Not sure how many people would agree with this sentiment found on Oregon City’s Willamette Terrace walkway. But I do believe we can all agree that the city, some 30 minutes south of Portland, is extremely polite. There is a welcome sign, wherever you turn.
You get encouraging advice (if I only knew what “there” is…)
perhaps leading to Eternal Impact, equally mysterious,
or fortification at the end of the road (the fountains themselves long dried out.)
Jokes aside, there is history wherever you look, preserved and displayed in public and museums. A lot of it can be found just looking at the buildings, the murals, the signage they offer, or the names they chose for their establishments.
Jail cells at the end of the alley center top – Masonic Temple center bottom. Municipal elevator from one level of the city to another.
Arch Bridge and original marker
I had come to Oregon City to look at the work of several artists displayed for the day at the Stevens Crawford Heritage House, another place where you can learn about the past. It was empty (still my condition to go inside in public places) on an early Saturday afternoon before a gathering organized by Art in Oregon to celebrate local artists and their work.
This is a collage made of paper clippings by one of the early inhabitants of the house – art always having been present, it seems.
The Craftsman American Foursquare House was built in 1908, and made into a museum after the last owner passed in 1968 and donated the property to the Clackamas Historical Society. It is furnished and equipped with everything original to the period, transporting you into the past. A large room on the ground floor has now been made in to the Mary Elizabeth Gallery, with local art hung there and in upstairs spaces as well.
On view were paintings by Kelsey Birsa, her Livingroom series containing a number of works dealing with the psychological effects of the pandemic and her ways of coping with it. One of the colorful attention magnets was a wall paper she created to reflect the garden surrounding the gallery, one of the few spaces to interact socially given the threat of infection. Her oil paintings, sometimes with added media, gold leaf, newspaper clippings or fabric draped over, were hung on top of the colorful background.
Kelsey Birsa Coping Mechanisms (2020)
Kelsey Birsa Here (2019)
Upstairs you could see some of Natalie Wood’s photographs,
Natalie Wood Were such her Silver Will (2019)
On display for the day were also the work of Clairissa Stephens, in the process of setting up her delicate botanical drawings with silverpoint on a gesso-like underpainting, from ink and pencil sketches.
All three of the artists had participated at some time or another in Art in Oregon‘s unique opportunity to spend a one-month residency at the Heritage House to work on their art in solitude. They are granted 24 hour access to a studio room and facilities (although they cannot live in the house,) in exchange for 20 hrs. of volunteer services at the museum. The Mary Elizabeth Gallery offers a chance to show work at the end, but is not exclusively slated for residents. The next exhibition, for example, is comprised of a huge variety of local talent, opening on September 23, 2022. The Ghost Showfeatures Alycia Helbling, Autumn Cornell, Don Hudgins, Elliott Wall, Erik Sandgren, James Dowlen, Jennifer Viviano, Kelly Shannon Chester, Kristin Neuschwander, Laura Weiler, Leslee Lukosh, Leslie Peterson Sapp, Nanette Wallace, Owen Premore, Tim Dallas – quite a range of divergent styles and media.
Mary Elizabeth Gallery
603 6th St. Oregon City, OR 97045
September 23 - November 1, 2022
RECEPTION: Friday, October 14, 6-9pm
Open on Halloween: 4-7pm
Gallery hours : Friday-Saturday 10-4pm
***
I am regularly drawn back to Oregon City because of the river, the falls, and the not-so-distant past that still affects a complicated presence. The industrialization of the place provided homes and work for many colonial settlers, while displacing the tribes who lived on the land and for whom Tumwater Falls was a place of great existential and cultural significance. A bit of a walkway can be found at the north end of the river, surrounded by informative signs and public art. A view point further south does the same and allows visitors to look at the falls from afar.
Adam Kuby and Brian Borrello are the public artist team that created the Waterfall sculpture at Willamette Terrace Walkway.
Mill after mill, using the power generated by the water for processing lumber, wool, flour and eventually paper, clogged the banks of the river and interfered with access to the falls.
Several years back I had actually participated in a walk through one of the old mills, Blue Heron Paper Company, now condemned, for an extended photoshoot that resulted in this compilation. (If you click on the book in the link and then on full view, you can scroll through the pages. Some of the resulting montages (below) were hung in a show at the Oregon City Hall.)
The site of the bankrupt paper mill, some 23 acres, was purchased in 2019 by the Confederate Tribes of Grand Ronde, who announced the new name for the planned restoration project just 2 weeks ago: Tumwata Village. It refers to the Native name for the falls and reflects the historic tribal connection to the area. Much demolition still going on, lots of rebuilding in the future. Details can be found in a newly launched website: www.tumwatavillage.org.
The planning process itself has been complex, though. Since 2011, much debate involved historic rights, and differing visions for a development that would protect tribal history and also would allow the general public to access the falls. Under the umbrella of the Willamette Falls Legacy Project multiple constituent partners focused on a commitment to public access, environmental and cultural restoration, as well as economic development. Oregon City, Clackamas County, regional government Metro and the state of Oregon partnered with the Grand Ronde Tribe, and eventually the Confederated Tribes and Bands of the Yakama Nation, Confederated Tribes of Siletz Indians, Confederated Tribes of the Umatilla Indian Reservation and Confederated Tribes of Warm Springs were invited by the Willamette Falls Trust, which began as the Legacy Project’s fundraising arm before expanding operations. As is so often the case in projects with numerous participants, conflicting needs, demands and eventually tensions were difficult to resolve.
This spring the Grand Ronde tribe left the project to pursue the restoration on their own propriety bordering the river directly and independently. Information about claims of conflicting interests can be found here and here, and in an OPB interview. Of importance to those of us who are not entitled to take a position, given our lack of historic knowledge and access to innumerable facts, is to remember:
“… these fractures stem from painful histories. None of these confederations, or the boundaries between them, existed before colonization. In fact, in 1855 there was only one western Oregon reservation: Siletz, which is where the tribes that became part of Grand Ronde were originally scheduled to be sent. But President James Buchanan abruptly decided to establish the Grand Ronde Reservation as a second western Oregon reservation instead of an extension of Siletz. On a foreigner’s whim, the tribes became separate peoples.
“Over the years, there’s been a lot of trauma and historical legal wrongs done to the tribes just falling out of that history.” (Ref.)
That is what I am thinking about when looking at this natural marvel, the largest waterfall in the Northwestern United States by volume, and the seventeenth widest in the world. It is 1,500 feet (460 m) wide and 40 feet (12 m) high with a flow of 30,849 cu ft/s (874 m³/s), located 26 miles (42 km) upriver from the Willamette’s mouth. Images below are from last week and from winter months, showing the effects of season on the river.
The horse-shoe shapes falls in September above, January below
The falls are one of the few remaining places to fish for lamprey eels.
September above, January below
Maybe the town itself is not one of the prettiest ever, but the nature at its doorstep is. They both hold a lot of history.
Here is what I currently listen to, water (or sea) foam, in musical form.
“Memories of Hiroshima are what drives me to take action to restore peace. In order to achieve peace, the international community must make it clear that aggression as such brings consequences.”
– Japanese Prime Minister Fumio Kishida in a speech at the Guildhall in London, U.K., on May 5, 2022.
SCIENCE. ART. GARDEN(S). A perfect trifecta, all told. Superseded by thoughts of peace. Recent visits to Portland Japanese Garden, one of our city’s treasures, stretched both mind and senses along those lines.
I had not been to the garden in a while. First it was closed for a serious $33.5 million remodel, with new buildings added, and the approach path restructured. Then the pandemic ensued. I was excited, therefore, when my visiting kids suggested the outing – delighted by novelty and grateful for the familiar.
You now pay at the bottom of the hill, then climb up a beautifully landscaped path, eventually entering through the old gate which still greets you with familiar detail.
Bamboo grids support aquatic planting and platforms amplify the sound of dripping water or rainfall while installed as visual screens on the ground, covering mechanical features and drains.
Bell at the old entrance gate
Portland Japanese Garden was an idea conceived in the late 1950s in the context of the US’s attempt to improve relations with Japan after the horrors of WW II. It was founded in 1963, declared the Year of Peace. The project was based on the assumption that the experience of a peaceful environment could be transferred to healing on a larger scale, leaving the hostilities between the nations behind us, promoting reconciliation. I had to look it up, of course, since I don’t speak Japanese, but there are multiple words in Japanese linked to these aspects. 和平 (wahei) means peace, 和解 (wakai) means reconciliation or rapprochement, and 和む (nagono) means to be softened or calming down. All three concepts can be found in the garden: peace as a mission, rapprochement in acts of cultural exchange (more below) and calming, if you immerse yourself in the nature on offer.
Sign at the entrance, maple plantings and water feature.
It is only fitting that the Japan Institute, an extension of Portland Japanese Garden founded last year and devoted to connecting people internationally and exchanging ideas about peace through cultural diplomacy, has created a Peace Program Series.
The first symposium,“Peacemaking at the Intersection of Culture, Art, and Nature,” will be staged in Tokyo, Japan on the United Nation’s International Day of Peace, September 21, 2022. Before that, replicas of the garden’s own peace lantern will be given as Peace Lantern as symbolic gifts to Hiroshima, Nagasaki, and Tokyo.
The “Peace Lantern” (neko ashi yukimi), on the East bank of the Upper Strolling Pond.
***
IT TOOK ALMOST seven years from site dedication to opening in 1967, revealing a riveting acreage of 5-in-1 gardens, each reflecting different historical development styles in Japanese horticulture, designed by Paul Takuma Tono (1891 – 1987.) Educated both in Japan and the US, Tono was the head of the landscape architecture department at Tokyo Agricultural University, led a design firm that produced renowned public and private landscapes, and designed a Japanese garden for the Memphis, TN, Botanic Garden as well as the one here in Portland.
Tono’s vision of the flat garden (hira-niwa). The gravel was imported from Japan, deemed too white in its original marble and color- adjusted with more off-white gravel. That kind of attention to detail, getting it “right,” is a hallmark of this garden.
Across the decades, the space began to be open year round, and several structures were added; most recently three LEED-certified buildings compose a Cultural Village, skillfully nestled in the surrounding nature, realized by Japanese architectKengo Kuma for whom this was the first American project. (You can find a recent book about his approach to this particular design and his vision in general here.) Three steel-and-glass pavilions linked by a large courtyard provide space for arts, horticulture, education, a library and a giftshop (quadrupled in size to the old one) and a café. Real growth for a cultural institution, grounds for celebration. Not everyone was happy, though.
Some members of the adjacent Arlington Heights Neighborhood Association worried that the commercial additions to the garden were double the approved size from the city’s land use decision, and would result in increased noise and congestion, a loss of open space. They claimed that the garden didn’t honor promises to mitigate lighting to maintain a dark sky in the park and limit spillover to the neighborhood, or use bird-safe construction practices. (Ref.) This was during the construction phase some years back – I could find no further information, so hopefully all is resolved.
Water not absorbed by the green roofs drips into graveled dry-wells. Class- and meeting rooms are airy with glass sliding doors that allow the outside in and sheltered by wooden slats.
The buildings flank a new wall, Zagunis Castle wall, the first of its kind outside of Japan. Built by a 15th-generation (!) master stonemason, Suminori Awata, who usually repairs old ones at home and was delighted in the opportunity to build a new one, it is supposed to invoke medieval Japan.
Zagunis Castle Wall
The garden attracts between 3000 and 4000 visitors on its most crowded days, much dependent on season, but also receives other communal support. Lots of organizations, for examples, have donated trees like this red pine.
Individuals volunteered to build bridges – I was told that a 98 year-old Robert C. Burbank recently visited to look at the Moon Bridge he helped fashion from an old redwood effluent container no longer in use at the factory where he worked many years ago.
The garden, in turn, gives back – there is, I learned after wondering about the high cost of admission, making visits seemingly out of reach for economically disadvantaged folks, a membership category named in honor of this Moon Bridge. For $20, Oregon and Southwest Washington families receiving public income-related assistance can become annual members of the garden. It also participates in the Multnomah Library Discovery Pass program, donating free tickets that library patrons in need can reserve.
The basic structure of the garden is unchanged, with its many inviting and/or hidden vistas,
its Koi ponds,
tea house garden (cha-niwa,)
its maple trees that attract practically every single Portland photographer in the fall,
and its strolling (kaiyū-shiki-teien) or sand and stone gardens (karesansui).
Buddha and the Tiger cubs. Karesansui or dry landscape garden, focusses on the beauty of blank space, often found as parts of Zen monasteries.
Eight full-time gardeners and many volunteers tend to the place, with daily (!) raking of moss one of the many repetitive chores. I appreciated that they interrupted their work for me, answering my questions and letting me take photographs. Thank you, caretaker Masaki! Of course, I always return to photographing the same subjects, my beloved conifers and the occasional maples. He, on the other hand, returns to taking care of the Bonsai.
A 500 year-old Rocky Mountain Juniper at the Bonsai Display at the Bonsai Terrace.
***
THE VISUAL BEAUTY of the garden is renowned and the obvious magnet for scores of visitors each year. There is another feature, though, that we should think about as well. A growing movement in contemporary landscape architecture suggests to integrate soundscapes and thinking about sound in gardens, a sensory experience that has scientifically acknowledged positive effects on our health. There has been a recent flurry of research focussing on the impact of sound, with some concentrating on untouched natural environments to prevent more sound pollution, and others looking at designed natural spaces. The upshot of much of the medical literature: too much noise is bad for your health, but exposure to nature and garden visits can lead to reduced heart rate and improve our circulatory systems as well as our mood, and they certainly engage our senses. Perhaps not news to traditional gardeners. Sound has been integral to Japanese landscape design for centuries, after all. For the rest of us, new to the idea and curious, I am summarizing an in-depth exploration of 88 Japanese gardens, found here, and apply examples found in our very own garden.
Water features add wanted natural sound and also provide auditory masking for unwanted sounds.
Sound is a variable that can be looked at from different perspectives. You can embrace wanted sounds, you can avoid unwanted sounds, and sometimes you can invite unwanted sounds (as a contrast effect.) Wanted sounds can be introduced in gardens by the sounds of water, vegetation, the materials you walk on, certain biotopes and resonance and reflection. Unwanted sounds can be reduced by noise screens (walls, buildings or hedges etc.) by topography (don’t build next to the highway…) and absorbing (moss as a ground cover) or deflecting materials (tree stands next to garden walls that stop the city noise carried over by wind) to mention a few. None of these are exhaustive lists.
Absorbant moss carpets
Wooden screens at the tea house, protecting against extraneous noise, but also producing natural noise when the fall winds hit at the right angle.
Wanted sounds can be enhanced if you place the garden close to other natural landscapes that provide nature sounds – as is the case in town where Forest Park is a natural backdrop with its wooded hills, bird- and squirrel sounds wafting over. Water features like loud streams or water falls are both providing wanted natural sounds but are also good for auditory masking of traffic or other unwanted noises.
By all reports, Tono stood with his back to the waterfall during installation and directed the placement of rocks and boulders according to the sound that was achieved by different interrelations.
The subtle noise of water trickling engages our senses, it can vary in rhythm and tone, speed and amplitude.
Vegetation can provide pleasant noise: the rustling of leaves, the creaking of branches, the swooshing when the wind moves bamboo, the noise rain makes on broad-leaved plants.
Gravel paths make sounds (as would have the traditional stone paths when frequented by people who historically wore geta, wooden shoes, that clomped along.) Large pebbles provide sound surfaces for dripping water.
Biotopes, conscious planting of species that attract birds and their song, for example, also bring about sound, as do shallow ponds for frogs. The fish, of course, splash, occasionally and unexpectedly, with those huge carp making quite the noise.
Add to that the joyous noises of kids squealing with delight when the Koi jump, and the politely mumbled but insistent exhortations by staff/volunteers to refrain from bending too closely over the water to get that perfect shot….
Hard surfaces like concrete walls or large sculptures can amplify desirable sounds.
In sum, next time you visit, extend your awareness to the auditory components delivered by Portland Japanese Garden. They might reliably, if subtly, increase your pleasure. Announced with a gong seen at the Pavilion Gallery some times back! Maybe too loud….
***
“Intimacy: noun“
1: the state of being intimate : FAMILIARITY
2: something of a personal or private nature – Merriam-Webster Dictionary
SOMETIMES IT PAYS OFF TO BE BRAVE AND CHEERFUL. I cold-called the folks at the garden to see if I could meet their very first artist-in-residence invited by the Japan Institute, who arrived last week. The Institute is in the process of remodeling a new campus that will eventually hold artist studios and housing as well as lecture halls and administrative offices, an extended cultural space. For now, artists are privately accommodated, recruited through leadership connections and networks keen on showcasing international art related and/or relevant to Japan.
The response to my query could not have been friendlier. Sarah Kate Nomura, the Assistant Director of Exhibitions, filled me in on the mission and future plans of the Japan Institute. Will Lerner, the media relations specialist, fount of knowledge about the garden and all-round interesting conversationalist, made the arrangements and gave me a terrific tour, adding new bits of knowledge when here I thought I knew the place pretty well. And finally I met the artist, who was gracious in giving me time during her whirlwind arrival for a month-long stay now, and repeat visits planned for December and March, when her exhibit will open in the Pavilion Gallery.
Rui Sasaki, conceptual glass artist.
Rui Sasaki is an internationally exhibited, conceptual glass artist who strikes an unusual balance of sensitivity and edginess. Born in Japan, she has lived in multiple places on the archipelago as well as long stretches abroad. The thread that connects much of her work relates to her desire to experience herself within place, craving understanding of and familiarity with her environment, a desire shared by many of us who have changed countries and cultures, in some cases frequently.
What distinguishes her from the rest of us migratory folks, is her ability to create intelligent beauty from the intimacy she develops with her surrounds, extending her descriptive powers to everything from the flora of a particular place to its weather, from observations of present detail of a familiar building, to encapsulation of historic specifics of a particular region.
Sasaki received her BA in industrial, interior and craft design at Musashino Art University in Tokyo, before attending Rhode Island School of Design, where she received her MFA in glass in 2010. I was first alerted to her conceptual gift when I saw images of her craft
Detail of “Liquid Sunshine/I am a Pluviophile” (2019), glass, phosphorescent material, broad-spectrum UV lights, motion detector, 3,353 x 4,267 x 3,658 millimeters as installation. Photo by Yasushi Ichikawa, 33rd Rakow Commission, courtesy of The Corning Museum of Glass.
and heard the interview about the work that scored her the prestigious Corning Museum of Glass Rakow Commission in 2018. The work is gorgeous. The weather theme was subsequently expanded upon with a series on Wearing rain, where the artist re-imagines traditional Japanese rainwear fashioned from rice straw in glass and silver wire, one of my favorites.
Wearing Rain Glass, silver wire (2016) Photo Credit Pal Hoff
Capturing images of a particular site, or representing it in some ways is not new to glass work, of course. One of Sasaki’s favorite artists, Roni Horn (new to me and now I can’t get her out of my head,) for example, collected samples of water from numerous Icelandic glaciers and stored them in transparent glass columns. The Library of Water (2007) is an installation of 24 such containers, refracting and reflecting the light onto a floor covered with a field of words in Icelandic and English which relate to the environmental conditions. Some of the water stored is the last evidence of glaciers that have since melted, a document to the mutability of environments, our unstable place within them, and the need for a sensitive approach to preservation. Here is an interview from Horn’s current show in Paris, laying out some of the principles behind her art anchored in identity and change.
Roni Horn The Library of Water (2007)
One of my own admired glass artists, Beth Lipman, has several projects related to place as well. Her series Alone and the Wilderness (2014) places gazing balls and other blown containers into the landscape, video-graphing the ongoing reflections of nature with changes in light, temperature and weather conditions, exemplified in the video of Windfall, a continuously looped time lapse displayed at the Corning Museum of Glass.
Beth Lipman Windfall (2014)
Rui Sasaki will use her residency at Portland Japanese Garden to extend an ongoing search for connection to the environment she moves in. What started in Japan during a stay at the Houen Temple in Kanazawa will be continued with specifics from the current site. The artist collects local plants and fires them together with the glass, providing a repository for the ashes that maintain a semblance to their prior form, holding past and present in one. I could not help wondering about the significance of ashes for an artist whose country has quite literally risen from the ashes of nuclear incineration. The trans-generational trauma for offspring of survivors of Hiroshima is scientifically well documented, as for many later generations of communities who experienced collective loss, the Holocaust, the families of war veterans, be it Vietnam, Afghanistan, Irak or former Yugoslavia. Prime Minister Fumio Kishida’s unshakable anti-nuclear weapons position can be directly linked to his nation’s trauma. Perhaps Sasaki’s subtle beauty can be indirectly associated with the notion that we must not forget. Both urged me to contemplate peace.
She plans to create four walls composed of these glass components in an installation measuring around 8 feet long and more than 9 feet high, with two openings allowing visitors to move among all sides of the display. The combination of Japanese and newly site-acquired plants will link the two cultures. Sasaki also hopes to represent what she’s gleaned in planned conversations with gardeners and staff of the garden, adding historical bits that forge connection to people as well as botanical environment, opening our eyes to different perspectives on the garden. The work will be fired at Bulleseye Studio and displayed in March at the garden’s Pavilion Gallery.
***
THE QUESTION OF (NOT) BELONGING can loom large for people who experience culture (and reverse culture!) shock when moving between countries. It is psychologically adaptive to focus on the next best thing – familiarity with and closeness to a place and its people – since rational as well as affective exploration can distract from the pain of uprootedness, probably made worse by the isolation throughout the pandemic.
Some months ago I reviewed an old, but seminal science fiction novel by Sakyo Komatsu, Japan Sinks, which took 9 years to write. The scenario imagines a scientist’s discovery of the likelihood that all of Japan, the entire archipelago, is going to go under due to earthquakes, ocean floor faults, and what not. One of the narrative lines concerns how the government is handling the crisis, from negligence to obstruction to panic. Another focusses on the distribution of millions of people around the world, with nationalist impulses against immigration vying with empathy for a drowning people. My thoughts:
“The philosophical question it raises, though, is one that we will have to think through in climate change migrations to come: what does it do to your identity, as member of a nation, or a tribe or a culture or a language group, when the place that defines you ceases to exist? Literally is no longer there to return to? Is it destructive to lose that connection to place which is a base for underlying sense of self, or is it empowering because you can shed the debt you incurred as a member of the nation (say of an imperialistic or fascistic past) and start from scratch? “
Sasaki’s work speaks to a version of this question, the subjective disconnection to origin as experienced by the migrant. She demonstrates resilience to loss by forging an intimate connection to whatever can still be embraced, finding succor in the perceived beauty of an environment, preserving it in glass for all of us to see. But ashes represent the very notion of loss as well. Art as a wake-up call as much as consolation.
Portland will be enriched by her presence.
Details found on the access path.
Here is a 2021 concert of Japanese music presented in the garden.
Instead of a nature walk you get to accompany me on a neighborhood walk this week. I figured I’d do a bit of my daily “practicing hope,” after this sign early on reminded me that we are all kind of limping along. All photographs taken with iPhone within a 2 mile radius in NE PDX.
So what could I interpret in ways providing us all with a bit of optimism?
—> Not everyone sits on a high horse – there are some down to earth ones to be found, always.
—> My favorite birds decorated cottage gardens, and pottery at pop-up sales, arranged on brightly colored shelves. I found the website of the artist, Natalie Warren, here. And am now thew proud owner of a tiny cup painted with a crow’s head. Art + birds, wherever you look!
I know, consumerism. But then again, we need to support local artists!
—> Unclear whose art this was, some shades of Max Ernst, some Phoenix more Escher than ashes, some arrangement of pies that had me lust, fully aware that I have enough to eat and even afford the luxuries of sweets…
—> Happy to note that Yellow Peril support Black Power and that someone, anyone, still remembers Leonard Peltier.
Not everyone, then, withdraws into idyls complete with Gartenzwerg….
In fact, some neighbors very explicitly reminded us that we have obligations to remember:
All of us:
—> In any event, the keys to hope were visible: in explicit and implicit forms – you’ll forgive me if I post an overused poem, but could not escape the symbolism in front of my eyes.
And because I did not make your brains work today, I will go harder on your ears – here is what I am currently listening to, constantly, some fascinating experimental music from a Chicago/NY based group je’raf. Their political satire is another reason for hope – there are still people out there fighting! AND having fun while doing it.
Afternoon walk at the beginning of the week. The sun was out – finally – it started to warm up – finally! Somehow it felt as if all of nature erupted into a collective sigh of “Ahhhhh,” turning little flower faces skyward, soaking it all up.
Butterflies hung out, luxuriating in the sun.
Huge tadpoles floated in the water like being suspended from invisible threads, shifting a little with soft currents of the lake. (Hate to break it to you, they are Rana Catesbeiana, invasive bull frog babies, as my learned friend Mary told me when I showed her the pictures.)
Herons stalking in slo-mo, trying to keep a lid on the bull frog population…
Hello….
Ospreys eying the ducklings, then being chased by smaller, upset birds.
Red-winged blackbirds everywhere, as were swallows and brown-headed cowbirds.
I tried to focus on my surround and not on what to do with the barrage of emails that enter my inbox on a daily basis for unknown reasons, often prefaced by Dear Mr. Friderike Heuer…Somehow I must have gotten on a distribution list of people who think I do book reviews for a living. The wrong kind of people. Or the wrong kind of books, as the case may be. Certainly the wrong amount of time spent on reading the mails if only out of curiosity. Here is a selection for last week only, to give you a taste.
Book Review Op – Your Marriage God’s Way: A Biblical Guide to a Christ-Centered Relationship – The problems we see in marriages today have existed throughout human history, says Pastor Scott LaPierre, which is why he relies on biblical lessons when dispensing marital counseling. Scott dissects the culture of marriage intended by God in his new book, Your Marriage God’s Way, and he is available to discuss these valuable insights with your audience to help them build relationships that are strong and vibrant. Would you please read the press release below and let me know if you would like to schedule an interview with pastor and author Scott LaPierre? I would also be happy to forward a complimentary copy of his new book in consideration of a review or feature. To hear a recent interview, please visit https://anchor.fm/heidistjohn/episodes/Husbands–Love-Your-Wives-with-Scott-LaPierre-e1i3fcd.
Let’s say mine centers on a Jewish man as well…
Book Review / Interview Op – 60 Clear-Cut Ideas That Make Handling Crises and Career Setbacks Easier -in these troubling times, nothing is easy. But sought-after business coach Chris Westfall says that there is an easier way. In his new book, Easier, Chris uses a profoundly powerful approach to deliver 60 clear-cut ideas for handling crises, career setbacks, loss, grief and more — so we can heal ourselves, our companies and our culture. Please let me know if you would like to schedule an interview with Chris, who makes an extremely engaging guest. I would also be happy to forward a complimentary copy of Easier, in consideration of a review or feature. More information can be found in the press release below. To watch a recent interview, please visit….
Only 60?
I wanted to make sure you’d heard about Jerremy’s new children’s book focused on the stock market? The following is a link to the press release: https://www.digitaljournal.com/pr/real-life-trading-making-investment-in-financial-literacy-for-kidsJerremy has been putting an extra focus on financial literacy for children. He was recently featured on CNBC. I’d be happy to send you a copy of his book if you’d like to review it or I can schedule an interview with him if you’d like to learn more about why he wrote it and how he’s giving back to schools and kids. He will also have a guest piece in the Tennessean soon advocating for his home state to pass a similar financial literacy bill as Florida just did.
I know I reared the kids all wrong…
Steamy Romance About Love, Sex and Chocolate – The word-of-mouth sensation, Chocolate Burnout, is now a seven-part series for Hubbard Small Press Publications with the first in the series, Chocolate Burnout: Chocolate 4 Life(June 7, 2022) launching this summer. Each novel in the series will follow a different character and address a variety of social issues including racism and interracial relationships. Chocolate 4 Life follows Chantel Reed, a successful, single African American woman who has given up on romance to pursue her lifelong dream of becoming a master chocolatier. Chantel’s best friend Astrid, a prosperous, single white woman who sacrificed relationships to conquer her dream job as a certified chocolatier, is the owner of Sweet Indulgence, one of the most popular chocolate shops in downtown Seattle. The story follows Chantel as she deals with life’s challenges and bounces between an obsession with chocolate, friendships and her desire to find the perfect romance.“Throughout the seven-part series, there will be different perspectives, and the protagonists will develop and change their views as they grow older,” says La-Paz. “The main character, Chantel Reed, her eccentric group of friends and her peculiar relationships give readers something to look forward to as the series progresses.” With a romance series, a memoir, and a picture book forthcoming, Emunah La-Paz is a talented author on the rise. Please let me know if I can send you a review copy of this delicious and enticing tale.
Maybe I’ll have some chocolate. Maybe I’ll pick um painting again…
Hey Friderike — below is an image of American Angie Crabtree surrounded by her hyperrealistic portraits of actual diamonds. Her art speaks for itself so I won’t bother you with fluff and BS. She has a show coming up and a great backstory. She is collected mostly by major diamond companies, celebs etc. How would you feel about a quick interview via zoom phone or email? We would be grateful! Keep sparkling, Tyler.
Or maybe I’ll escape to outer space since I can keep sparkling there as yet another star…
I am writing to you with an urgent story idea. Former Deputy NASA Administrator Lori Garver has a new book scheduled to be released on June 21st entitled “Escaping Gravity: My Quest to Transform NASA and Launch a New Space Age.” It is the story of how Garver drove the commercial space program with Elon Musk against the wishes of Senators on both sides of the aisle. It is her story of how she was threatened and called the worst of names by politicians including Senators whose goal was to protect NASA programs in their districts versus Congress investing in the commercial program. The Senator from Florida who led the battle to stop the commercial program was Bill Nelson, now the NASA administrator. Garver pulls no punches on Nelson. She opens up about the excessive $20 billion-plus in cost overruns that have dogged the SLS program that Nelson drove. SLS still has not been launched after a decade of technical and financial issues. Garver writes in her book about working with Musk, Bezos, Branson, etc… and has many personal stories to share. The Former Deputy NASA Administrator passionately writes and speaks about how women have been suppressed, degraded, and objectified in the male-dominated NASA culture. In addition to the PDF, I have attached book highlights and Garver’s thoughts regarding how women have been treated at NASA.
Would you be interested in interviewing Garver for your outlet? This promises to be a dynamic interview, bestseller, and drop a number of political bombshells. I look forward to hearing from you. Please contact me at this email or xxxxxxxxxxx to schedule an interview.
Or maybe I’ll read something truly relevant to my pursuit of sharing tidbits about nature: here is the best article of last week in that regard. It will enrich your weekend!
The Oregon Humanities offers a terrific program called Dear Stranger. It is an annual letter-exchange project that connects Oregonians with each other, to share bits about their lives, their experiences and beliefs. You send a letter in and they randomly swap it for another one sent back to you. This year’s topic revolves around care: who cares about what, whom, where do you see care and where its absence. You can still join, the deadline is in June, I believe.
I wish I had gotten one of these letters, years ago, from someone living in Hillsboro. It would have helped me discover a vibrant community, devoted to the arts, caring for education and inclusivity. It’s sort of absurd that I have hiked and photographed in neighboring Jackson Bottom Wetlands Preserve for years on end, and never ever set foot into the town nearby, so easily reached by the MAX Blue line or by car with plenty of free parking.
Maybe you all knew all along. But I am not the only one who had no clue what’s on offer. When I visited the Glenn and Viola Walters Cultural Arts Center by invitation of the gallery specialist, Karen de Benedetti, I uttered something along the lines of “I didn’t know this existed!” This seems to be a sentiment frequently voiced by visitors right next to the belief that the building is a church. Which it was, and a beautiful one inside at that.
The Walters opened its doors in 2004 and has since served the community in many ways. Like the Parks and Recreation, Cultural Arts Division, all the Walters’ programs are part of the City of Hillsboro. What used to be a sanctuary is now a performance space with a stage, a fully equipped, concert-quality sound booth, and a program that includes something for every interest, from music to dance to the spoken word, diverse genres and cultural perspectives included. Of the 16 performances in each annual series, 6 are grant funded by the Performance Series Grant Program, providing opportunity for local groups to join the series. There are also other grant programs that support local artists and arts organizations. Cultural Arts Manager Michele McCall-Wallace is one of the forces at work to shape these programs at the Walters as well as the town’s cultural arts action plan that envisions future developments.
Entrance Hall and Performance Space at the Walters
The large space with its beautiful wood-work ceiling arches can also be rented for social occasions, from weddings, to quinceañeras, to celebratory luncheons, fundraisers and so on. Another, perhaps even more important way to serve the community, is the educational program offered by the center.
Melissa Moore is responsible for the education and outreach program which offers a wide variety of learning opportunities, from painting, to dance, theatre, music, drawing, and more. Among them is a fully equipped ceramics studio that welcomes students of all levels and provides access to its kilns for those enrolled in the classes.
From pre-school to seniors, with scholarships available, art education is prized, as is community involvement. The center, in partnership with the Washington County Office for Aging, Disability, and Veteran Services, offers a Memory Café, for example, which is designed for people with memory loss, early stage Alzheimer’s or a related dementia, and their families. Trained guides help participants experience art in a gentle environment.
Various local-non-profits engage with youths in programs at the Walters, in ways that contribute both knowledge and occasional gifts. The Hillsboro police department, for example, donated and fitted helmets at the end of a class that had kids create designs and then paint a skateboard. Skateboards reminded me of Hillsboro author’s Blake Nelson’s novel Paranoid Park, made into a movie by Gus van Sant. Remember? The film won, among others, the Cannes Film Festival’s special 60th anniversary prize. Nelson these days has an interesting travel blog, by the way.
***
Gallery space upstairs and downstairs
I had come to explore the current exhibition, Fire & Ice: Magic from the Earth, at the Walters’ art gallery which covers a set of spaces upstairs and downstairs, wide open and more intimate, respectively. Sensitively and tightly curated by de Benedetti, the exhibit alone is worth a trip out to Portland’s Western neighbor. The work is divided between ceramics and photography, the latter of frozen constellations captured by notable PNW fine art photographer Don Jacobson. Some of the icy landscapes might make it into the history annals, if the current warming climate trends continue (never mind this strange snowy April weather.)
Don Jacobson: Eagle Creek #1
Don Jacobson Ice Cathedral – Lower Multnomah Falls #2
Don Jacobson – Porcelain Basin #2
The ceramics were created by the folks at East Creek Art, a community art studio in Willamina, OR, that serves students, artists and educators, offering an introduction to and use of the West’s first Anagama wood burning kiln. Making these objects requires firing the wares in a collaborative process that takes several days of round-the-clock stoking, with flames and ashes creating the incredible patterning on the art.
Aubrey Sloan and Joe Robinson Flotsam
Cooper Jeppesen Tripod Vase
From left to right: Jenna Lee Wood-fired ZigZag Planter; Katy McFadden A Union; Chris Schwartz Wood fried Temmoku Vase; Elijah Pilkington Altered Stoneware Vase;
Jess “Squirrel” Komaromy Old Rosie.
What struck me most was not just the beauty of individual pieces, but the communal richness of the show: art ranged from works of absolute beginners to masters of the form, reinforcing rather than distracting from each other. Instructing new generations in an ancient Asian methodology.
Cooper Jeppesen East Creek Basket #1
Lew Allen Ashfall (Excerpt) Carrie Gibbs Oregon’s Elusive Bigfoot 2020 “Barely Made It!”
About a quarter of Hillsboro’s population (in total now well over 100.000 inhabitants, thus Oregons 5th largest city) could probably read Cervantes in the original, given their Hispanic background. I can only manage in translation: “One who reads and walks a lot, sees and knows a lot.” And walk we did during this visit, as well as drive, guided by yet another friendly person willing to devote some of his work day to showing me around.
Karl LeClair, a recent transplant from Idaho, is the new Public Art Supervisor in the Hillsboro Parks & Recreation universe. He guided me to three points of interest beyond the Walters, relevant to the appreciation of public art. (Further reading, in agreement with Cervantes, will involve this link to the Public Art Archive, a fount of information.)
We looked at the Hillsboro Civic Center and the adjacent Plaza first. The few remaining Sequoias across the street are reflected in the building, and a bold piece on its walls traces the needle branches.
Brian Borrello Sequoia Frond (2004)
The Plaza itself is a lively place when the weather warms up and Tuesday night markets resume. It is lined with basalt boulders that reveal their secrets with differing degrees of ease – 30 petroglyphs have been carved by Lillian Pitt (Confederated Tribes of Warm Springs/ Wasco/ Yakama) in an installation called Riverbed. It is a timely reminder that the city is located on Tualatin Kalapuya (Atfalati) land (I wrote about some of the Kalapuyan tribal history earlier here.)
Lillian Pitt Riverbed
Inside the Civic Center the visitor is greeted with colorful art on the elevator doors, glass art on the stair well, and a gallery space, the Shirley Huffman Auditorium Gallery, that contains permanent as well as changing exhibitions, currently showing work of some of the faculty that teaches at the Walters.
Hampton Rodriguez Diversity
Linda Haworth Father Time (2004) – John Groth Grand Staircase (2004) – Walters’ Faculty show Creative Brilliance – Skateboard included!
Another gallery space can be found at the recently opened Hidden Creek Community Center, a stream-lined, state-of-the-art facility for sports, education and meeting rooms. OPSIS Architecture collected tons of well deserved awards across the last two years for this first-of-its-kind mass timber building that blends into the adjacent forest. Situated close to a site designated for a large affordable housing development, the wood and glass structure is functional and inviting. Better still, with a large solar array on the roof of the community wing, natural ventilation, water conservation measures, and balanced daylighting, the Community Center is enrolled in the Energy Trust of Oregon’s Path to Net-Zero program and is expected to achieve net-zero energy use.
The public art above and below is by acclaimed Seattle public artist Norie Sato, a front entry steel wall with embedded tiny mirrors that reflect light and a free standing sculpture, E+MergenCe: Energy and Memory.
There are clearly numerous decentralized spaces for art in this city, and, as LeClair told me, conversations have often looked to find ways to coordinate and harmonize the isolated showings and offerings. As a City of Hillsboro program, the Cultural Arts Division of Parks & Recreation operates under the guidance of the Hillsboro Art and Culture Council (HACC) which is a citizen advisory committee appointed by the Mayor and City Council. The City’s Cultural Arts Action Plan captures the spirit of critical mass within Hillsboro advocating for the growth of cultural assets that benefits the local community and guides the work of Cultural Arts in serving the community.
Here are some of the upcoming programs at the Walters – just so you get a glimpse of the variety on offer.
———————————————————————————–
A Thousand Words June 7 – July 22, 2022
Joy Cartier, Mark Dunst, Jane Kearns, Stacey Stoudenmeyer, & Eliza Williams
On display Jun 7 – Jul 22
First Tuesday’s (June 7 & July 5)
Like the pages of a book, artists Joy Cartier, Mark Dunst, Jane Kearns, Stacey Stoudenmeyer and Eliza Williams explore the messy, imperfect space between thoughts and words. Layering paper, paint, and meaning over time, the artists merge simplicity and complexion, with captured emotions and expressions to tell abstracted stories.
Upcoming programs:
First Tuesday Art Walk, May 3rd 5:00 – 8:00 pm (Walters)
Lee Kelly dedication, May 17th 11:30 – 1:00 pm (Public Works building)
Rasika Dance Friday, May 20th 6:30 – 7:30 pm (Walters)
Barro Mestizo Friday, May 6th 7:30 pm (Walters)
Grupo Borikuas Friday, June 10th 7:30 pm (Walters)
Rejoice Friday, April 22nd 7:30 pm (Walters)
————————————————————————————-
***
And then there was the unexpected detour to the Hillsboro Public Works facility. Think transportation, sanitary sewer, and storm drainage, housed in a modern structure, designed by the same LRS architectural group that built the Civic Center. In front, an unwieldy, huge sculpture emerges through mist and rain, seemingly dropped from the sky like an alien crustacean. It stands there stubbornly, daring us to find a linkage, any association at all, to the building behind it, which I failed to come up with. Not that it mattered: Lee Kelly’s 30 year-old Untitled (Omark) piece breathes freely on its own. A powerful, abstract Cor-Ten steel structure stretches all of its 14x26x36 feet size into space, solidly anchored on stout columns, beckoning with openings under its arches.
Rumor has it that the sculpture by Kelly, who passed away last month, was in limbo at its old location and destined for the steelyard. Originally commissioned by Omark Industries, (Oregon Saw Chain Company in its beginnings) it stood at their business site along Macadam Ave, at the Willamette river. When property changed hands nobody knew what to do with the piece. Kelly’s representative, Elizabeth Leach Gallery, came to the rescue, as did Hillsboro’s Public Art Program, and this new location was secured. A dedication ceremony is slated for May 17th.
Lee Kelly Untitled (Omark) (1992)
***
Portland, OR April 2022
“Dear Stranger,
I hope this letter finds you well and able to explore some of what our state has to offer. I immigrated to the US in 1981, and have lived in PDX since 1986. I am interested in practically everything, except sports and cooking. (Yes, people like that do exist.)
Art has a special place in my world and I admit that I have not been particularly informed about what Oregon provides state-wide, or even in my own vicinity. My bad. One of the remedies was an exploration of Hillsboro, a small town west of Portland.
Since the topic of this year’s pen-pal exchange is “care,” let me report that I just discovered how much Hillsboro and its organizations, its art- and public service-related staff, all care about the arts. Work for the arts. Educate about the arts. Invest in the arts.
There seems to be an implicit understanding that private and public art does not just enrich physical environments, or boost local economies. Art can raise community pride, promote civic discourse, connect neighbors and their communities in all their diversity and/or shared history. I am grateful that a single proactive gallery curator got me out to a place where all of this seems to be happening! Let me do you the favor in turn – head to Hillsboro!
Sincerely,
Another Stranger.”
——————————————————————————
The Glenn and Viola Walters Cultural Arts Center
150 E. Main Street, Hillsboro, Oregon 97123
Hours of Operation Monday through Thursday: 9 am to 9 pm Friday: 9 am to 5 pm Saturday & Sunday: Closed except for special events & private rentals
Exhibit Reception for Fire& Ice: Tuesday, May 3, 5 to 8 pm
“…Make sure the spirits of these lands are respected and treated with goodwill. The land is a being who remembers everything. You will have to answer to your children, and their children, and theirs— The red shimmer of remembering will compel you up the night to walk the perimeter of truth for understanding….” – Joy Harjo – Excerpt from Conflict Resolution for Holy Beings (2015)
Analee Fuentes (Mexican-American) Sockeye Salmon, Spawning Oil on Canvas
Joy Harjo, a Musckogee Creek Nation member and 23rd Poet Laureate of the U.S., urged us in a recent collection of poems, Conflict Resolution for Holy Beings, to assess our place in the world, to mind our obligations derived from history, and to fulfill our duty to “speak in the language of justice.”
Celilo, Never Silenced, the remarkable inaugural art exhibition at the newly opened Patricia Reser Center for the Arts in Beaverton, provides memory aides that will help us to “walk the perimeter of truth,” as Harjo phrases it, perhaps the first step in the direction of justice.
What was Celilo? Who were the people displaced by a U.S. governmental decision to dam up a river that provided existential, spiritual and cultural essentials at Celilo falls where salmon fishing and concomitant trade meetings for the Pacific Northwest tribes happened since time immemorial? As I wrote before in OregonArtsWatch, the fates of salmon and the Northwest tribes were intertwined and received an immeasurable blow when the Dalles dam was constructed in 1957. The dam inundated the upstream Celilo Falls and Celilo village, the largest trading center for salmon, with scant compensation for the loss. Subpar housing was built only for a few permanent residents of the village who were displaced, ignoring all those tribal members who lived on reservations but regularly came to Celilo to fish and trade. It took until 2005 to start building the promised structures and no serious reparations have been paid for the immense loss of livelihoods that depend on salmon fishing.
Sara Siestreem (Hanis Coos / Confederated Tribes of Coos / Lower Umpqua / Siuslaw) Disasters of Man Acrylic, Graphite, China Marker, Color Pencil on BFK
I honestly have no idea how many people in Oregon, if approached on the street, would know this history or be aware of its implications. I wager that for most of us there will be few associations, negative or positive. For Pacific Northwest tribes, on the other hand, it was a rupture, endangering fish and river health alike, increasing conflict over ever scarcer resources, and ignoring the spiritual importance of salmon to tribal culture as much as the fact that food security was endangered with less protein available.
Richard Rowland (Hawaiian) Ahikaaroa Firebox Vase Anagama Wood-fired Vase
The Reser exhibition provides an educational starting point for a conversation about Native American losses and the conflict surrounding broken promises, undermined treaties, and the consequences for tribal members in the present and not just some hazy past. That said, the show is also a marvel in the way it collects and displays a wide range of artworks across diverse media, thoughtfully curated by gallery coordinator Karen De Benedetti, showcasing the resilience and power of contemporary tribal artists.
Gail Tremblay (Onondaga and Mi’kmaq) Stone Giants sleeping under the Bear StarAcrylic on Canvas
De Benedetti knows to give the work room to breathe instead of overstuffing the walls, has a keen eye, and is willing to take risks with selections that vary across styles and accessibility – and all that in a part-time position, which makes the results all the more impressive. Trained as an artist and with a wide repertoire of experiences across educational and exhibitory settings, including positions at two previous art centers started from scratch, she knows the ropes. She managed to compile a set of works that introduce us to a significant number and variety of current Native American artists, one more interesting than the next.
Don Bailey (Hupa tribal member, raised on the Hoopa Valley Reservation in California)Once upon a time on the Columbia Oil on Canvas
Bailey is new to me. I was completely taken with the interplay of ambiguous planes in the painting, as well as the double use of paddle/pestle in the lower right corner, the landscape shifting in and out of configurations belonging to either nature or man.
Fused and blown glass, ceramics, painting, linocut prints, sculpture, photography, archival footage, poetry – smartly arranged, all telling a story, from different perspectives, about a river, a place, a sacred fishing ground and displaced nations – rising in resilience with memory intact and now translated into art. The “perimeter of truth” of which Harjo speaks was really laid out across these walls.
Amply represented is is Lillian Pitt’s intricate work. A member of the Confederated Tribes of Warm Springs/ Wasco/ Yakama, she and Rick Bartow, who was an enrolled member of the Mad River Band of Wiyot Indians, and whose work is also included, probably have the highest name recognition.
Lillian PittRiver Stick Indian Cast Crystal, Steel and Granite
Lillian PittAncestors Fused Glass
Lillian PittRiverGuardian Cast Crystal, Steele and Granite
Another familiar name is Joe Feddersen, a member of the Confederated Tribes of the Colville Reservation (Okanagan and Arrow Lakes.) His sculptures exhibit an almost clinical serenity I so often associate with good blown glass, letting us perceive light through reflection and cast shadow, belying the insane skill required to produce such quiet elegance.
Joe Feddersen Fishtrap Blown Glass
Joe Feddersen Fishtrap V Blown Glass
There is archival photography capturing the history and contemporary photography by Joe Cantrell, Cherokee, raised in Cherokee County, Oklahoma who also contributed a driftwood sculpture.
Joe Cantrell Totem Enduring Resilience Driftwood
Joe Cantrell Walking Together Digital photograph on aluminum
***
When you exit the gallery towards the main entrance hall, you step into a large space marked by wood, glass, steel and concrete with a motion-sensitive public sculpture of a dandelion shedding its seeds. Brian Libby, my colleague at OregonArtsWatch, wrote about the history, architecture and philanthropy of Patricia Reser regarding the building here.
Jacqueline Metz and Nancy ChewPuff Rearview Mirror Ball
The Reser Center has at its core a state-of-the-art theatre that has multi-purpose use and, come June, will be presenting Portland Chamber Orchestra’s production of a large-scale work by Nancy Ives, Celilo Falls: We were there. The chamber-music piece will be accompanied by text and storytelling by Ed Edmo (Shoshone-Bannock) and projected photographic images by Joe Cantrell (Cherokee) which explores the geologic and human history of Celilo Falls.
It never ceases to amaze me how a single individual with a vision, means and generosity, can set great things in motion.
Pah-Tu Pitt (Confederated Tribes of Warm Springs / Wasco / Yakama / Pitt River (Wintu))Salish Protector MaskCarved Yellow Cedar – Sean Gallagher (Asuruk, Inupiaq) Arctic Goose TranscendenceAcrylic on Canvas
When you walk upstairs you enter a space with a small gallery for emerging artists, which is as light-filled, with giant windows, as the first-floor space that abuts the street. On all levels, the outside is invited in, an openness towards and desire to merge with the community – which is by all reports what the new arts center is all about. Chris Ayzoukian, the Reser’s director, wants to celebrate the different cultures in the community and provide a platform that gives diverse artists a voice with this performing arts center. The building, which makes the inside visible wherever possible, reflects that goal. At the same time, the neighborhood is reflected in the glass of several of the gallery works, including one by Jonnel Covault, also new to me.
Jonnel CovaultUndamned Linocut Print
Rick Bartow (Mad River Band of Wiyot Indians,)Fall Hawk IMonotype
Covault’s linocuts capture the landscape in precise and elegant ways, walking a shifting line between abstract patterns and the occasional hyper-representation, often discovered only when you look closely.
Jonnel CovaultThe Powers that BeLinocut Print
Jonnel Covault Over the Fall Linocut Print
***
Walking around the Reser, art gallery and building alike, I was thinking back to my last visit to The Whitney for the Biennial in 2019. If you imagine a portion of the NYC’s museum for contemporary art, condensed to an elongated miniature block and plopped down in Beaverton, you might find some similarities.
Whitney Museum of Contemporary Art upper left; the rest is The Reser.
Yes, a different world, a different league, but comparable in a shared thematic focus on inclusion of diverse constituencies. Both institutions are partly trying to use art to help us understand, in light of a sometimes violent history, who we and who others are and who we want to be. All of which includes an acknowledgement that there is often a separation between co-existing cultures, driven on one side by anything from racism to ignorance to fleeting guilt-tinged hesitancy to engage in conversation, met potentially by historically justified distrust and desire for inward protection on the other side.
I had written about the Whitney’s approach in 2019 here.
And this is where the power of the exhibition kicks in: demonstrating the brutal division between those of us who are clueless about what many of the artworks imply, and those who get it in the blink of an eye, being familiar with the expressed contents via the reality of one’s daily existence. We might share the same space, in world and museum alike, but we surely do not share a language or the experiences eventually captured by that language when it relates to race, gender, disability, and access.
I tried to explore a possible bridging between worlds by photographing NYC street-art found in Harlem and Bushwick, the East Village and Williamsburg, communal expressions of the issues at the center of the museum pieces, a call and response between cultures.
This year’s Biennial at the Whitney, opening in April, is titled Quiet as it’s kept, addressing our desire to look away from the harm we cause or have experienced, keep it secret and silent, no matter how much trauma ensued. The current Reser exhibition proudly defies keeping it quiet. Like all good art and education, it raises questions, sometimes uncomfortably so, and provides a toolbox so that we ourselves can explore potential answers. In this context it is helpful that there is support through organizations that have a history of engaging in dialogue.
One of those partners is the Confluence Project. The community-based non-profit presents indigenous voices to connect to the ecology, history and culture of the Columbia River System. Besides educational programs – here and here are some about Celilo – there are art landscapes that link present and past, open to be explored by all. One of my favorites is easily reached in the Sandy River Delta. Maya Lin’s bird blind, located at 1000 Acres park, was constructed with black locust, an invasive species to the Northwest. Its use after removal from the landscape underlines the commitment to sustainability. The wooden slats tell the names and current status of 134 species Lewis and Clark noted on their westward journey. As Harjo suggests, the land might be a being that remembers everything. This land art helps us to remember as well.
Make your way to the Reser first, though. Parking is easy with an adjacent structure, (butterfly-adorned, no less, with threatened Fender’s Blues.)
Will Schlough GatherPainted Aluminum
The Max station is a stone’s throw away, and outside seating is available around the arts center to take a break and enjoy spring temperatures, public art,
Jason Klimoski and Lesley Chang, StudioKCARibbon Concrete, steel, LED
and a bit of reclaimed duck pond. The Westside is lucky to have a new, important destination. Really, we all are.
Artists talks are coming up. More inclusive exhibitions are being planned. Go check it out!
Saturday, April 30th | 2:00 pm – Artist talk with Joe Cantrell, Ed Edmo & Nancy Ives
Saturday, May 14th / Artist talk with Analeee Fuentes & Richard Rowland
Saturday May 22nd / Artist talk with Lillian Pitt, Sara Siestreem, Greg Archuletta and Greg Robinson More details to come:www.thereser.org
Gallery exhibit from March 1 – June 5, 2022. Gallery hours are Wednesday-Saturday 10 am-6 pm.
Patricia Reser Center for the Arts, 12625 SW Crescent St, Beaverton, OR 97005
The good news about being old and decrepit is that you are eligible for a second Covid booster shot.
The bad news is that your brain is mush for about 24 hours, and so can only marvel at the strange tidbits picked up from the daily Twitter deluge.
Good news: if you don’t want to look at my bird brain’s gleanings, look at the bird art instead which I photographed while waiting at the clinic after the booster, so the nurse could be sure I didn’t keel over…
Artist plaque said: Susan Freedman, Beaverton, OR. Here is the website I found. I figured I’d compliment the encaustics with photographs of the real thing, or whatever I assumed the birds to be.
Other news? Here are the things I encounter when doing my morning survey of incoming oddities. You can see why my brain is starting to accelerate towards entropy. Evidence: I thought some of these pretty useless facts were amusing.
German word of the day is Wohlstandsverwahrlosung, a state of decay that results from having it too easy for too long, leading you to selfishly compare your own petty grievances &mediocre accomplishments to the pain &struggle of people who know the meaning of real problems.
An example of what celebrities can do for Ukraine: Today David Beckham handed over his Instagram account with 71 million followers to Iryna, a Ukrainian doctor from Kharkiv who is caring for Ukrainian civilians under Russian attack.
Tell me a simple fact that simply blows your mind. For example, every ‘c’ in Pacific Ocean is pronounced differently. Your turn.
The English language makes no sense. You can understand it through tough thorough thought though.
Samurai were officially abolished in 1867. The first ever fax machine was invented in 1843 and Abraham Lincoln was assassinated in 1865. Which means there was a 22 year window in which a Samurai could have sent a fax to Abraham Lincoln.
Cleopatra lived closer to the launch of the iPhone than she did to the building of the pyramids at Giza.
Joe Biden was born closer to Lincoln’s presidency than his own. 1865 Lincoln’s presidency ends…1942 President Biden is born…and President Biden is now 79. Yes indeed, it’s true.
And finally after yesterday’s Hearings, that would have been disgusting even with an intact brain:
And that is what the News reports “captured” in the everlasting desire to “both-sides…”
I guess mine is not the only birdbrain this week….. so what. (Title of today’s music as well…)
Preface: I debated long and hard if it was frivolous to post today’s musings, written at the beginning of the week, given the grim news out of Ukraine as Putin’s forces have fully invaded the country and appear intent on regime change. But I do believe we need to take care of our mental health by not exclusively thinking about terrifying things, and so thought this would be 10 minutes of your day to focus on something else. I will, however, add at the end some sources that support Ukrainians from a variety of perspectives.
————————————————————–
A lot of people I know are happy to buy old photographs they find at flea markets or antique stores. Not the artistic kind, mind you, but snapshots of people who they never met, who have probably walked on long ago, and whose families had no interest in keepsakes. I have always felt that it was intrusive, somehow crossing a border into someone’s privacy, not quite kosher.
Nonetheless, I very much enjoy it when collectors actually come up with some interesting aggregate that tells us something about similarities and differences across time, or capture a Zeitgeist, or point to some inexplicable curiosity. I know, I’m not consistent, but then who is….
One of those accumulations of discarded photographs was published in 2015 by a Frenchman, Jean-Marie Donat, who had searched for and found photographs of people posing with others, costumed as polar bears, in Germany from the 1920s to the 1960s. The book’s limited edition, a collection of over 200 found photographs weirdly titled TeddyBears, is sold out. Thus I cannot tell if the mystery of such a strange prop was ever revealed.
There is speculation, though, that the hype started with 2 beloved polar bears in the Berlin Zoo in the early 1920s, and costumed employees taking pictures with themselves and visitors to increase zoo attendance. From there it spread.
I can personally vouch for the presence of such creatures in Berlin with this 1928 picture of my then 4-year old mother, posing to the left of the bear. How the album survived war and flight, I don’t know. If that picture had landed at a flea market, perhaps I’d be glad for an interested collector who would keep that smile around.
Another edition of snapshots – this time of women in trees – was recently showcased in The Marginalian (formerly Brainpickings.) Described as “Sweet and Subversive Vintage Photographs of Defiant Delight,” Popova offers both some of the photographs and her, as always, thoughtful commentary on the nature of tree climbing and taking photographs of unusual activities or circumstances.
The collector Joachim Raiss eventually jumped on the polar bear train as well, it looks like. Irresistible flea market finds, I guess. The views of women in trees appealed to me, someone known to have climbed a tree or two in better times, as a display of discarding of norms and exuberant recklessness, even if Sunday finery was involved.
(My photographs today are of unclimbed but admired trees, pines and eucalyptus, in San Francisco’s Golden Gate Park and along the Pacific coast.)
Speaking of reckless and tree climbing: How does this bit of science journalism sound to you?
“Climbing a tree or balancing on a beam can dramatically improve cognitive skills, according to a study recently conducted by researchers in the Department of Psychology at the University of North Florida. Working memory capacity increase of 50 percent found in research.” (Ref.)
These assertions refer to a study that looked at a group of adults who were given training exercises that focussed on proprioception, the awareness of body orientation and positioning. They engaged in activities that required both attention to body position and physical exertion – lifting, running, balancing, crawling, specific new sequences of movements. Their working memory (how you process and remember facts currently in your view) was tested before and after the training and it improved! Control groups either listened, while seated, to a lecture, or did a gentle form of Hatha Yoga, Kripula Yoga, which focusses on body posture and awareness, contraction of muscles and breathing, and neither control group showed a gain in working memory capacity.
Shall we rejoice – hey, all we need is the right exercise and our decrepit memory picks up… or shall we give the study a closer look?
For one, no mention of tree climbing in the methods section – where did that come from? Secondly, the groups were extremely small, just 18 participants in the experimental condition of movement training, larger control groups, but still underpowered and in any case not the same number of participants.
Groups also varied along so many dimensions that any comparison is very hard to link back to a causal factor. The age composition was different, the gender composition was almost reversed between training group and one control group.
The duration of the experiment was much longer for the training group (2 and 2.5 hrs respectively for training, while only one session for one hour at yoga.) The training exercises were new, the yoga control, however, was intermediate, in other words familiar with the moves. (It is also inexplicable why this study did not find a beneficial effect of Yoga on working memory, when many other studies of Hatha Yoga have…).
And last but not least, the task they used to assess memory improvement is not one of the better ones, we’ve had more precise tools in our tool box for the last 20 years.
I am summarizing these things not only so you don’t have to slog through a methods section. More importantly, I don’t just want to point out that there is weak research out there and data interpretations that cannot be trusted – I assume we all agree on that.
I am trying to stress the issue of reckless science reporting, that papers over ambiguous results or introduces bad data, and will soon be contradicted when the next result is out that points in a different direction. The public, in general, is mostly not aware of what constitutes reliable science and what should never have made it through the review process. Seeing conflicting results, ever changing tacks on this or that claim, will undermine trust in science, at a time when that trust is already at a low point, politically expedient for some, no doubt.
Shouting not from the rooftops, but the tops of trees: check the science before jumping to conclusions and writing it up for cheap effects in the news. Scientist in tree insists!
Music today is from Berlin in the 1920s where many of the snapshots were taken, Kurt Weill’s Dreigroschen Oper original version.
And here is another Weill song, covered by David Bowie who lived in Berlin and performed live there.
And no, I did not really climb that tree! I climb heights with photoshop these days…. But I did photograph the tree.
How do you persist as an individual, a group, a people, when insult is added to injury in a never ending stream of violations, ignorance – willful ignorance -, appropriations or plain, colonial hostility? What are the sources for resilience, when you face scarcity, displacement, disrespect and racism in continuity?
These thoughts went through my mind while standing in a sun-lit, silent landscape on the Washington side of the Columbia river near Horsethief Butte, the quietude only occasionally interrupted by the calls of birds of prey.
I was looking across the Temani Pesh-Wa Trail, lined by pictographs (rock paintings) and petroglyphs (rock carvings) that were created by the First People who lived in the Gorge and the surrounding uplands. The introductory panel read: Honor the Past, Respect the Present.
The story of these particular stones is one of sorrow and resilience, with little honor or respect from most of us non-indigenous folks when it comes to their fate in the last century, until they were placed at Columbia Hills a few years ago.
Nobody knows how many of these images existed along the shores of the Columbia. It is estimated there were about 90 or so sites between Pasco and The Dalles. The rocks before you were about to be submerged when the floodwaters rose from yet another dam, the inundation of the John Day Reservoir. The U.S.Army Corps of Engineers cut out just a few of them in time and they were relocated under the guidance of Chief Gus George, (Rock Creek Indian) in the small town of Roosevelt, Wa. Stored there, in a small, unprotected park, they were subject to vandalism and decay, given that the community simply did not have the means to protect them from visitors who came to do rubbings, or worse. Several disappeared, taken as souvenirs or stolen by collectors, who knows. (I found much of the information for today here and here.)
Relocated again in 2003, they spent an interim decade in Horsethief park until they found a final home at the Temani Pesh-Wa Trail in 2012 with the help of the Wanapa Koot Koot working group that consisted of representatives of the Confederated Tribes and Bands of the Yakama Nation, the Confederated Tribes of the Umatilla Reservation, the Confederated Tribes of the Warm Springs Reservation of Oregon, the Nez Perce Tribe and government administrators. Tribal elders and cultural specialists engaged to present tribal values and respect for the original creation of their ancestors. The site is open 7 months of the year and some of the paths only accessible with a guided tour, leading to the cliff face that depicts Tsagaglalal, or “She who watches” in the Wasco-Wishram language.
Vandalism and theft is a physical attack on heritage objects. Another is appropriation of imagery that does not belong on t-shirts, mugs or any other tourist trap merchandise. But there is also an issue with the use of language and interpretation of something that is rooted in a different culture. As early as 1719 Cotton Mather (on the East Coast) described “writing on stone.” Across the centuries the images caught the interest of archeologists, anthropologist, plain old explorers and people interested in the history of their region. Guesses about origins and interpretive or value judgements proliferated.
Eventually people settled on calling them rock art. Stop that!, argues eminent Native American artist Lillian Pitt carefully and Jon Shellenberger (Yakama), who holds a BS in Anthropology and MA in Cultural Resource Management, passionately.
“Petroglyphs/pictographs are not art. They are sacred images that represent significant cultural themes, messages, beliefs to a Tribe. They were not created for aesthetic purposes. They were created to teach, warn, or record those not yet born. Even though we may think that they are pretty, beautiful, pleasant to look at, those are not the values inherent in the images you see. those are the values that you as the viewer are placing on the image. Please stop calling them rock art. “
“There is a lot of meaning conveyed through petroglyphs/pictographs. Some of that meaning is known and some of it is only known by certain individuals within certain families. Many tribes didn’t have a written language and depended on oral tradition to perpetuate their culture. These images are a manifestation of the culture as it relates to the environment. They demarcate sacred sites, warn people to beware, indicate the presence of animals or plants, and are at times prophetic. Elders are still learning about the meaning of specific petroglyphs and its only in certain stages of life that they are able to understand their meaning.”
Contrast that with an interpretive sign at another petroglyphs site at Death Valley National Park:
Indian rock carvings are found throughout the western hemisphere. Indians living today deny any knowledge of their meaning. Are they family symbols, doodlings, orceremonial markings? Your guess is as good as any. Do not deface – they cannot be replaced. (bolded by me, source here.)
Licence is given to impose our (non-native) interpretations and stereotypes on objects as if we have the same amount of knowledge or insights as the living descendants of those who created the images, or tribal archeologists and anthropologists. Our fantasies of renewal and closeness to nature, of a long lost authenticity that we associate with Indian tribes, are superimposed on the carvings, when we have no clue what they really meant in the context where they were created.
“The stakes in the interpretation of rock art are substantial. Interpretations of(pre)historic rock art’s original meanings and functions, especially when passed on to the public through guide books, museum displays, and interpretive materials at rock art sites, have the potential to shape perceptions of Native Americans, challenging or reinforcing dominant perceptions of indigenous cultures and histories.” (Ref.)
Native Americans, like Lillian Pitt, explain the nature of these carvings as part of religious ceremonies, hunting rituals, or for the purpose of communicating important messages. Some were private, done by young people on vision quests, others public. Pictographs were painted with pigments derived from coal, iron oxide deposits (hematite and limonite,) clay and copper oxide. Ground into powder and added to a binder of fat, bolded, eggs, urine, saliva or plant juices, they were applied with fingers. Petroglyphs were achieved through carving into the rock, pecking, scratching or scraping with a harder hammer stone.(Ref.)
They all have in common a spiritual nature which requires that the sanctity of the place where we encounter them (even if they have been moved 4 times in 50 years… ) needs to be respected. Not my place of origin, not my culture, not my knowledge base – but a sense of linked humanity, a desire to communicate shared across the millennia.
It was easy to feel awe and reverence, on that bright morning, myself a tiny speck in a large landscape,
surrounded by ground squirrels and bald eagles,
and goose tracks,
facing a small tree that symbolized resilience, defying a barren location.
Nez Perce songs today for music. If you are interested in seeing work of contemporary Native American artists, visit Maryhill Museum, which opens again March 15th!
When humans were created, the Creator asked all the animals what they could do to help humans survive, as they didn’t know how to feed themselves. According to the legend, the salmon volunteered to help. Salmon was the first animal to stand up. It said, “I offer my body for sustenance for these new people,’ I’ll go to far-off places and I’ll bring back gifts to the people. My requests are that they allow me to return to the place that I was born, and also, as I do these things for the people, I’ll lose my voice. Their role is to speak up for me in the times that I can’t speak for myself.“
– Traditional story from the treaty tribes of the Columbia, related by Zach Penney, the fishery science department manager at the Columbia Inter-Tribal Fish Commission (CRITFC.)
I had driven to The Dalles to get a glimpse of the bald eagles that were supposedly congregating in high numbers around the dam. No such luck, wouldn’t you know it.
One lonely bird….A second one if you use a magnifying glass….
Instead there were plenty of other interesting sights, from the snow-capped hills that looked like they were sprinkled with powdered sugar,
to numerous traditional fishing scaffolds perched over the Columbia river.
A perfect occasion, then, for a reminder of what we know about salmon fishing given its central role in the physical and spiritual lives of indigenous people who have pursued it in this region for at least 10.000 years. Salmon are iconic to Northwest indigenous culture and identity, but also the main source of protein across these millennia. The fates of salmon and the Northwest tribes are intertwined and received an immeasurable blow when the Dalles dam was constructed in 1957. The dam inundated the upstream Celilo Falls and Celilo village, the largest trading center for salmon since times immemorial. There was scant compensation for the loss, subpar housing built only for a few permanent residents of the village who were displaced, ignoring all those tribal members who lived on reservations but regularly came to Celilo to fish and trade. It took until 2005 to start building the promised structures and no serious reparations have been paid for the immense loss of livelihoods that depend on salmon fishing. (Ref.)
The runs consist of five species of salmon, Chinook (king), sockeye (red), coho (silver), chum (dog), and pink (humpback) and steelhead, a migratory form of trout. All of them, shown below, existed in abundance, not least because native fishing practices controlled for overfishing. (I got most of my material for today here and here. The second source includes a detailed and fascinating description of the life cycle of the salmon, much more complex than they taught you in 5th grade! More on the history of the tribes that have fished here for millennia can be found at the Museum at Warm Springs – well worth a visit for their photographic collection alone. It was just featured in OR Arts Watch.)
From John N. Cobb, “Pacific Salmon Fisheries.” (Washington, DC: Government Printing Office), 1921, Courtesy of Smithsonian Institution Libraries
The bad news first: salmon runs have been in further decline, harmed by dams, overfishing, and, by environmental degradations caused by farming run offs, construction and land fragmentation, local logging and mining and now the universal water-heating effects of climate change.
Fish ladders and hatcheries help support salmon, but the runs continue to struggle. Just a fraction of the fish successfully journey from ocean to spawning areas each year as revealed by tagging salmon and collecting DNA samples and other data by the fishery scientists. Hatcheries can increase the harvest, but they also have downsides. They are believed to have contributed to the more than 90% reduction in spawning densities of wild coho salmon in the lower Columbia River over the past 30 years. Why? When domesticated fish breed with wild salmon the genetic fitness of the offspring can be diminished. When hatchery fish are released, they compete for food in the wild and often eat the smaller wild fish. They bring diseases, caused by their hatchery crowding, into the wild fish populations. It is not a solution.
Historically the environmental knowledge of tribal members and their willingness to fight to protect the fish have been one of the few things to ward off complete disaster. The taboo to take spawning fish, waiting periods at the beginning of the upstream runs and limited fishing periods overall all ensured, for tens of thousands of years, that fish would return. And then the Europeans arrived.
The requirements for healthy salmon runs:
“A natural river meanders and sometimes floods, creating quiet side channels that salmon require. The fish also need their eggs, buried in gravel, not to be suffocated in dirt nor swept away. They need them to be nourished by oxygen-rich cool water flowing through the egg pockets. They need enough water in the stream — a dewatered streambed is a salmon graveyard. They need access downstream to the ocean and upstream to their spawning grounds. They need unpolluted water.”
All was affected by the newcomers. Land for farming, cleared down to the water, deprived the rivers of shade for cool water temperatures. Clear-cut riverbanks created silt that suffocated the spawning beds. Irrigating the crops emptied the streams. Dams without fish ladders, needed for flour – and woolen mills, irrigation and later electricity and even recreational purposes (lakes for powerboats…) interrupted up-stream fish travel.
As of 2020, in Washington State alone they counted 1,226 regulated dams (many do not cross streams but contain irrigation ponds, manure lagoons, and the like.)
Logging of old growth trees increased fires, destabilizing the riparian woods, again increasing silt. Loggers also built splash dams to facilitate the log floats down river – first backing up water then releasing it in a flash, disastrous for salmon fry. Mining booms created town constructions which in turn excavated river beds for gravel, sand, and limestone. Hydraulic mining required extensive ditch systems and dams. Detritus and chemicals washed into the creeks, destroying spawning beds. And all that even before extensive overfishing continued with no regard to the consequences.
In 1854 a treaty was signed at Medicine Creek which granted the tribes “The right of taking fish, at all usual and accustomed grounds and stations…” – words fully ignored. Many governmental restrictions were aimed at tribal fishermen, while licenses were granted to commercial fishermen and then sport fishermen, increasing the maximally allowed harvest even when it was already common knowledge that the runs were endangered.
“In 1935, the first year Washington kept records, the tribal catch was 2 percent of the catch whereas “the powerboat fleet hauled in 90 percent. According to state records, the entire Indian catch for Puget Sound from 1935 to 1950 accounted for less salmon than taken by the commercial fishing fleet in one typical year” (Ref.)
Eventually tribal representatives tried to fight for their rights in court, which upheld the treaties only to be ignored again by state governments. Tribal activists like Billy Frank Jr. and Bob Satiacum and their supporters staged now legendary fish-ins in the 1970s to protest limited fishing seasons, only to be arrested. This led to the United States Department of Justice filing a case against the state of Washington (US v. Washington, 384 Fed Supp). Judge George Boldt (1903-1984) issued a historic ruling (upheld in appeals) which affirmed the tribes’ original right to fish, which they had retained in the treaties, and which they had extended to settlers. It allocated 50 percent of the annual catch to treaty tribes, changing the ground game for fishing (and making a lot of non-tribal folks intensely angry.)
Restoration efforts are joined, though, by multiple constituencies.
Landowners including farmers, tribal governments, state agencies, conservation organizations, and individual volunteers from all walks of life are replanting riverine forestland, removing invasive species, placing woody debris, installing engineered snags, and reconnecting floodplains to their rivers. (Ref.)
We’ll see if the efforts can outrun the averse effect of population growth, stream bank development and loss of forest cover to fires. Removal of dams continues to be a key issue.
In the meantime here is a clip of traditional salmon fishing and the wise instruction of Brigette McConville, salmon trader and vice chair of the Warm Springs Tribal Council and a member of Warm Springs, Wasco and Northern Paiute tribes: “Whoever works with fish, it’s important to be happy. The old saying, ‘don’t cook when you’re mad,’ that’s true in every culture.”
Here is a poem by Luhui Whitebear, an enrolled member of the Coastal Band of the Chumash Nation and the Assistant Director of the Oregon State University Native American Longhouse Eena Haws.
