Because of our drive through southern Missouri on April 6, first on Missouri 32, then U.S. 63 and U.S. 60, generally trending west but also somewhat south, I’ve learned a few things.
One, there’s a crater on Venus named after Laura Ingalls Wilder, which is mentioned in passing here and confirmed by the USGS.
All features on that planet are named after females, real or fictional. Specifically, according to the IAU, craters are named for “women who have made outstanding or fundamental contributions to their field (over 20 km); common female first names (under 20 km).” I assume the measurements refer to diameter.
This page on planetary nomenclature is fascinating stuff, as far as I’m concerned. Dig down a little deeper, and you’ll find 900 Venusian crater names, from Abigail (the name) and Abington (actress Francis Abington) to Zurka (gypsy first name) and Zbereva (aviator Lidiya Zvereva, d. 1916). With a death date like that, I’d assume a flying accident, but no: typhoid fever.
Also, I learned that Michael Landon, who portrayed Laura Ingalls Wilder’s father on TV, doesn’t look much like the man, Charles Ingalls. I can see that for myself, as he’s pictured with his wife Caroline here.
If it had been up to me, Landon would have at least sported a beard like Chas. Ingalls’. I don’t know whether that would have made Little House on the Prairie a better show, but it couldn’t have hurt.
The drive wasn’t quite car commercial driving. There was some traffic, and while the spring green woods and flowering patches of Mark Twain National Forest and the farms and businesses and churches and small-town buildings of southern Missouri offered pleasant enough scenery (and a favorite town name: Cabool), it wasn’t a Class A two-lane drive, as we would experience later, in Arkansas.
Late in the afternoon, we came to the Laura Ingalls Wilder Historic Home and Museum, near U.S. 60 as it passes through Mansfield, Mo., and we were just in time to catch the last tour of the day. That’s what ultimately turned my attention to Venusian craters, 19th-century beards, etc.
Not bad for an essentially self-built house – mostly by Wilder’s husband, Almanzo Wilder. She lived until 1957, for many years at this house, and could afford comfortable furnishings later in life.
Though the colors and styles were different, the living room nevertheless reminded me of my grandparents’ home in San Antonio. It had a similar old-folks-in-mid-century feeling somehow.
Not quite the depth of cold today as the three days before. I think temps reached double digits, reckoned in Fahrenheit, and tomorrow we’ll enjoy a balmy 20 F. With a little more snow, and sliding temps for the weekend. Such is January.
One of our more interesting moments in Louisville at the end of ’23 came at the lower level of a downtown hotel. I took a moment to rest on a bench.
Soon, Yuriko joined me.
It’s a little hard to tell with still images, but the letters appeared to drift downward and then rest on your reflection. Up close, the letters looked like this.
We were looking at an art installation next to a bank of elevators.
Back in the 2000s, I wrote at least one article, already lost to time, about a new boutique hotel in Louisville, of all places. The redevelopment of a number of derelict downtown warehouses, joined for the purpose, created the 21c Hotel Museum. I brought my professional skepticism to the task. Saving warehouses is a good idea, and if the market can bear high-priced hotel rooms in downtown Louisville, fine.
But the hotel was supposed to be a contemporary art museum as well, as its founders were art collectors. I doubted that it was much of a museum, though without any evidence one way or the other. It just sounded like the sort of claim a new boutique hotel would make: put a few paintings in an empty room on the property, call yourself a museum, elevate your room rates.
That was in a time – before the panic of 2008 – of a number of boutique hotel rollouts, often smaller brands owned by very large hotel chains, each angling for something to make it stand out, at least superficially, from the sameness of the mainstream brands.
That all was in the back of my mind when, on December 30, we dropped by 21c Hotel Museum.
A gilded statue stands watch outside: “David (inspired by Michelangelo)” (2005), which is double the size of its inspiration and largely fiberglass, by Turkish artist Serkan Özkaya.
I hadn’t thought about the 21c in a number of years, so even as I entered, I wasn’t expecting much. I was wrong. As a museum, the place is fair-sized, its art in galleries on the hotel’s lower level, and it has an interesting collection.
I couldn’t find the description of the metal tornado near the ceiling, but I liked it.
Details of other works at the 21c. A series of faces.
All of the works are recent vintage, as in 21st century. Fitting the name. Though the Louisville redevelopment was the first of them, there are currently eight 21c Hotel Museums, owned by Accor, including others in Bentonville, Ark., Chicago, Cincinnati, Durham, NC, Kansas City, Mo., Lexington, Ky. and St. Louis. Each has exhibit space, collectively totaling 75,000 square feet.
Best of all, you can just wander in and look at it. No admission, no questions asked.
Down the hall from the “Text Rain” is a work tucked away in a utilitarian lower space outside a window, “Cloud Rings” by Ned Kahn (2006). Its sign says: A series of devices that continuously shoot rings of fog up into an exterior sunken courtyard space.
Even before you enter the grounds of Churchill Downs, you encounter bronze horses. Both are winners of the Kentucky Derby. One is Aristides, at the Paddock gate, who came in first in the first Derby in 1875 – long before it was a Run for the Roses,® or the first race of the Triple Crown,® or the Most Exciting Two Minutes in Sports,® or the object of 21st-century renovations.
The Derby was about drinking and gambling from day one, I believe, and not in moderation, yet genteel enough (at least in the stands) for the monied elite — traditions that grand event upholds to the present, all the other trappings notwithstanding. What better for a spring day in Kentucky?
The other horse, and statue, is more recent: Barbaro.
I suspected right away that some physical remains of Barbaro were there as well, and yes, his ashes are, I read later. I’ve pretty much ignored thoroughbred horseracing most of my life, and even my limited interest in the ’80s was because I enjoyed going to the Derby in person. So I wondered about Barbaro. I must have heard the news story in the 2000s, but it had evaporated, gone amid the backdrop of a household with little kids.
Still, I figured, as a Derby winner his birth and death years (2003 to 2007) pretty much got to the heart of Barbaro’s career – a shooting star among race horses, brilliance to ashes. Later I looked up the details, including in a succinct, eulogizing video, and that’s about the size of it.
A thoughtful comment from the video’s comment section: Not making an anti-racing statement but, if you feel bad for Barbaro, take a moment to think about all of the other horses that broke down and died, on/off the track, too. Barbaro got kind letters, flowers, signs and even gift baskets with horse feed sent to his veterinarian centre, because he was a champion. Just seems sad that we only do that for the gifted athletes of the sport, even though every one of those incredible animals gave it their all for our entertainment.
@catarena8031
Near Barbaro is the entrance to the Kentucky Derby Museum, and near the admission desk is a countdown clock.
(As it appeared on December 28.)
While we were still in the parking lot, headed for the entrance, we passed by a young couple leaving. Out of the blue the man said to us, “Take the Barn and Backside Tour. It costs more, but it’s worth it.”
“Really?” I said, in a friendly tone. They both nodded their agreement.
“You get to see a lot more,” he said, gesturing with his hands a bit, sort of making parentheses around his sizable beard. “Some of the stables and other places behind the track.”
We agreed that that sounded good and parted ways. I asked about it at the desk. Sorry, sold out. So we got the basic tour and museum admission, a spot over $20 per person. The museum, well organized and informative but not overtaxed with dense reading, was worth a look, for a small glimpse into a whole other world.
Also, you get to see a facsimile of Mage, last year’s winner.
And the trophy War Admiral received in 1937 for winning the Derby.
Along with a good many other items. Other displays included Triple Crown winners – each one had a kiosk – how thoroughbreds are raised, the building of the track and the early races, video screens to call up and watch previous televised races (I watched ’86; I only heard it when there), images of the flamboyant hats and dresses worn by female racegoers, and the part African-Americans have played in the event, especially as jockeys: a good many in the early years, including Oliver Lewis; nil as Jim Crow solidified; some since the legal end of segregation.
The tour started with a short presentation on a 360-degree screen well above eye level: part movie, part still images with a sound track, and about what the horses and the jockeys and all the many other support staff do to put on the Derby. Quick-moving, it idealized the event somewhat, but who would expect otherwise?
The cinematography was exceptional sometimes, giving me the sense that whatever else the racehorses are, they’re massive, powerful beasts of tremendous energy. And what manor of men would perch themselves atop these beasts at their top speeds? Besides relatively small men and a few women, that is. I have a new-found respect for jockeys.
Also, it got me to thinking, a little along the lines of the comment above. Sure, it’s fine to know about the winners down the years, and I’ll go along with the notion that, say, Secretariat was a very great racer indeed. But what about the also-rans? Not just also-rans, but last rans?
Back when Aristides took the prize to the crowd’s acclaim, a horse named Gold Mine proved not to be one, coming in 15th and last. When Sir Barton won on his way to the first Triple Crown in 1919, Vindex was 12th and last.
Vindex? After the Roman who rebelled, unsuccessfully, against Nero? Could be. I can imagine the owner reading about the bold Vindex in the works of I forget which Roman historian. It would have been a thing for a horse-owning Kentucky gentleman to do in his youth in late 19th century, possibly even in the original Latin.
One more. When Secretariat won the day in 1973, before a national audience (including a 12-year-old me), Warbucks was 13th and last.
From the museum, the tour group moved to under the grandstands, guided by a competent employee of the track. She told us a capsule history of the race and the Downs.
Out to the lowest level of the grandstand. It’s a good view, I have to say.
The guide provided more history and some physical information about the track itself, and about the enormous stable complex on the other side of the track, way off in the distance, which sounded big enough to have its own zip code. (It doesn’t seem to.)
Then we headed back to the museum for a few more minutes, and that was that. Chintzy, Churchill Downs. That was more like a $12 museum + tour package. Not even a few minutes up in the grandstands? Did some whiz in the organization, or maybe a computer program, determine that eliminating the small but measurable cost in elevator maintenance and maybe slightly higher insurance premiums was worth shorting the patrons in their experience? Just speculation.
All I know is that the view from the grandstands should have been part of it. One visit to the Derby, I had access to the grandstands, and wandered around quite a while. You really get caught up in the thing looking down on the lively, colorful crowds and the active racetrack. Even on an empty winter day, I think you’d feel an echo of those festive times.
The air was chilly, but still above freezing when Ann and I arrived in Joliet on Sunday just after noon. Not bad for December.
I’d never heard Joliet called the City of Champions, but there it was in a new-looking mural facing one of downtown’s parking lots. The city’s web site says, unhelpfully, that “[Joliet] is known as the ‘City of Champions’ for it’s [sic] world class bands. Music, art, theatre and history are found throughout the city.”
A line vague enough that could have been AI generated, except that a robot writer probably wouldn’t use it’s for its. That’s a human-style mistake. Just a hunch.
Champions or not, Joliet was a prosperous place once upon a time, and its downtown reflects that. The city could well be a growth hub again someday, once the Sunbelt gets just a little too sunny, but that’s a discussion for another time.
Rather than put it in a park, Joliet situated this sizable tree on the edge of a parking lot, near a dry fountain that I hope runs in the warm months. The tree does make the spot look a little less forlorn.
Downtown Joliet sports some interesting buildings, and we spent a few minutes taking a look. Such as a bank building from a pre-FDIC time when banks dwelt in sturdy-looking edifices with Corinthian columns.
Dating from 1909 with a design by Mundie & Jensen of Chicago, most of whose work wasn’t far from the metro area. It’s still a bank, incidentally.
A giant guitar marks the Illinois Rock & Roll Museum. I didn’t know Illinois had one of those.
That is because it’s new. So new, in fact, that the galleries aren’t open yet, according to its web site, but the gift shop is. Next time I’m in Joliet, if it is all open, I might drop in.
A look at Google Street View tells me that the guitar was fixed to the exterior sometime after November 2022. There have been museum promotional materials in windows since 2018 at the earliest. Before that, a pinball/video game arcade called The Game Show, of all things, occupied the ground floor (in 2017). Back in 2007, the earliest image available, the building was occupied by Phalen’s Fine Furniture. Guess the Great Recession proved to be the end for that business, as Phalen’s was gone by ’13.
The Illinois Rock & Roll Museum has been inducting artists since 2021, with an inaugural roll that year that included Chicago, Cheap Trick, Ides of March, Buddy Guy, Muddy Waters, REO Speedwagon and the Buckinghams. Most of those I could see, but Cheap Trick and REO Speedwagon had an Illinois connection? Cheap Trick was from Rockford and REO Speedwagon from Champaign. Shows you what I know.
The connection doesn’t have to be that strong, apparently. As long as the performer was either born in Illinois; started a musical career in Illinois; was based in Illinois; or recorded in Illinois, then he, she or they can be inducted. Note that as of this year, there’s no “she.” That is, not a single female inductee. Better get on that, IR&RM, before someone more vocal than me calls you out on it.
Next to the museum is the former Ottawa Street Methodist Episcopal Church, a structure dating from 1903.
“The Ottawa Street Methodist Church is a two-story, Neoclassical Revival style structure built by George Julian Barnes in 1909 on a Joliet limestone foundation,” says the city. “The structure is a wonderful and bold interpretation of the Triumphant Arch motif as applied to a Neoclassical Revival institutional building.”
These days, the building serves as part of the Joliet Area Historical Museum.
My fingers were getting a little cold, so we didn’t linger for a picture of the former church, as grand as it is. Except for this detail.
For The Good Of Man is inscribed under the side pediment. The church didn’t realize it in 1903, of course, but it’s a good thing it didn’t read To Serve Man.
A block away is another former church building.
Old St. Mary’s Carmelite, which hasn’t been an active religious structure in 30 years. New owners are currently rehabbing the property and by next summer it will be an event venue for “weddings, corporate events, fund-raisers, proms and more,” Patch reports. Good to know. I’d say that’s a good re-use for a neglected church, much better than destroying its unique beauty.
One more pic from our short Joliet walkabout: Joliet himself in bronze, beside the local library.
Not something you see very often: a wall of motor oil.
I’d never seen such a thing until I came across it just a few doors down from the Museum of the Gilding Arts, in the Pontiac-Oakland Museum and Resource Center, which also faces the elegant Livingston County courthouse in Pontiac, Illinois. In the case of the museum, Pontiac refers to the car brand of that name, and Oakland does as well, as the predecessor of Pontiacs. Both brands are defunct now, but not in the hearts of enthusiasts.
The many cans of motor oil happen to be a backdrop for one of the cars on display: a 1960 Pontiac Venture.
Nearby are other cars of roughly the same era.
A 1964 LeMans Convertible and a 1970 Pontiac GTO Judge, respectively. Not sure if that counts as a Little GTO.
The collection on display isn’t that large – not compared to Fairbanks or Reno, say – but it was well worth a look. Before its absorption into GM, and in fact before horseless carriages, Pontiac got its start as a carriage maker.
An 1890s product of the Pontiac Buggy Co. “One of a handful known to exist,” its sign said.
Soon enough, Pontiac Buggy founder Edward Murphy began building 2-cylinder runabouts called Oaklands, and later built more successful 4-cylindar models, as products of the Oakland Motor Car Co. GM bought Murphy out in 1909, and focused on Oaklands for some decades. The GM Pontiac model didn’t exist until 1926, and then the Depression killed off the higher-priced Oaklands.
A 1929 Oakland.
A Pontiac sedan of the same model year.
Also on display: marketing odds and ends that emphasize the Native roots of the name.
Some might object these days, but I can’t help suspect that Pontiac – Obwandiyag – able 18th-century leader of the Odawa – might have liked being associated, however tenuously, with such a solid object of commerce.
Wiki, citing a 2002 academic work, notes: “Their neighbors applied the ‘Trader’ name to the Odawa because in early traditional times, and also during the early European contact period, they were noted as intertribal traders and barterers.”
The docent at the Museum of the Gilding Arts, a neatly dressed woman about 10 years my senior, wasn’t sure why the museum is in Pontiac – Pontiac, Illinois, that is, where I stopped on Sunday specifically to visit the diminutive two-room museum.
“I’m going to ask about that, because I’ve wondered as well,” she said. “I’ve only been here three weeks.”
Before that, she said, she hadn’t known much about gilding, but had been reading about it and spending time with the exhibits. For a while, I had a personal tour of the place, as she suggested things to look at, such as the various items that had been gilded, including decorative pieces but also machines.
Visit Pontiac is succinct about the place: “The focus of the Museum of the Gilding Arts is the history, craft, and use of gold and silver leaf in architecture and in decoration throughout a history that dates back to the days of ancient Egypt.
“There are examples of gold and silver leaf, artifacts used in the application of the precious metal leaf, and displays showing how leaf was manufactured.
“The exhibit features items from the Society of Gilders’ Swift Collection. The M. Swift and Sons company manufactured gold leaf in Hartford, Connecticut, and began its operations in 1887.”
The docent seemed most impressed by the story of M. Allen Swift, the last owner of M. Swift & Sons, who died at a very advanced age in 2005. The business died with him, having been founded by his grandfather, Matthew Swift, who emigrated as a youth from the UK in 1864. Before he died, Allen Swift had the foresight to preserve old-time elements of his family’s gold leaf factory, including an array of wooden work benches – which are now on display in the back room of the two-room museum.
Each bench sports one of the heavy hammers that late 19th-century workmen used to beat gold.
The 19th century was full of jobs that required great upper-body strength, and gold beater was surely one of them.
“The process of making gold leaf began with quarter-inch-thick gold bars, 12 inches long by 1.5 inches wide,” notes an article in Connecticut Explored about the redevelopment of the Smith factory in our time. “The bars were rolled to a thickness of 1/1000 of an inch and cut into squares. The squares were then dusted with calcium carbonate applied with a brush — often a hare’s foot — and placed between a thin membrane made of the outer layer of an ox intestine.
“These were then stacked, in as many as 300 layers, and repeatedly struck with a 16-pound hammer. The squares were cut again into smaller squares and the process repeated with a 10-pound hammer; the squares were then placed in a mold and struck with a 6-pound hammer. When finished, a layer of 280,000 leaves stood just an inch high.”
What happened to the residue of the ox intestine? Maybe I don’t want to know. Not only a tough job, then, but probably a dirty one as well, and ill-paying unless you were a Swift. Machines took over most of the heavy beating in the 20th century, but I expect it still was a tedious job. More about the museum, which opened in 2015, is at the Society of Gilders web site.
Before I left, the docent told me that I had been the only visitor that day. I was glad to hear it. I hadn’t gone too far out of my way, stopping after I’d dropped Ann off in Normal, and it was worth the small effort to get a glimpse of an entire industry I knew nothing about.
I didn’t take many pictures in Austin this time around. But after dinner one night, Tom had to answer a call, and I had a few moments to document a minor example of Austin neon. It’s a good town for neon.
That was the restaurant entrance. The full name of the place is Wu Chow. Good chow, as it happens.
In San Antonio, I was much more attuned to image-making, at least on Saturday, when I was footloose and out to see new things. Such as Ruby City.
Ruby City is a new art museum west of downtown on the not-so-mighty San Pedro Creek. Which is wider at this point than much of the San Antonio River.
“The story of Ruby City — the landmark museum designed by world-renowned architect Sir David Adjaye… — begins with the lucid dream of a dying woman,” Texas Monthly reported just before the museum opened in 2019.
“In the spring of 2007, Linda Pace, at age 62 a legendary patron of contemporary art in San Antonio, understood that her breast cancer, diagnosed a few months earlier, was likely terminal. All the money in the world could not keep the woman born into both the Pearl beer and Pace Foods families alive long enough to see through her final project, a permanent home for her art collection.”
Ideas for the building design came to her in a dream, the magazine reported, and – having skill in drawing and materials ready at her bedside – she drew sketches and provided them to the architect. About a decade after her death, the building was realized. How much the final structure hewed to the dream-images is impossible to know, at least for those of us standing at the base of the concrete walls years later.
I arrived just as the museum opened at 10 in the morning. I’d been encouraged to make an online “appointment” before coming, so I did. Would crowding be an issue at this free museum? Well, no. During my first few minutes there, I was the only visitor. Everyone else worked there, and there weren’t that many of them. It was a little weird being in a gallery in which the employee’s (or volunteer’s) only job is to watch you, except pretend they aren’t really watching you.
Never mind, the entrance asks one and all to “be amazing.” I made a self-portrait.
Be amazing. That’s a tall order. Better to be “interesting” or maybe “remarkable” on a really good day. Much of the artwork inside is at least interesting. A few pieces I’d say were even remarkable, but nothing amazed me much. Maybe I’m jaded.
Actually, this rectangle o’ river rubbish was mildly amazing.
“Riverbank” (2006), by Luz Maria Sanchez of Mexico City. Made from clothing, bags, bottles etc. found in the Rio Grande. Behind it is “Mobile Home II” (2006) by Mona Hatoum, a Lebanese artist living in London. Its items are connected to laundry lines slowly pulled back and forth by small electric motors.
This one I found remarkable. “Ultimate Joy” (2001) by American artist Jim Hodges. A light bulb artist, at least for this work.
“View of Gorge” (1999) by Anne Chu, an American artist (d. 2016).
Outside is a sculpture garden with three pieces – one of which seemed to be removed for now. No matter, one of the remaining ones is an impressive pile: “5000 lbs. of Sonny’s Airplane Parts, Linda’s Place, and 550 lbs. of Tire-Wire” (1997) by Nancy Rubins.
A final comment on the building itself. Maybe not the color I’d have chosen, though it’s an interesting one. Why aren’t more concrete structures one color or another? Is it too expensive compared with plain dirty white? Imagine how many ugly concrete structures would be a little less ugly with a dash of color.
It’s mid-October and in Chicago at least, that means Open House Chicago, which we’ve attended most years over the last decade. We’ve visited churches, synagogues, temples, office space, libraries, factories, theaters, museums and more as part of the event. Open House is a worldwide phenomenon.
Rain fell heavily Friday night, and was forecast to last into Saturday morning – which it did, also obscuring whatever partial eclipse was above the clouds. The weather didn’t stop us from going out, though it did slow us down some, since driving in the city is like driving through glue even in the best conditions. To make things easier, I decided to head into the neighborhoods east from O’Hare – relatively accessible from our suburb – and on to Lakeview near Lake Michigan, as familiar as a neighborhood can be in Chicago, since we used to live there.
Our first stop was west of Lakeview, however, in the much less familiar Lincoln Square. It was still rainy and quite windy when we arrived at the National Cambodian Heritage Museum and Killing Fields Memorial, which I hadn’t known about till I saw it on the Open House List.
The weather discouraged outside photos, but I did manage to capture the mural on the side of the museum building, which faces west on Lawrence Ave.
“Cambodian Color” (2017) by Brandin Hurley and Shayne Renee Taylor.
A detail near the museum entrance, and out of the rain.
It’s a small museum, only a few rooms, but enough to provide some testimony and images about the Cambodian genocide – the evacuation of Phnom Penh, forced collectivization, blunt-instrument murders to save ammunition, Tuol Sleng and other death prisons, the Khmer Rouge turning on itself when an agrarian utopia mysteriously didn’t appear — the whole horrorshow of ideology gone barking mad. A somber place to visit, but that should be an element in one’s wanderings.
One of the docents, a young woman I took to be an American of Cambodian ancestry, asked me if I knew anything about the period. Unfortunately, I do. Not unfortunate that I know, but that there was anything to know. I remember reading reports of mass murders in “Democratic Kampuchea” while the Khmer Rouge was still in power and of course after its overthrow, when much more detail came out. I told her simply yes, that I’d heard of it.
The memorial is in the back room of the museum.
Not really visible unless you look very closely is Khmer script up and down the glass panels. A lot of it, in other words. Names.
“Designed within an environment for quiet contemplation utilizing glass, stone, water, and light effects, the memorial includes the individual names of thousands of relatives lost by Cambodians all over the United States,” the museum web site says.
Wee rain in the wee hours, which makes waking up to go to the bathroom a pleasure, at least once you settle back into bed. The light rain continued after daybreak, and made a pleasant backdrop for staying in bed to read. I expect the grass to respond by re-greening and unkempt-ing.
Ten years ago this month I was in Texas, including downtown Dallas. I visited the Nasher Sculpture Center then, which has the best sculpture real estate developer Raymond Nasher (d. 2007) could buy, and lots of it. Such as a bug-eyed Picasso (“Tête de femme,” 1931).
It’s a whopper that has outlasted its original corporate patron. A nearby sign says the work was carved on site from a 12.5-ton block quarried near Fredericksburg, Texas, for the building, then known as the Diamond Shamrock Tower (717 North Harwood St.). The company had moved to Dallas from Cleveland not long before – companies moving to Texas isn’t a new thing – but was eventually swallowed by Valero Energy, which is based in San Antonio.
Because of our drive through southern Missouri on April 6, first on Missouri 32, then U.S. 63 and U.S. 60, generally trending west but also somewhat south, I’ve learned a few things.
Also, I learned that Michael Landon, who portrayed Laura Ingalls Wilder’s father on TV, doesn’t look much like the man, Charles Ingalls. I can see that for myself, as he’s pictured with his wife Caroline here.
