Washington-on-the-Brazos State Historic Site

Posted on May 19, 2014 by admin

Not far south of College Station and Bryan is Washington, Texas, an unincorporated place with a small population. In some alternate universe, it’s a major city sprawling along the Brazos River in Washington County – and it’s the capital of Texas (the state, or an independent nation; maybe that’s two different alternatives), best known for a large public university, its tech industry, and a thriving music scene. Popularly called Brazos, to distinguish it from that other Washington on the Potomac, the city also has a countercultural streak: Keep Brazos Weird, the bumper stickers say.

For a while, little Washington on the Brazos River was the capital of the Republic of Texas – 1842 to the end of independence in 1845, but then a town further west permanently won the prize of state capital, where it remains. Along the way, the back-and-forth of the Texas capital location led to the odd incident known as the Archive War, which wasn’t really a war, and which I don’t remember being discussed in 7th grade Texas History class.

These days, Washington, Texas, is best known as the site Texas declared independence from Mexico in 1836, a fact that was taught in Texas History class. That event is memorialized at the 293-acre Washington-on-the-Brazos State Historic Site, owned and operated by the Texas Parks and Wildlife Department. More about it here.

Jay and I took a look at the site on the way from College Station to San Antonio on April 25. I’d never visited before. The site has three major components: Independence Hall, the Star of the Republic Museum, and the Barrington Living History Farm. We saw the first two, along with the visitors center, where we each bought a small Come and Take It flag in the gift shop because how many places can you do that? (Amazon doesn’t count.)

Near the visitors center is a bronze of this fellow: George Campbell Childress (1804-1841).

Another of the long line of Tennesseans who came to Texas early, and a brother-in-law of James K. Polk, Childress was honored with this bronze because he’s acknowledged to be author of the Texas Declaration of Independence. Note the quill and scroll. He was head of the committee tasked on March 1 to write a declaration, and it was ready the next day, so it seems likely that he’d already prepared the thing. The document clearly owes a rhetorical debt to Jefferson. The first paragraph says:

When a government has ceased to protect the lives, liberty and property of the people, from whom its legitimate powers are derived, and for the advancement of whose happiness it was instituted, and so far from being a guarantee for the enjoyment of those inestimable and inalienable rights, becomes an instrument in the hands of evil rulers for their oppression.

Even so, the list of grievances is specific to the time and place, such as abrogation of the 1824 Constitution of Mexico and the annoying union of Texas with the state of Coahulia, but mainly boiling down to the assertion that no dictator in Mexico City’s going to tell us what to do.

The deco-like statue itself dates from 1936 – the centennial of Texas independence – and was done by Raoul Josset, a French sculptor who immigrated to the United States in the early 1930s, and left behind a number of works, including Childress but also “The Spirit of the Centennial,” now in Fair Park in Dallas, and the Fannin Monument in Goliad, Texas. More about Josset here.

Tiananmen Square 1994

Posted on May 18, 2014 by admin

Ten years ago, I wrote about our visit to Tiananmen Square 10 years earlier, noting that “Yuriko and I got into a taxi — one of those yellow van-like vehicles that Bob said were called breadboxes — and said ‘Tiananmen.’ Said it a few times, actually, before the driver figured out where we wanted to go. Soon we were walking the cement squares that make up that vast plaza. It was a bright, windy moment.”

Naturally, we took pictures of each other. Here I am wearing the same shirt I held while posing with Mt. Fuji, this time posing with Tiananmen Gate.

Here’s Yuriko, posing near Mao’s tomb, or more formally the Chairman Mao Memorial Hall.

The line wasn’t long to get into the tomb. The Great Helmsman, as I recall, was under glass, and had a Chinese flag draped from mid-chest on down. He looked a bit waxy, but I guess nearly 20 years of embalming (at the time) will do that to a fellow. Being the only exhibit, it didn’t take long to see Mao, and soon we exited – right into the gift shop, or rather the gift area outside the exit, which was marked off by partitions.

How many places can you buy Mao souvenirs? Not many, so I bought a set of Mao postcards, which I sent to Jay and Deb, and some packs of cigarettes with Mao on them, which I sent to friends who smoked. I also bought a set of lapel pins, which I still have somewhere. One has the National Emblem of the PRC; another, the Chinese flag; and then there’s Mao. I scanned it some years ago. Not the best image, but it gives a flavor of the thing, which is maybe about a half inch in diameter.

In September 1994, when we returned to Beijing to prepare to ride the Trans-Siberian to Moscow, Bob took us to the Hard Rock Cafe Beijing, which had opened earlier that year, and which I’ve learned closed in 2012. The place featured the usual Hard Rock collection of rock memorabilia and hagiographic images of rock stars, but particularly striking was a round painting on the ceiling. Its background was sky blue with clouds, and arrayed around the edge were portraits of early rock legends – Elvis, Chuck Berry, Buddy Holly, the Beatles, the Stones, et al. The painting also had local references: Tiananmen Gate and the Temple of Heaven.

We were seated so we could see the painting easily. Bob said, “Look closely and you’ll see a figure not usually associated with rock ’n’ roll.” And sure enough, there he was. The reproduction of Tiananmen Gate was accurate, including the painting of Mao that hangs there.

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 Bonfire Memorial

Posted on May 14, 2014 by admin

Besides a few buildings and a WWI exhibit at a campus library, Jay and I also took a look at the Bonfire Memorial on the campus of Texas A&M. It’s located on the edge of campus, on the site where 12 students and former students were killed, and 27 more were injured, when the Aggie Bonfire collapsed during construction in the wee hours of November 18, 1999.

Passed the entranceway to the memorial, there’s a walkway to the ring – the Spirit Ring, it’s called. To the right of the walkway is a north-south line of cut stones that represents each year that the Bonfire burned from 1909 to 1998, with a black stone marking 1963, when the event was cancelled because of the assassination of President Kennedy. The names of three students who died during their involvement with pre-1999 Bonfires are also marked, each on the stone for the year he died (in logging and traffic accidents).

These are three of the 12 granite “portals” of the ring, as they’re called. I wondered about their orientation on the ring; later I read that each points toward the hometown of the person they memorialize. Connecting the portals are 27 stones to represent the injured.

Inside each portal is a bronze interior that gives the name, likeness, and a written reflection about one of the dead.

This one happens to be Bryan Allen McClain, Class of ’02, all of 19 years old, who happened to be from San Antonio. All of them are listed here, including their inscriptions on the bronze.

Usually when I see a new or newish memorial, I can’t help the sneaking suspicion that in a century, even half a century or less, the memorial will be disregarded, and the event hazily remembered at best. This comes from seeing too many neglected memorials of that age, though it’s just a feeling, and completely untestable.

Not the Bonfire Memorial. Texas A&M pays an unusual amount of attention to its past, mostly in the form of revered traditions. I don’t have any reason to think the 1999 Bonfire’s going to be forgotten as long as there’s an A&M.

A Small Sample of Aggieland

Posted on May 13, 2014 by admin

Texas A&M University is a big place. I looked it up: the main campus currently occupies 5,500 or so acres, and accommodates 56,000+ students. Systemwide – because there are other campuses – the school boasts an endowment of $7.6 billion. It also seems like a lot of construction is going on, so those figures will probably be outdated in a few years. A&M’s pretty much the main industry in the twin towns of Byran and College Station, Texas, which also have the distinction of not being on an Interstate, though I-45 runs fairly close.

Jay and I took a stroll around campus for an hour or so, which is time enough to see a small fraction of the buildings, as well as a lot of Aggies. They look pretty much like college students anywhere in North America, except for Corps of Cadets members mixed in, who are easily distinguished by their uniforms, which have a remarkable resemblance to WWII vintage U.S. uniforms, in as much as I’m familiar with them. Membership hasn’t been mandatory in 50 years, but the Corps is still a defining tradition at the school. But of course there are many Aggie traditions, some of which are common knowledge among Texans.

If we’d done much planning, we might have been able to see a building or two dating from the time our grandfather attended A&M (again, he was Class of 1916). Mostly, though, we came across buildings dating from the 1920s and ’30s – there seems to have been a large building boom then – as well as some remarkably brutalist structures from more recent decades. Of the structures we saw, I most liked the Civil Engineering Building, built in 1932.

The plaque on the building describes it this way: “A classical revival two-storied stone structure is faced in brick, with cast stone and ceramic tile ornamentation.”

Note the ornamentation here: two Hermes figures, a cow, a couple of horses, and a couple of dogs. Elsewhere, pigs.

The reason for all of those animals on the Civil Engineering building? The plaque again: “Originally used as a veterinary hospital with two additional buildings in the rear, used as [a] stable and anatomy laboratory.”

Not far away we happened on the Cushing Memorial Library, where there’s an exhibit for the centennial of the opening of WWI: “The Great War: Memories of Service and Sacrifice, A World War I Exhibit Featuring the Aggie Experience.” Just the thing to see – free, not too large, and connected to our family’s experience. Class of 1916 meant that it wasn’t long before Grandpa was in the Great War. We told a woman behind the desk at the entrance about him, and she seemed pleased to hear it.

The displays featured some material from Aggies who’d been in the war, but the exhibit had more than that, including wartime posters, photos, letters, everyday items, and more, and not just from American soldiers, but also British, French, German and Italian. (What, nothing from little Montenegro?). The material is from the Ragan Military History Collection at the library.

“A enlarged image of the tattered Gold Star service flag that most prominently captures the World War I Aggie experience will also be exhibited,” notes the A&M release about the exhibit. “Part of a national tradition that began with World War I, the service flag contains approximately 2,000 maroon stars honoring those Aggies who served, and 50 gold stars memorializing those Aggies who gave their lives in the war.”

Fortunately for him and his 13 descendants (so far), Grandpa came back from France, though as an engineer, unexploded ordnance — and the Spanish Flu — were likely the main dangers he faced.

Corsicana, Texas

Posted on May 12, 2014 by admin

Everything about this picture says Texas: the Collin Street Bakery sign, marking a famed Texas bakery; the Texas flags; the HEB grocery store; the pickup truck driving by; the onion domes off in the distance. Onion domes?

First a little background. On April 24, 2014, Jay and I drove south on I-45, the main road from Dallas to Houston. About 50 miles south of Dallas is Corsicana, seat of Navarro County, and home of the Collin Street Bakery. I’ve been eating its fruitcakes on and off for years, mostly by mail order, but in 1996 (I think) I passed through town and visited the bakery store.

As the web site notes: “The DeLuxe Texas Fruitcake or Pecan Cake you order today is still baked true to the old-world recipe brought to Corsicana, Texas from Wiesbaden, Germany in 1896 by master baker Gus Weidmann. He and his partner, Tom McElwee, built a lively business in turn-of-the-century Corsicana which included an elegant hotel on the top floor of the bakery.”

The hotel is gone, but you can still buy baked goods at the bakery store, including the signature fruitcake. We bought one to take to our mother, plus some smaller items for more immediate snacking. From the parking lot, we noticed those nearby onion domes, and being curious about onion domes in small-town Texas, we went over for a look. After all, how often do you see Moorish Revival buildings in small-town Texas? Probably more often than I’d think, but anywhere there one was.

It’s the Temple Beth-El, a former synagogue on 15th St. in Corsicana. A shot from across the street is here; it’s a handsome building.

Like the Collin Street Bakery, Temple Beth-El too dates from the late 19th century. The Jewish community of Corsicana isn’t what it used to be – they probably went to Dallas, like everyone else – so in more recent years, the building’s been a community center overseen by the Navarro County Historical Society.

Now fully in a look-see mood, Jay and I went over to the Navarro County Courthouse grounds. Navarro himself was there. A statue of Jose Antonio Navarro, that is.

The Smithsonian tells us that “the sculpture was commissioned by the Texas Centennial Commission to honor Jose Antonio Navarro (1795-1871), a native Texan lawyer, merchant, and rancher who founded Navarro County and co-created the Republic of Texas. Navarro named the County seat Corsicana after his father’s birthplace, Corsica. While on an expedition to Sante Fe, Navarro was captured by Mexican soldiers and given a life sentence for treason. He escaped in 1845 and upon his return to Texas was elected as a delegate to the Convention which approved the annexation of Texas and drafted the Constitution.”

Nearby Navarro stands “The Call to Arms,” a Confederate memorial. It’s a little unusual, not being a soldier standing at attention or the like.

The statue’s plaque says that it was erected in 1907 by the Navarro Chapter of the United Daughters of the Confederacy “to commemorate the valor and heroism of our Confederate soldiers. It is not in the power of mortals to command success. The Confederate soldier did more – he deserved it.”

History’s written by the victors, indeed.

Central Texas ’14

Posted on May 11, 2014 by admin

Not long after Easter, I flew to Texas to visit members of my family. First to Dallas, then a drive to San Antonio, then back to Dallas. I also wanted to squeeze in a couple of days in Central Texas, visiting a few places I’d never been. My brother Jay came with me on the excursion, focusing on College Station, Texas, home of the enormous Texas A&M University, which also happens to be my maternal grandfather’s alma mater: Class of 1916.

In all the time I’ve spent in Texas, I’d never made it there. That’s probably because College Station isn’t on the way anywhere, especially if you spend most of your time on the San Antonio-Austin-Dallas axis. But A&M looms large in Texas lore, so I’d have been interested in visiting even if my grandfather hadn’t started his career as a civil engineer there.

We drove on large roads and small. We made a point of driving on a highway called Texas OSR between I-45 and Texas 6. It was a short stretch of road through springtime green, and green is no sure thing even this time of the year; it means there’s been rain recently.

What’s so special about Texas OSR, besides the fact that it’s the only state highway in the enormous highway system of an enormous state to not include any numbers in its name? It’s a stretch of the Old San Antonio Road, also known as the Camino Real, the King’s Highway. The modern OSR is a fragment of the bygone route from Louisiana to Coahuila, by way of San Antonio. Still trod, maybe, by the shades of Spaniards and their horses.

A number of weather-worn markers on the side of the road explain the road’s historic significance. Though hard to read – even if this image were full size, it would be next to impossible to make out — the markers themselves are historic, put there by the Daughters of the American Revolution and the state of Texas in 1918.

Central Texas in the spring also luxuriates in wildflowers, along the side of the roads, stretching off into vast fields, in random colorful spots. You can see the famed bluebonnets and other blue blossoms…

… but also a sea of others: red, white, orange, yellow, pink. Add a windmill to this scene and you have something landscape painters have been focusing on for more than a century.

For true wildflower enthusiasts, there’s this index. It’s an astonishing variety.

Indiana’s Central Canal (A Fragment)

Posted on May 8, 2014 by admin

Canals were all the rage in North America the 1830s, inspired by phenomenal success of the Erie Canal. Something like dotcoms were the rage in the 1990s, I believe, and that didn’t turn out so well either. Yet fragments of both investment-speculation manias survived the inevitable collapse, such as Peapod in the case of dotcoms, and a stretch of Indiana’s Central Canal from the earlier mania.

We spent some time on Easter Saturday afternoon walking next to Indiana’s Central Canal, which had been planned to connect the Wabash River in the northern part of the state with the White River in the southern part and then on to the Ohio River. Work began in 1836.

Then came the Panic of 1837. Only a few miles of the canal were ever built, running through Indianapolis. It’s had various uses over the years, but ultimately the canal-builders of the 19th century bequeathed recreational infrastructure to us in the early 21st century. It’s a pleasant place to stroll, or paddleboat or kayak, on a warm spring day.

The last time I visited the canal was on a cold day in early 2005. It wasn’t quite so pleasant then, but I did notice the memorial to the ill-fated USS Indianapolis near the canal. This time we saw a memorial that wasn’t there in 2005, Project 9/11 Indianapolis, on a rise just above the waterway.

The memorial was dedicated on the 10th anniversary of the attacks, and includes two 11,000-pound beams from the Twin Towers, standing upright. One of them has a bronze American eagle perched on top. It made me wonder: how many fragments of those buildings have made their way around the country?

Maxine’s Chicken & Waffles

Posted on May 7, 2014 by admin

Until recently, I was only dimly aware of chicken & waffles. As a combined meal, that is, apparently known to the Pennsylvania Dutch and as a soul-food specialty in the 20th century. (More about it here.) Not long ago, Lilly started mentioning the combo. Not sure why. Maybe she picked it up from a let’s-go-there-and-eat-something show (e.g., Diners, Drive-Ins, and Dives.)

Anyway, the notion had lodged in my mind just in time for me to see a listing for Maxine’s Chicken & Waffles, which is at 132 N. East St., right at the eastern edge of downtown Indy. The area’s still mostly small commercial uses and parking lots, though I spotted a couple of apartment complexes being developed nearby.

Once I saw the listing in one of those publications left in hotel rooms, and did a little reading about the place – this is the age of Yelp, after all – I suggested it for Saturday lunch, after we’d finished with the Eiteljorg Museum. I didn’t want to end up at some restaurant that could be anywhere, just because we couldn’t think of anywhere else to go, and everyone wanted to eat right now.

Maxine’s is about a 20-minute walk eastward from the museum, across the heart of downtown Indianapolis. Along the way we spotted the statue of Vice President Hendricks, but also another memorial that goes to show the veneration we still have for President Lincoln.

It marks the spot where Lincoln stopped to speak, on February 11, 1861, on his way to Washington City to become president. (We should still call it Washington City. Maybe that usage will return if DC wins statehood.)

We arrived at Maxine’s for a late lunch. Good thing, too, because I’ll bet the place gets really crowded on Saturday morning and into the early afternoon. As it was, it was mostly full. According to a sign on the wall, and its web site as well, the place only dates from 2007, founded by the children and grandchildren of Ollie and Maxine Bunnell, whose large family had a knack for cooking (Maxine’s regular job was cooking at St. Francis Hospital).

I’m glad that the restaurant survived the recession. Not every venture started in 2007 would be so lucky. But I don’t think luck was the main factor. We all had a variation of chicken & waffles – plain, blueberry and strawberry waffles – and they were terrific. So seemingly simple, so artfully made.

As you can see, it’s your basic waffle, adorned by three fried chicken wings, with a bit of honey-butter on the side, along with syrup. The combo works. They complement each other. After you’ve eaten some of the sweet waffles, you switch to the mildly spicy chicken, and then back. From beginning to end, not a bad bite in sight. Not even a mediocre one. Whatever soul-food recipes the heirs of Ollie and Maxine have come up with, they’re winners.

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