There