Goya at the Meadows Museum

Posted on November 19, 2014 by admin

Last Saturday, Jay and I visited the Meadows Museum on the SMU campus. We got in for free because it was homecoming weekend. Even though Jay had no interest in attending any official reunion events – he’s SMU Class of ’74 – he got one of the benefits of being an alum on this occasion: two free admissions to his particular museum.

Meadows specializes in Spanish art. I borrow from Wiki because I’m lazy: “[The museum] houses one of the largest and most comprehensive collections of Spanish art outside of Spain, with works dating from the 10th to the 20th century. It includes masterpieces by El Greco, Velazquez, Ribera, Murillo, Goya, Miro, Sorolla, and Picasso. Highlights of the Meadows Collection include Renaissance altarpieces, monumental Baroque canvases, rococo oil sketches, polychrome wood sculptures, Impressionist landscapes, modernist abstractions, a comprehensive collection of the graphic works of Goya, and a select group of sculptures by major twentieth-century masters…”

The graphic works of Goya. Such as the famed “The Sleep of Reason Brings Monsters.”

Along with some truly weird images as well.

I was glad to see them. Austin shouldn’t have all the weird. Dallas needs a little too.

The National September 11 Memorial Museum

Posted on October 29, 2014 by admin

I didn’t realize it until later, but the National September 11 Memorial Museum, which is mostly underneath the former site of the World Trade Center Towers, only opened in May of this year, as opposed to the memorial, which opened in 2011. You access the museum through timed tickets. I thought it was worth visiting, but I’ll also say this: $24 is too much for any museum, regardless of subject or newness. If I hadn’t been traveling alone, and had to spend nearly $100 just to get my family in, I wouldn’t have gone, though I might have sent my children, who aren’t old enough to remember that day.

I was in the 2:30 pm line on October 10. A lot of other people entered at the same time. From the daylight at ground level, it’s something like entering a cave by walking down a wide ramp. That seemed a little odd at first, but I came around to the idea later, when I noticed signs in various parts of the museum telling me where I stood in relation to the towers, both in vertical and horizontal terms, such as Where You Are Standing Now was in the SE Corner of the North Tower, Third Basement Level (I’m making that up to illustrate the point). There would also be a graphic illustration to help you understand your position. Somehow it seemed important to know that. The space created for the museum used to be the foundation level of those behemoths.

The exhibits cover the building of the towers, their few decades of existence, their destruction, rescue efforts, the excavation, and the rebuilding, among other things. There are tributes to the first responders and the other victims, and displays about the attack on the Pentagon, and Flight 93, and the 1993 attack on the towers (the six victims of that incident are memorialized here, too, as they are at the above-ground memorial).

Much of the material was familiar, but a lot wasn’t. I was interested to learn, for instance, about Radio Row, the nickname of the Manhattan commercial district bulldozed in the 1960s to make way for the World Trade Center redevelopment (local property owners fought the eminent domain taking but lost). Some of images were arresting. Someone, for instance, made a video of the towers early in the morning of September 11, 2001, just after sunrise from the look of it, and it plays on one of the museum walls. Late summer Lower Manhattan was just minding its own business that morning.

Like any good history museum, the National September 11 Memorial Museum sports artifacts. An entire wall is an artifact: the Slurry Wall, built originally to keep the Hudson River from leaking into the lower levels of the tower, and the focus of much concern after the attacks. Namely, would it hold, or would an inundation add to the woes? It held. Part of it forms one of the walls of the museum, rising a few stories.

There’s also a staircase remnant, the Vesey Street Stairs. A lot of people escaped using those stairs, which survived the collapse, but were damaged during the excavation. They were installed between another staircase and an escalator that lead down into the main exhibit floor.

Twisted girders speak of extreme violence. These are from above the 90th floor of the North Tower, near the area that absorbed the impact.

I wasn’t sure what this was until I read the sign. It was once a section of the antenna on the North Tower.

One of the fire engines destroyed by falling debris.This artifact wasn’t moved into location. It is what’s left of one of the box columns that used to support the buildings, so in a real sense the museum was built around it and the others like it. The North Tower had 84 of them, the South Tower 73.

The museum wasn’t just about the history of the event or the wreckage. An interior room (“In Memoriam”) had four walls covered with faces of the dead, arrayed in rows, with their names. Computer consoles allow you to look up a biographical sketch for any name on the wall. I looked up a few at random, and picked the most unusual name I found on the wall and made a note of it. I have a fondness for unusual names, after all.

I picked Ricknauth Jaggernauth. A fellow originally from Guyana, as it happened. The following is the entirety of his profile in the NYT in October 2001.

“Every day when he came home to Brooklyn from his construction job, Ricknauth Jaggernauth would grab a beer and sit in his front yard, and play with his grandchildren and other neighborhood children until it was time for dinner. ‘My father was a happy, loving, giving man,’ said his daughter Anita, 31. ‘He loved to talk to young people about their lives and about how important it was to get a good education.’

“He would have only one or two beers, but his wife, Joyce, teased him and called him ‘drunkie grandpa,’ a nickname the children used for him. He came here from Guyana 19 years ago, and worked for a company that was renovating offices in the World Trade Center. The day it was attacked, they were working on the 104th floor of the first tower.

“Mr. Jaggernauth, 58, planned to retire in two years and wanted to visit his homeland. He had five children and three grandchildren, and all lived together in the family’s two-story house on Pennsylvania Avenue. His daughter said that if his body is recovered, the family will have a traditional Hindu funeral for him. ‘It’s what he did for his own mother,’ she said.”

The National September 11 Memorial

Posted on October 28, 2014 by admin

I knew that the centerpieces of the National September 11 Memorial were the footprints of the World Trade Center towers, and that some kind of pools had been built there. But I hadn’t followed the design or construction very closely.

So I wasn’t prepared for the square black pools with water cascading far down all four sides, down to another, smaller square into which the water seemed to vanish. Or the rows of trees canopying the grounds. Or the people on all sides, looking down into this metaphoric void. Or the names of the dead, etched in black on the parapets around the waterfalls. It was a place to stand and look.

And take photographs.

I understand that an organization puts flowers on the names of victims on their birthdays. So October 10 was James Andrew Giberson’s birthday. He was a fireman who lived on Staten Island, belonging to Ladder 35 in Manhattan, and last seen entering Tower 2.

The Brooklyn Museum

Posted on October 21, 2014 by admin

The Brooklyn Museum looks like it could have been at the 1893 Columbian Exposition, and there’s a good reason for that. It’s a Beaux-Arts building from about that period – bright white, domed, columned in front, complete with a pedimental triangle filled with statuary — designed by McKim, Mead and White, who also did one of the important buildings at the fair (the Agricultural Building), though not one that survived. Anyway, it looks like an art palace. And that’s what it is, coming in at 560,000 square feet and holding a collection of 1.5 million works.

In a lot of other places, it would be a top-dog art museum in town. As it is, the Brooklyn Museum competes for attention with the likes of the Met and MoMA. For casual visitors, that’s an advantage. The museum wasn’t nearly as crowded as those big boxes in Manhattan and, for that matter, not as expensive to get in. The art’s also just as interesting.

I’m not very methodical when it comes to large museums. Or small ones either. I go in, wander around, maybe consult a map, or recall what I’ve heard about the place, and look at whatever strikes me as worth looking at. That’s usually a lot of things. So I took a two-and-a-half-hour whack at the Brooklyn Museum on October 11.

Of course all you’ll get that way is a small sample. The museum has collections of American, European, African, Islamic, Pacific Island, Asian, contemporary, and decorative art; a large collection of Egyptian, Classical, and Near Eastern works; photography; the Elizabeth A. Sackler Center for Feminist Art; The Steinberg Family Sculpture Garden; and special exhibits, such as the one when I visited on the art of the high-heel shoe (I missed it). I spent the bulk of my time in the European collection and the Egyptian rooms, though I passed through a fair number of other galleries.

It’s good to wander a sizable museum sometimes, just to be reminded that the human urge to create art is strong, and just about universal. Besides, even a small sample – if the museum is any good – offers a lot.

Such as two enormous, arresting canvasses by Vasily Vereshchagrin (1842-1904), “Resting Place of Prisoners” and “Road of the War Prisoners,” which hang on a third floor wall within sight of that floor’s elegant dome room, along with other Russian works. One depicts prisoners grouped together in the middle of a blizzard; the other, a road littered with the frozen dead.

The museum describes the latter this way: “In the winter of 1877, while working as a war correspondent, [Vereshchagrin] witnessed thousands of Turkish prisoners freezing to death while being marched to Russian war camps…The openly antiwar “The Road of the War Prisoners” was rejected for the czar’s collection, but Vereshchagin finally sold both canvases displayed here in 1891 to collectors in New York still reeling from the horrors of the American Civil War.”

Not far away, and less grim, was a fine portrait, “Old Trombola” by Boris Gregoriev (1886-1939). “In Old Trombola, Grigoriev heightens his sitter’s emotional state by emphasizing his intense gaze and exaggerating the sculptural qualities of his weathered hands and face,” the museum notes. “Grigoriev later wrote, ‘I have been watching and studying the Russian people for many years … and these paintings are the fruits of my observations.’ ”

Besides the Russians, the European collection had plenty else, such as a self-portrait by Gerrit Dou (1613-1675) that, according to the museum, has only recently been identified as genuinely his. In storage since 1945, it was returned to display in 2014.

Naturally, I spent a good chunk of the visit in the mostly Egyptian wing. Not my favorite part of Antiquity, but always worth a look. It’s billed as one of the largest collections of ancient Egyptian art in the U.S., and I believe it: room after room of statues and other sculptures, friezes, papyri, pots, jewelry, tools, and of course sarcophagi and mummies. My favorite name among the items I saw – so delightful I wrote it down – was the Cartonnage of Nespanetjerenpere, which besides having a good name, was a handsome work.

The museum’s been at Egyptology for more than a century now. “The Brooklyn Museum’s collection of ancient Egyptian art, one of the largest and finest in the United States, is renowned throughout the world,” it asserts. “The Museum began acquiring Egyptian antiquities at the beginning of the twentieth century, both through purchases—such as a group of Egyptian objects collected by Armand de Potter in the 1880s—and through archaeological excavation. [Back when the getting was good, in other words.] Between 1906 and 1908, the Museum sponsored an expedition that dug at very early sites in southern Egypt and brought back numerous objects of historical and artistic value.

“Between 1916 and 1947, the Brooklyn Museum acquired the important collection formed by the pioneer American Egyptologist Charles Edwin Wilbour (1833–1896), which included many types of Egyptian antiquities, from fine works of statuary and relief to unique documents written on papyrus. In addition to his collection of objects, Wilbour’s heirs also donated his professional library to the Museum and established a financial endowment in his memory. The Charles Edwin Wilbour Fund made possible the establishment of both the Wilbour Library of Egyptology, one of the finest Egyptological libraries of its kind anywhere in the world, and a curatorial department for ancient Egyptian art.”

Wow, an Egyptological library right here in the USA. Egypt might not be my favorite, but how cool is that?

Everywhere a Sign

Posted on October 1, 2014 by admin

A question to ponder: How can Crème Caramel Chicago’s product be so good? Ingredients: milk, eggs, sugar, cream, caramel, vanilla. That’s it. Yet in the words of Shakespeare, it’s a wow.

It’s also a product of EU Foods, though it has nothing to do with that supranational entity, I think, since it was made in Bensenville, Illinois.

Another thing to ponder: a thematic men’s room sign.

I saw it about a year ago in Dallas at the Ann & Gabriel Barbier-Mueller Museum. As I write this, the wires – quaint, that term – are burning up with news of the first U.S. Ebola case, and the honor goes to Dallas. Well, why not? Texas excels at so much else.

I doubt that we’ll get an epidemic, though. What we will get is excessive news coverage. Just another reason to avoid cable news, out in that vast wasteland. Vaster now than when I was born; a regular Sahara.

I didn’t know that Newton Minow had an honorary street sign in Chicago, but I saw it downtown last month. I’m happy to report that at 88, Mr. Minow is still alive and kicking.

The Crystal Bridges Museum of American Art

Posted on August 5, 2014 by admin

I forget which rest stop it was now, but somewhere in Iowa we stopped for the usual reasons, and Ann asked for a cold drink from one of the machines. I fed it my dollar and then some coins, which it returned. But not the dollar. And no drink. There were blank slips to fill out in case of machine failures and a slot to drop them in. My experience with such things is hit or miss – Lighthouse Place Premium Outlets, or at least its vending concession, still owes me a dollar from the mid-00s – but I duly filled it out.

DESCRIBE PROBLEM: Took dollar. Won’t take coins. No refund of dollar.

While looking through my pile of mail when I got home, I noticed a little envelope from Pop Top Vending of Grinnell, Iowa. My slip was inside. So was one Yankee dollar. Good for you, Pop Top. Good customer service isn’t the baseline in this country (as Yuriko often points out), so it needs to be recognized.

The shortest route from metro Dallas to metro Chicago is north on US 75 into Oklahoma, which turns into US 69 – both are divided most of the way – and eventually that runs into I-44. Take that road east to St. Louis, where you catch I-55 northbound for the run up to Chicago. I’ve done it many times over the last 25 years. I used to overnight at Zeno’s Motel in Rolla, Mo., but in more recent years I’ve spent the night at the Munger Moss Motel in Lebanon, Mo. I knew Zeno’s had closed, and the lot seems to be vacant now.

Munger Moss is a solid independent motel. A tourist court. The kind of place where Clark Gable and Claudette Colbert might show up for the night. I was going to take a picture of the neon motel sign, but the co-proprietor – Ramona Lehman, who greeted me at the desk when we arrived at about 9 – turned it off for the night before I got around to it. So I settled for an interior pic of Room 70.

Lilly saw the picture and said, “That’s retro.” The pictures on the wall depicted bygone US 66 sites, so yes. Retro. But not completely. Note the TV and the AC. We didn’t turn on TV. Didn’t seem like the thing to do. We did use the air conditioner and access the property’s wifi, though. I had a column to file, and Ann wanted her entertainment. Nostalgia’s fine, but we have to live in our own time.

We arrived latish in Lebanon because I detoured slightly off the most direct route. In northeastern Oklahoma, I turned on US 412 and took it east to I-49 in Arkansas, and then north to Bentonville (I-49 was still called I-540 on my maps, but apparently the name changed recently). Bentonville is known as the hometown of Always Low Prices. Always. It’s the site of the Ur-Walmart and still the location of the behemoth’s HQ.

That isn’t why I came. I wanted to see the Crystal Bridges Museum of American Art. One of the things to do if you happen to be a billionaire is found a museum and stock it with the fine art you’ve been collecting for years. Alice Walton, daughter of Sam Walton, did exactly that. Not another institution on either coast or any of the major cities of the interior, but in the northwest corner of Arkansas. It’s been open only since late 2011.

You’d think most of the museum’s paintings — and it is heavy on paintings, though there’s a sculpture garden we didn’t have time to see — would already have been locked away in major museum collections, so high is the quality. Shows you what I know about the fine art trade.

From a NYT article published shortly after the museum opened: “It was only in May 2005 that Ms. Walton announced the selection of the Israeli-born Boston architect Moshe Safdie to design the museum and ruffled feathers along the Eastern Seaboard by buying a landmark of Hudson River School landscape painting, ‘Kindred Spirits,’ by Asher B. Durand, from the New York Public Library for around $35 million. The purchase came early in an extended shopping spree that rattled nerves, aroused skepticism and stimulated the art market.”

Ruffled feathers and rattled nerves, eh? But I bet when it comes to bidding for art, “riche” always trumps “nouveau.” The museum’s rooms are mostly chronological, from Colonial America to very recent items. A handful of works are astonishingly familiar, such as one of the Gilbert Stuart portraits of President Washington. Many more fall under the category of, You know, I’ve seen that somewhere — it’s here? Such as “Cupid and Psyche” by Benjamin West, or “Winter Scene in Brooklyn” by Francis Guy, or the delightful “War News from Mexico” by Richard Caton Woodville and the completely charming “The Lantern Bearers” by Maxfield Parrish. (All of those paintings are reproduced under “Selected Works.”)

A few of my pics came out decent, such as “Boy Eating Berries” by Joseph Decker, no date (but the artist lived from 1853 to 1924).

Did a few detail shots, too. This is RLS from “Robert Louis Stevenson and His Wife” by John Singer Sargent (1885).

From “The Lantern Bearers,” which was a Collier’s cover in 1910.

A few of my sculpture pics turned out passable as well. Here’s an antebellum example, “Atala and Chactas,” by Randolph Rogers (1854). You don’t hear much about that story any more.

Next, a video-killed-the-radio-star example, “John Cage Robot II,” by Nam June Paik (1995). Eleven wood TV cabinets, 10 Panasonic color TVs, one Samsung, two DVD players and mixed media elements that include piano keys and piano hammers, books, chessmen, and wood mushrooms. You can’t tell from this still, but all the of TVs were playing video loops.

The museum also happened to be showing an exhibit about architect Moshe Safdie, including a lot of models of his building designs in such places as Ottawa (how did I miss that?), Jerusalem, Salt Lake City and others. I don’t think I’ve seen anything of his besides Crystal Bridges, which is an interesting work.

“Nestled between two hills in the Ozark… [the museum] traverses a stream within the wild landscape,” notes designboom.com, which annoyingly doesn’t believe in capital letters, so I’ve added them. “Covering 120 acres, the grounds are crossed with an extensive trail network which leads through mature forests of dogwoods, oaks and white pines and eventually leading into the nearby downtown area. The environment fuses art with nature, allowing visitors to descend from the site’s entrance and immerse themselves into the center’s recessed setting, encountering a cluster of pavilions wrapped around a focal pond.”

We arrived at about 4:30, ahead of closing at 6, so we didn’t have the time to walk around some of the wooded areas. Or to visit downtown Bentonville or the not-far-away Walmart Museum which, no doubt without a hint of irony, celebrates the five-and-dime that Sam Walton founded in Bentonville more than 60 years ago. Also no time for Pea Ridge National Military Park, which is in this part of Arkansas. I’m told I visited when I was small, but I don’t remember it. Ah, well. I might pass this way again sometime.

The Duke in Winterset

Posted on July 30, 2014 by admin

The thing to do when heading out of Des Moines in a southerly direction is to detour into rural Madison County, southwest of the capital, whose county seat is Winterset. If you have time. I decided we had time, since how could I pass up a look at a bronze of Winterset’s favorite son, Marion Robert Morrison?

JOHN WAYNE

Born Marion Robert Morrison

In Winterset, Iowa

May 26, 1907

Sculpture donated to the

People of Madison County

By the John Wayne Family

The statue of John Wayne is a short block from his birthplace house, now a museum that (like the capitol) happened to be closed when we arrived. No matter. A good look at the bronze was enough for now, and we weren’t the only ones doing so. A few other families pulled up for a look-see while we were there. Wayne’s fame has some staying power.

Next to the statue is a Chevy van, detailed to honor Wayne. According to the birth site museum web site, “Several years ago, an anonymous person from Arizona donated a full-size 1980 Chevy van that has been extensively customized for the true John Wayne fan….

“This one-of-a-kind vehicle is covered with $50,000 of artwork from John Wayne movies—even the windows are etched to continue the design! The interior boasts hardwood floors, carpeted walls, a wet bar, TV and VCR (this was 1980, remember?), a souped-up sound system, and saloon-style swinging doors that lead to the queen-sized bedroom [sic] in the back.”

I didn’t realize it when we were there, but the statue usually resides at a corner of Washington St. and John Wayne Dr. – one of the main drags through town – but has been moved a block away, so it won’t be damaged during construction of the John Wayne Birthplace Museum. Work started in 2013 on the new museum, which is slated for completion for the 2015 John Wayne Birthday Celebration (and it’s convenient that baby Marion was born pretty close to Memorial Day). Last year my old friend Kevin, quite the fan of the Duke, went to the birthday fest. He said he had a large time.

One more thing: there are other John Wayne bronzes out in the wider world. You have to go to California to see these two.

The Kansas Cosmosphere and Space Center

Posted on July 28, 2014 by admin

Why Kansas? Even the Kansas Cosmosphere and Space Center web site asks that question in its FAQ page. Why is a first-rate spacecraft museum – absolutely the best I’ve ever seen, except for the Smithsonian Air & Space Museum – in Hutchinson, Kansas, a town of about 42,000 northwest of Wichita? The answer: that’s the way the cookie crumbled. Right place, right time.

“The Cosmosphere began in 1962 as nothing more than a tiny planetarium on the Kansas State Fairgrounds,” the page says. When the planetarium outgrew its original facility and moved to its current location, Patricia Brooks Carey and the Hutchinson Planetarium’s board of directors sought business advice from Max Ary, then director of Ft. Worth’s Noble Planetarium. “Interestingly, Ary was also part of a Smithsonian Institution committee in charge of relocating thousands of space hardware artifacts to museums throughout the U.S. The Cosmosphere was granted many of the artifacts.”

These days the museum measures over 105,000 square feet and includes a large exhibit space for rockets and spacecraft, plus a planetarium, dome theater, and more. We arrived in the mid-afternoon of July 13, too late to catch a planetarium show, but in plenty of time to look at a lot of space stuff, expertly and chronically organized for display.

“Most everything you see in the museum was either flown in space, built as a back up for what was flown in space, built as a testing unit for what was flown in space, or was the real deal, but was never meant for space,” the museum continues. “Only a few artifacts are replicas, and those that are replicas, are for good reason. For example, the lunar module and lunar rover in the Apollo Gallery are replicas (though built by the same company that produced the flown modules), because those that went in space, stayed in space. No museum in the world carries a flown lunar module or rover. In fact, they’re all still on the Moon.”

The displays begin at the beginning of modern rocketry – Konstantin Tsiolkovsky and Robert Goddard and on to Nazi rockets, including a restored V-1 and V-2.

Then on to Soviet and U.S. rockets and capsules that ventured into space, plus a lot of ancillary items. It’s an astonishing collection, including a replica of the X-1, a flight-ready backup for Sputnik 1, a backup version of the Vanguard 1, a Russian Vostok capsule – the only one outside Russia – Liberty Bell 7 (pulled from the ocean floor and restored), a Redstone rocket and a Titan, too, the Gemini 10 capsule, a Voskhod capsule, the Apollo 13 Command Module, a Soyuz capsule, various Soviet and American rocket engines, an Apollo 11 Moon rock, and a lot of smaller artifacts.

I took a particular interest in the Russian equipment because I’ve seen so little of it. In fact, I’d never seen a Vostok, and there it was. Looking like a large bowling ball behind glass. “Hop in, Comrade, and we’ll shoot you into space.”

The American equipment was impressive, too, though more familiar. It’s always an impressive thing to stand under a rocket like a Titan, which used to deliver Gemini into orbit.

Ann seemed to enjoy herself, and probably learned something. But to really appreciate this museum, it helps to have been an eight-year-old boy in 1969. You find yourself turning the corner and saying, “Wow, look at that!” a lot.

The George Bush Presidential Library

Posted on May 15, 2014 by admin

I’m told that we went to the Eisenhower Library when I was a child, but I don’t remember it. Since then I’ve visited other presidential libraries or museums: Lincoln, Hoover, Truman, Johnson, Nixon, Ford, Carter. And now the George Bush Presidential Library, focusing on George Bush the elder. Jay and I visited just before we left College Station.

His library opened in 1997 on the Texas A&M campus, though it’s way out from everything else. Bush didn’t attend A&M, famously being a Yale man, but presumably the Aggies put in the best bid. Besides, he did make his name in the oil business in Texas. A&M oversees the place with the National Archives and Records Administration. It’s an HOK design, which from the front looks a little like it’s missing a dome.

Presidential history’s interesting (of course it is), but I thought that the most interesting exhibit in this particular museum was a temporary one about offshore oil drilling. Called “Offshore Drilling: The Promise of Discovery” (sponsored by Shell), the museum says that it’s “a tribute to [Bush’s] role in the development and use of the innovative independent leg offshore jack-up rig Scorpion launched by LeTourneau in 1956… It focuses on the history, development and future of offshore drilling, with an emphasis on the work of George Bush, emerging technologies and ongoing research at Texas A&M University.”

An independent leg offshore jack-up rig is a mobile offshore platform stable enough for the open ocean, but flexible enough to be moved when the time comes. Before 1956, offshore platforms mostly had to be fixed permanently to the bottom, limiting their usefulness; the few floating platforms couldn’t stand heavy seas, so they tended to be near shore. LeTourneau was an inventor: Robert Gilmour LeTourneau (1888-1969). He was, says Wiki, “a prolific inventor of earthmoving machinery. His machines represented nearly 70 percent of the earthmoving equipment and engineering vehicles used during World War II, and over the course of his life he secured nearly 300 patents.”

Drilling Contractor (Sept/Oct 2005) further tells the story: “Although the concept of a deep-sea, mobile offshore platform aroused considerable interest among the oil companies, none of the companies were prepared to help finance construction of such an expensive (nearly $3 million) and unproven project. Then [in the early 1950s] Mr. LeTourneau proposed the idea to Zapata Off-Shore Company of Houston, headed by future United States President George H.W. Bush.” (The article is here.)

Zapata. You have to like that name for an oil company. (Apparently Bush and his partners were inspired by the movie Viva Zapata!) So Zapata became the first oil company to use an independent leg offshore jack-up rig. The exhibit tells that story, but even better, it includes models of various rigs, platforms and supply vessels that have been used over the years by the industry — exceptionally detailed models — as well as pieces of drilling equipment.

The rest of the museum has pretty much what you’d expect: exhibits about different stages of the life and career of George Bush the elder, including his harrowing escapes from death as a naval aviator in the Pacific in 1944 (over the course of the year, his squadron suffered a 300 percent casualty rate), though no mention of this story that I saw, and his various public-sector jobs, both elected and appointed. A well-done set of displays, but even so it’s hard to think of any presidency that happened while you’re an adult as history.

Other items included a big hunk of the Berlin Wall, a replica Oval Office – any presidential museum worth its salt has one – and a life-sized bronze of Bush, depicting him as Ambassador to the United Nations.

I didn’t make a picture of the oddest bit of art we saw in the museum. Called “1000 Points of Light,” it was painted for the Points of Light Foundation, which encourages volunteerism. A presidential George Bush reaches for a nimbus-ed U.S. flag, while a crowd of enraptured everyday Americans watches. I’d call the style Socialist Realism, but there’s no socialist content here. Maybe Volunteerist Realism. The artist is Frank Hopper, who seems to excel at this kind of thing, and is also fixated on mermaids.

Stranger still are the ghost presidents in the sky, watching. And not just any ghost presidents. With the exception of Washington and Jefferson and either Madison or Monroe, all the rest of them are ghost Republican presidents, all the way from Lincoln to Reagan. The faces are a little spectral, but I think the only ones left out are Arthur and Harding. Take a look.

In the plaza outside the museum stands another work of art, “The Day the Wall Came Down,” by Veryl Goodnight.

Bronze horses racing over replicated bits of the Berlin Wall, with graffiti copied from the actual wall (the west side, naturally). With the horses, the plaque tells us, “representing the freedom of the human spirit.” Fine figures of horses, and all very kinetic, which is fitting for the destruction of the wall, but I’m not sure how well beasts of burden stand in for the unconquerable human spirit.

Though the pieces of the Berlin Wall in “The Day the Wall Came Down” seem to be simulations, the sculpture (and the actual piece inside) did get me thinking. Like pieces of the World Trade Center, or moon rocks, where are all the scattered bits of that former communist concrete now? Relics tend to get around.

The Eiteljorg Museum

Posted on May 6, 2014 by admin

The Eiteljorg Museum of American Indians and Western Art is one of a number of attractions at downtown Indianapolis’ White River State Park, just west of the capitol and the CBD. We parked in an underground facility and entered the Eiteljorg through its back entrance, which faces Indy’s canal. The museum’s small sculpture garden is outside that entrance.

When the museum specifies “American Indians and Western Art,” it means Indian art and artifacts of historic interest, but also artwork by contemporary American Indians, as well as art by non-Indians with a theme of the American West. Its collection along these three lines is substantial, housed in a large building adjacent to the Indiana State Museum, and well worth a look.

Ann’s in front of an example of contemporary Indian art in the sculpture garden: “Water Whispers” (2005), a steel-and-glass creation of Truman Lowe, a Ho-Chunk born in 1944 and professor emeritus at the University of Wisconsin-Madison Art Department.

We entered the back entrance and immediately were face-to-face with a totem pole. Nothing like a totem pole right next to you to get your attention.

It’s a replica of a 19th-century Haida totem pole, carved by one Lee Wallace in 1996, great-grandson of the carver of the original pole, Dwight Wallace. Apparently the original pole had made its way from British Columbia to Alaska to the 1904 St. Louis World’s Fair to Indianapolis industrialist David M. Parry, who kept it on his land (as the Golden Hill totem pole) until it deteriorated and fell in 1939. The new pole, “The Legend of Wasgo,” is made of red cedar with acrylic paint.

The Eiteljorg’s Native American collection, according to the museum, “began with the personal holdings of founder Harrison Eiteljorg and the Museum of Indian Heritage formerly located in Eagle Creek Park. Ranging from traditional objects of material culture such as weaponry, clothing, and basketry, to contemporary Hopi Katsina carvings, jewelry, and Inuit sculpture, the collection includes works of historical and aesthetic significance as well as articles produced for everyday use.”

As for the contemporary Indian art, “the collection consists of copious materials from photographs, beadwork, works on paper and canvas, to beaver fur and hides, traditional paintings and large installation pieces incorporating several mediums. While there is recognizable imagery in a lot of the work, it also represents works that are non-representational such as the work of Harry Fonseca (Maidu/Niseman, Portuguese, Hawaiian) who’s painting is inspired by Navajo blankets or James Lavadour’s (Walla Walla) multifaceted landscapes influenced by hiking through the mountains.”

Two large galleries are devoted to Western-themed art. I’d only vaguely been aware of the Taos School, but I got a lesson about it at Eiteljorg. “The collection is especially strong in art by members of the Taos Society of Artists from the late 1890s to the late 1920s,” the museum notes. “The museum collection also includes an expressive collection of works by early modernist artists who found the West to be inspiring. Among highlights in this broad area are works by Georgia O’Keeffe, Robert Henri, Marsden Hartley, Randall Davey, and many more.”

On exhibit at the Eiteljorg until early August is a fine exhibit of 75 Ansel Adams prints, all apparently selected by the photographer himself at some point as his greatest hits (it could have been as recently as 30-odd years ago; I hadn’t realized, or forgotten, that Adams lived until 1984). A good many images were familiar — great hits, all right — but not all of them, including a handful of portraits of people. Not something he’s known for, but he did them sometimes. One of the portraits was of an elderly woman on a screened-in porch somewhere out West, and she reminded me of my grandmother.

As we were headed for the exit – and the gift shop before that – we chanced across an Art*o*Mat, a repurposed cigarette machine that now sells small pieces of art. I’d seen one of those before, at the Chicago Cultural Center, but that was some years ago. For $5 we got some handmade earrings.

I also got a picture of my family reflected in the Art*o*Mat mirror.

Been There, Seen That

By Dees Stribling

Category Archives: Museums