Archive for the historic sites Category

The Ancient Art of Horseshoe Canyon

Posted in American Indian, historic sites, National Parks, petroglyphs, pictographs, Soul Food, Southwestern US, Wanderings with tags , , , , , , , , , , , , , , , , on May 10, 2015 by WanderArtist

Canyonlands National Park in Utah is an amazing destination for people who enjoy solitude, desert environments, hiking, camping, mountain biking, archeology and more. The park is composed of four distinct zones – Island in the Sky, the Maze, the Needles, and the series of rivers that divide these districts – including the Colorado River. It is a huge expanse of land – 527 square miles – and it simply cannot be covered in one day, in one week, or even in one month.  Canyonlands gets an average of 440,000 visitors each year, yet many of the people who pass through the park never see what I consider to be one the most fascinating and inspiring places in the entire world. It’s a site called the Great Gallery, located deep in the very remote Horseshoe Canyon, that I had dreamed of seeing for a long time before first taking the opportunity to visit some 20 years ago. This isolated canyon can be found in the Maze District and receives only about 3% of the parks annual visitors. It’s a great place to “get away from it all.” In fact, Wikipedia calls it “one of the most remote and inaccessible areas of the United States”.

Visiting the Great Gallery takes determination and time. It’s not really close to anywhere! Moab, Utah, the nearest town of significant size, is about 3 hours away. After nearly 2 hours of paved road, the final leg of the trip begins on a very rough dirt road dotted with steep dips and potholes the size of a small car! The “graded” dirt road is 30 miles long, and if you take it late in the season (i.e. months after the last time it was graded) you might think it’s not maintained at all. The washboard surface will rattle one’s teeth! It can be navigated in a car – carefully, slowly… but a high clearance vehicle is better. If you’re patient enough, and don’t mind risking a broken axle, you might even drive in pulling your Airstream trailer (more on this later).

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As I mentioned, the first time I visited Horseshoe Canyon was 20 years ago. We drove in with a large group, camped on the canyon rim, and hiked down to the Great Gallery the next morning. The descent down into the canyon is 780 vertical feet, following along old mineral exploration roads over slick rock and sandy trails, which provide very little shade. The Great Gallery itself is a 3.5 mile hike from the canyon rim, meandering upstream along the wash. The hike is challenging in that most of the way along the canyon floor one is walking in soft sand, which can sap one’s energy after only a few miles. Upon returning down the canyon from the rock art sites you have to then scale up that 780 foot canyon wall! It is certainly a long day but well worth the effort and exhaustion.

a cairn along the trail

During that first visit I finally arrived at the Great Gallery very excited to see rock art I had studied in school years before but, until that time, had only seen photos of… When I arrived at the site I was shocked to discover that, by chance, I happened to know the steward who was on duty down in the remote canyon!  The ranger, Craig Root, owned a ski school where I had worked the winter before my visit. Needless to say, after greeting him and discussing at length the gallery of amazing work, we invited him to join us for dinner at the canyon rim later that night. His was a lonely post and I think he enjoyed our company and antics that evening.

Craig below a portion of the Great Gallery in the 1990s

In the autumn of 2014 we visited this ancient site again. We arrived at the canyon rim before sunset, prepared our gear for the hike, had some dinner and tried to get some rest before our long next day. We felt a tad lonely as we sat in the deep silence with just a few birds (one of which was the relatively rare Loggerhead Shrike) and a couple of parked vehicles, one of which, to our great surprise, was a relatively new medium-sized Airstream trailer! It belonged to the volunteer currently stationed at the Great Gallery, and it was his last day there – the busiest part of the season had drawn to a close. We spoke to him for a short time when he came back out of the canyon that evening. He said when he had driven in a few weeks earlier he had tried various methods to minimize the teeth rattling, including driving really fast over the washboard parts of the road … but that hadn’t worked! So he finally slowed his pace and took his time. I would have loved to have seen him hauling his rig along the 30 miles of challenging road back out to the paved road the next day but we had already begun hiking toward the Great Gallery when he left.

a loggerhead shrike guarding the trailhead

This two minute video shows part of the trail down the canyon wall. The clip begins about 30-40 minutes after we began our hike at the canyon rim. It shows the gate that prevents livestock (and motorized vehicles) from wandering into the canyon, and the first full view down into the wash. The trail we followed toward the rock art is shown heading down the wash to the right. The trail you see across the canyon floor  leads down from the other side and another part of the Maze District.

Autumn color had begun appearing in the cottonwoods and other deciduous trees in the canyon, and the hike into the wash was dry and relatively easy going (at least on the way in… it would feel far more difficult to our tired bodies on the way back to our campsite that evening). Stopping frequently to explore and take photos, we saw a few handfuls of people later in the morning as they caught up with us on the trail.

Though the Great Gallery, which is about 300 feet long and consists of an estimated 80 figures, is really the visual “plum” of this trip, there are other smaller groups of petroglyphs and pictographs along the way that are well worth experiencing and photographing.

The petroglyphs and pictographs in Horseshoe Canyon are done mostly in the Barrier Canyon Style, dating from approximately 2,000 BC to 800 AD, during what is called the Archaic Period. (These dates I include merely to suggest how very long this has been a significant place to humans… the timespan is theoretical and this site could be significantly older, or younger.) There is newer artwork done by other groups who passed through as recently as 1300 AD. Some artifacts found in the area, however, date as far back as 9,000-7,000 BC! The canyon was basically abandoned by Indians by 1300. These amazing petroglyphs and pictographs have been well preserved and protected by the sheer remote inaccessibility of the canyon… and more recently by the National Park Service. Volunteers are stationed in the canyon during the busy season from spring through autumn. They hike down the wash each day, answer questions, direct visitors to leaflets with information stored in boxes (along with binoculars to enable viewers to get a close-up view without having to closely approach the panels).

This site captivated me so when I studied it in college because of mysterious appearance and sheer size of many of the figures. The paintings indicate to many who have studied them that these people were not only trying to convey a message, but also probably simply enjoyed the medium of painting. The images are often human-sized or larger, often armless, with interesting and varied designs comprising the body of the figure. There are much smaller, more recent additions done by Fremont and Ancestral Puebloan people that are lyrical, life-like and beautiful. I was deeply interested in symbols and American Indian art and this site represented an exciting adventure that only served to enhance the general intrigue.

Theories about the meaning of the figures and the reasons these early people would take the time to create so many panels in the Barrier Canyon Style abound. Were they recording some important event in their history? Creating visual prayers to ensure the survival of their people? We’ll never know for sure… I am less interested in theorizing on a meaning I can never fully verify than I am in merely standing in awe of their legacy, embracing the very mysteries, and sharing the images and impressions with friends. It is important for me to know that these places exist, and that others have made it their life work to help preserve them.

After a long, tiring, and exciting day exploring Horseshoe Canyon we joked that every sound outside our van that evening was the Archaic People coming for a visit. The stars were awe-inspiring and any other human habitation seemed so far away. A few people pulled in to the parking area after dark and camped in preparation for their canyon experience the next day. We vowed to return to this magical place while our bodies would still carry us. Here are links to some more interesting reading about the archeology of Horseshoe Canyon… and another informative article about the Barrier Canyon Style.

Art @ Homestead

Posted in Art, Artist Residency, Drawing, historic sites, Museum, National Parks, Personal History, Wanderings, Woodblock Printing with tags , , , , , , , , , , , , , , , on April 20, 2015 by WanderArtist

For a few weeks earlier this year I was awarded the opportunity to be Artist-in-Residence at Homestead National Monument of America. This wonderful National Park commemorates the Homestead Act of 1862, signed by President Abraham Lincoln. It is located in southeastern Nebraska (about an hour south of Lincoln) on the site of the first homestead awarded under the act. That 160 acres was homesteaded by Daniel Freeman and his family.

commuting to the Heritage Center through the tall grass prairie

Homestead boasts the oldest restored tall grass prairie in the US – restoration began in 1939 and takes up 60 acres of the park. The scenery, even in early spring, is stunning. One of the things I enjoyed most was walking along the path and listening to the wind move through the tall grass. I also had the pleasure of spooking some white tailed deer one morning, I could just see their ears over the grass.

The bird life was in full spring mating mode – glorious, rambunctious and plentiful! We saw wood ducks, red-winged black birds, larks (the Nebraska State bird), red-bellied woodpeckers, blue birds and various raptors. Another great pleasure was the sound of coyotes after dark.

My time was spent drawing and creating a woodblock print of the log cabin on the grounds. The Palmer-Epard cabin is visually and historically inspiring. (By the way, I could find no connection in my family to the Palmer family who built this cabin.) I worked quickly on my drawing in order to have enough time to, in turn, cut the woodblock and then run a small edition of prints in order to have them on hand at my lecture, which was to be held at the end of my two week residency.

some scenes from Homestead National Monument

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the wonderful plowed-shaped Heritage Center with tall grass prairie in the foreground

 

 

Creating a drawing was about a ten hour process. Once I had the image where I wanted it I traced it, flipped the tracing over, and traced the back of it onto the block using carbon paper between. The image has to be flipped in order to print in the proper orientation. This step is not as necessary if it’s an abstract image, or something loose – but for a building or words, one generally does not want to print them backwards ~

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IMG_20150319_162411189 the tracing, flipped horizontally, and affixed to the woodblock with carbon paper between (top photo)

Once the image was transferred to the wood block the process of cutting out what I want to remain white on the final print began – this process took approximately eight hours for the Homestead block. The next step was to make a print or two in order to decide if I wanted to cut more away… I usually do this step before I feel the cutting is final in order to see how the various components of the image are working together as a print, and to get a better visual on my cutting progress. I often want to cut more away, and that was indeed the case with the Homestead block. The rule of thumb however, is to always cut less than I think I want since I cannot go back!

cutting on the Palmer-Epard cabin block

cutting on the Palmer-Epard cabin block in the park’s Heritage Center

I prefer to use oil-based ink even though it requires mineral spirits for cleaning up. The quality of print is much better in my opinion – yeilding finer lines without the ink ‘blocking up’ in the board cuts – and the wood grain tends to show through in a subtle but alluring way that I have not seen with water based inks.

 thanks to Photopia for the photographs

After a few printing sessions – with more block cutting between – I started to get prints that more closely matched my vision for a final print of the Palmer-Epard cabin. Another session or two netted me a small edition of woodblock prints. One of the final prints was donated to Homestead National Monument of America, and several went to buyers. One of my goals with these residencies is to eventually create a large series of woodblock images of some of my favorite National Parks. This summer I will be working on a quartet of different prints of Zion National Park scenes. I recently received the good news that I have been awarded another residency for this autumn in Bighorn Canyon National Park in Montana. Stay tuned for more imagery!

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The Beatrice Daily Sun published a nice article that helped to net a good audience for my public presentation at Homestead. Thanks to everyone who visited with me at Homestead, and to all the staff and volunteers who helped to make my stay a very pleasant one!

Mission Santa Barbara

Posted in American Indian, California, California Missions, Central Coast, historic sites, Junipero Serra, Library of Congress Prints and Photographs Division, Local Roaming, Santa Barbara, Wanderings with tags , , , , , , , , , , , on January 7, 2015 by WanderArtist

While wandering through the lovely city of Santa Barbara, in southern California, it would be very difficult to overlook the alluring architecture of Mission Santa Barbara. The historic building is beautifully preserved and reflects the SoCal light wonderfully throughout the day. The mission’s graveyard holds the remains of over 4,000 Chumash Indians, and the interior architecture is captivating… But the cemetery and inner spaces will have to wait for a later blog installment. For this article I will focus primarily on the outside of the building… This beautiful structure has caught our attention for years and we eventually realized it had to be captured at sunrise in order to do it justice. As we arrived at 7 AM we were given the gift of a gorgeous, crystal clear, peaceful morning to contemplate the details and the grandeur of the mission.

The original chapel was constructed by Chumash-Barbareño Indian labor in 1786. It was founded by Padre Fermín Lasuén as the tenth Spanish mission in the Franciscan order for the religious conversion of the local American Indians. Interestingly, this is the only mission founded by the Franciscan Friars to remain under their leadership since its founding. There is so much violence and sacrifice in the story of the building of the missions and the associated efforts by the Spanish to convert the native people of California. I will not dwell on that bloody and divisive history except to say that I am deeply saddened by the practices of the Spanish during that era, which contributed very significantly to the destruction of the cultures that occupied these lands for generations prior to the Europeans’ arrival.

Friar in the garden courtyard, Mission Santa Barbara, 1917

Friar in the garden courtyard, Mission Santa Barbara, 1917. Photo courtesy of the Library of Congress Prints & Photographs Division

The early mission chapel was destroyed by an earthquake in 1812. The chapel was rebuilt and dedicated in 1820, and again ravaged by earthquake in 1925. The structure that greets us today was constructed in 1927 and 1953.

After indulging our minds’ eye with the captivating facade and mission grounds/gardens we began to explore more deeply, discovering the outlying, very old structures built by the Indians and associated with the mission. Aside from the main structure there are many intriguing features and water works…

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California State Historic Landmark #309 reads:
“Santa Barbara Mission was founded December 4, 1786. Portions of five units of its extensive water works, built by Indian labor, are preserved in this park – a filter house, Spanish grist mill, sections of aqueducts, and two reservoirs. The larger reservoir, built in 1806, is used today as part of the city water system. Ruins of the pottery kiln and tanning vats are here, also. The fountain and lavadero are nearby in front of the Old Mission. A dam, built in 1807, is located in the Santa Barbara Botanic Garden, one and one-half miles up Mission Canyon.”

Mission Santa Barbara itself certainly has an interesting history, and it has housed since 1833 an extensive archive of approximately 3,000 original documents culled from throughout the California mission system. There is a lot of information, history and lore about this mission available on the web for those who wish to learn more… here we chose to focus on a visit to this historic site early one winter morning. We hope you enjoy our visual journey and that it stimulates you to delve deeper into the history of this gorgeous structure.

 

Ancient Images on Red Rock

Posted in flora and fauna, historic sites, Library of Congress Prints and Photographs Division, petroglyphs, Southwestern US, Wanderings with tags , , , , , , , , , , , , , on December 3, 2014 by WanderArtist

Zion National Park is an amazing place… With so much beauty in the form of stone, water, flora and fauna, it is simply one of my favorite places in the world. One can spend weeks in Zion exploring different hikes and canyons every day, yet barely scratch the surface of what the place has to offer. Visitors often associate the park with only the main canyon and the north fork of the Virgin River. Popular hikes in Zion Canyon include Angels Landing and Weeping Rock. Historic Zion Park Lodge is also located in the main canyon. The first lodge, which was built in the 1920s and burned down in 1966, was speedily rebuilt that year to accommodate guests as soon as possible. That replacement was remodeled in 1990 to more closely resemble the original. It does not have the grand facade of larger national park hotels, like the Yellowstone Lodge, blending instead into the landscape of the narrow canyon in a subtly pleasing way.

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Union Pacific Motor Coaches at the original Zion Lodge, ca. 1929, photo courtesy of the Library of Congress archives

Though I truly love the main canyon, and sites like the Temple of Sinewava framed by the gorgeous cottonwood trees that thrive there, when hiking and exploring I prefer wandering the canyons on the east side of Zion. There are sublime sights in the east canyons that include the Desert Bighorn Sheep, reintroduced to the park in the early 70’s and now thriving. Because it is such a vast and enthralling area, too immense to cover in a blog entry, I will focus here on just one  hike, one of hundreds of very interesting places within the park.

With the many amazing hikes, washes, iron intrusions, canyons, hoodoos, autumn trees, rivers and slot canyons commanding one’s attention, it is easy to simply pass by the small spaces, including the signs of human life from long ago. Even those who have often visited Zion National Park may not have seen the petroglyph panels in the eastern section along the Zion – Mount Carmel Highway.  According to some folks there are hundreds of rock art sites in Zion, but this area is likely the most well-known and easiest to access from the road. The panels are found by walking through a beautiful stone culvert along a wash, and are guarded by extremely tall pine trees. This site is commonly referred to as Petroglyph Canyon. (You can find more specific information about location by searching the web.)

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Historic image of a stone-faced culvert in Zion, similar to the one along the stream near the rock art panel. Courtesy of Library of Congress archives

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The wall itself is at least 100 feet tall – nearly plum, vertical, red rock ~ pocked with erosion and framed by scrub maples and tall pines. The petroglyphs may be as old as 7,000 years, as human habitation has been traced back that far in the Zion area to ancient Puebloan people (Anasazi and Fremont) as well as ancestors of the Southern Paiute. The petroglyphs found on these rocks were likely made by some or all of these groups over generations.

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There is very little protection for this site but for a general policy of secrecy – just a simple and low wooden fence, and signs warning about consequences of damaging the petroglyphs. Graffiti is present, but not as bad as at some sites I have explored in the southwest. This panel is not a secret, but there are no signs leading visitors to the wall, nor will most Rangers give directions to visitors… Some sites in the park are closed due to vandalism. Sad.

Gazing at the images one can’t help but wonder what they meant to the people creating them… Was it deeper than ‘mere doodling’? Is there meaning tied to sun and moon cycles like other rock art sites in the southwest? What might we find for shadows and light on the spiral below if we returned on a solstice?

I can’t help but imagine the people pecking these images into the walls, with perhaps their family and friends watching them from nearby ~ what were the others doing while the image creators worked? Crafting sandals? Foraging? Preparing food? Or was this conducted in secret, with just a chosen few working on the symbols as perhaps part of a prayer to benefit the group? The time taken to make them was so precious for ancient people in a life that was relatively short and full of very hard work. My own feeling is that these creations hold a depth of meaning we may never fully comprehend.

Electra’s Things

Posted in Art, Decorative Arts, Design, flora and fauna, historic sites, Inspiring People, Local Roaming, Museum, Quilts, Wanderings with tags , , , , , , , , , , on November 24, 2013 by WanderArtist

Across Lake Champlain from here lies an amazing collection started by Electra Havemeyer Webb (August 16, 1888 – November 19, 1960) and opened as a museum in 1947. Shelburne Museum is located on what once was Electra’s in-laws farm in Vermont. Electra married an heir to the Vanderbilt fortune and spent many happy days at their farm. She was raised in a wealthy family surrounded by priceless Impressionist paintings and traveled the world throughout her life… But her collecting gravitated toward craft work, decorative arts and hand-made objects. Some of the most wonderful pieces we enjoyed at Shelburne Museum were the carousel animals, quilts, miniature scenes, and fanciful over-sized objects created for advertisements.

As you will see from my photographs, I also loved the architecture… The windows, the lovely unpainted wood… And the details, so many wonderful weather vanes, decoys, carved objects. I hope you enjoy your journey with me through Shelburne Museum!

John Brown’s Farm

Posted in Adirondacks, flora and fauna, historic sites, Inspiring People, Library of Congress Prints and Photographs Division, Local Roaming, Wanderings with tags , , , , , , , , , on August 6, 2013 by WanderArtist

On a beautiful summer day I recently visited a favorite spot in the Adirondack Mountains in North Elba (near Lake Placid) for a walk back in time. Abolitionist John Brown once farmed here and his old homestead is now a New York State Historic site. John Brown and two of his sons bought the property in 1849 in order to establish a farm for freed slaves. He is best known for seizing the federal arsenal at Harpers Ferry in 1859 in hopes of using the weapons to lead an armed slave revolt. It was not a successful raid and he and four others were tried and hanged for the crime. He is buried at the farm along with an estimated eleven of the 21 men who participated in the raid at Harpers Ferry. Ten men in Brown’s group were killed and they killed four in the raid.

Incidentally, the fort was recaptured by a company of Marines under the command of Colonel Robert E. Lee of the United States Army. Owen Brown, John’s third son, escaped capture and eventually served as an officer in the Union Army during the Civil War. He died at the age of 64 in Pasadena, CA – where it is said that 2,000 mourners marched at his funeral.

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Photograph of John Brown from Library of Congress Prints and Photographs Division Washington, D.C.

John Brown was raised by his father to believe that slavery was a sin against God. Through his struggle in opposing armed pro-slavery advocates in Kansas he came to believe that pacifism was not going to lead to the freedom of slaves in the United States, only armed rebellion. He hoped for a relatively bloodless rebellion and would have been appalled at the toll the Civil War took in human lives.

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Engraving of the Harpers Ferry Insurrection from Library of Congress Prints and Photographs Division Washington, D.C.

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The ornate iron fence surrounding the graveyard at John Brown’s Farm

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IMG_1206_2“His soul goes marching on”

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Erected in May 1935 this eight foot tall sculpture depicts Brown walking with a young former slave. The New York Herald Tribune stated at the time that over “1,500 people, many of them Negro pilgrims to the last resting place of John Brown, crowded about the statue.” for the unveiling.

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Above is a Seneca Ray Stoddard photograph of the graveyard taken in 1896. It was not until a few years after this photo was taken that John Brown’s son, Oliver and the remains of eight or nine other men from his group (killed in the raid) were moved to this site from a shallow grave at Harpers Ferry.

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The two plaques give (on left) a brief life history of John Brown and a listing of those buried here with him, erected in 1916… The tablet on the right pays tribute to the women of the Brown family who made their own sacrifices in the name of freedom, erected in 1946.

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The above headstone has five names inscribed and was originally carved for the grandfather of the abolitionist – Captain John Brown who died in1776 while serving in the Continental Army (buried in Connecticut) – his headstone was replaced and his grandson had this old one sent to his farm in North Elba in 1858. It now serves as the headstone for John Brown and three of his sons – Frederick (who died and was buried in Kansas in 1856), Oliver and Watson. Brown requested that his name and those of Oliver and Watson be carved on the stone on the morning of his execution… OLIVER BROWN Born Mar. 9, 1839, was Killed at Harpers Ferry Oct. 17, 1859  WATSON BROWN Born Oct. 7, 1835, was wounded at Harpers Ferry Oct. 17 & Died Oct. 19, 1859

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The handsome iron fence, beyond it you can see the headstones and a large boulder with the two bronze plaques.

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The Brown home was open for tours on this summer day. On the left and right you can see scaffolding… The cedar shingle roof was being replaced, the property is very well-kept. It’s a great place for a walk or cross country ski on the two mile loop trail wandering through the woods beyond the pond and out buildings.

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The photo above was taken looking back toward the house (at left) and the gravesite and iron fence. In the far right are the ski jumps built for the 1980 Winter Olympics in Lake Placid.

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A handsome out-building at the farm

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These berries were plentiful at the start of the walking trail

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The leaf canopy looked to me like gorgeous stained glass

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A feather found along the way

For much more detailed information about the headstones and memorials at John Brown’s Farm check out this genealogy website  http://freepages.genealogy.rootsweb.ancestry.com/~frgen/essex/north_elba/john_brown.htm

John Brown was ahead of his time, and was not afraid to take action to defend the freedom of all men. He felt that armed insurrection was the only way to end slavery in the United States. Historians agree that his raid on Harpers Ferry led to tensions that precipitated the secession of southern states and eventually to the US Civil War.

“Had I interfered in the manner which I admit, and which I admit has been fairly proved (for I admire the truthfulness and candor of the greater portion of the witnesses who have testified in this case), had I so interfered in behalf of the rich, the powerful, the intelligent, the so-called great, or in behalf of any of their friends, either father, mother, brother, sister, wife, or children, or any of that class, and suffered and sacrificed what I have in this interference, it would have been all right; and every man in this court would have deemed it an act worthy of reward rather than punishment.

This court acknowledges, as I suppose, the validity of the law of God. I see a book kissed here which I suppose to be the Bible, or at least the New Testament. That teaches me that all things whatsoever I would that men should do to me, I should do even so to them. It teaches me, further, to “remember them that are in bonds, as bound with them.” I endeavored to act up to that instruction. I say, I am yet too young to understand that God is any respecter of persons. I believe that to have interfered as I have done as I have always freely admitted I have done in behalf of His despised poor, was not wrong, but right. Now, if it is deemed necessary that I should forfeit my life for the furtherance of the ends of justice, and mingle my blood further with the blood of my children and with the blood of millions in this slave country whose rights are disregarded by wicked, cruel, and unjust enactments, I submit; so let it be done!”

— Excerpt from a speech given by John Brown in court after his conviction, November 2, 1859

Ansel Adams at Manzanar 1943

Posted in historic sites, Inspiring People, Library of Congress Prints and Photographs Division, Museum, Wanderings with tags , , , , on May 7, 2013 by WanderArtist

In wandering through the wonderful archives online of the Library of Congress Prints and Photographs Division I came across some intriguing and beautiful shots created by Ansel Adams. Not surprising to see beautiful Adams photographs, you say? No, but these are different than the scenery images with which we are so familiar. In 1943 Adams decided to travel to the internment camp in Manzanar, California to document the conditions there. In his words, “The purpose of my work was to show how these people, suffering under a great injustice, and loss of property, businesses and professions, had overcome the sense of defeat and dispair [sic] by building for themselves a vital community in an arid (but magnificent) environment… All in all, I think this Manzanar Collection is an important historical document, and I trust it can be put to good use.” 

Manzanar Relocation Camp, located in the foothills of the Sierra Nevada mountains in California, was one of ten internment camps where Japanese American citizens and resident Japanese citizens were incarcerated during World War II. When I consider the conditions these people were forced to endure I find it extraordinary that so many of the portraits Adams captured are of smiling people. The following are three photographs I thought you might enjoy. I encourage you to explore this archive for yourself!

Tatsuo Miyake (student of divinity) photograph by Ansel Adams

Tatsuo Miyake (student of divinity)
photograph by Ansel Adams

Title: Tatsuo Miyake (student of divinity) / photograph by Ansel Adams.

Creator(s): Adams, Ansel, 1902-1984, photographer

Date Created/Published: [1943], Medium: 1 photographic print : gelatin silver.

Summary: Tatsuo Miyake, half-length portrait, standing, facing slightly right, in front of a sign for church services in English and Japanese.

Dressmaking class, Manzanar Relocation Center, California / photograph by Ansel Adams

Dressmaking class, Manzanar Relocation Center, California / photograph by Ansel Adams

Title: Dressmaking class, Manzanar Relocation Center, California / photograph by Ansel Adams.

Creator(s): Adams, Ansel, 1902-1984, photographer

Date Created/Published: [1943] Medium: 1 photographic print : gelatin silver.

Summary: Mrs. Ryie Yoshizawa, instructor, standing in front of class of women students, one woman in foreground with dressmaker’s dummy.

Girl and volley ball, Manzanar Relocation Center, California / photograph by Ansel Adams

Girl and volley ball, Manzanar Relocation Center, California / photograph by Ansel Adams

Title: Girl and volley ball, Manzanar Relocation Center, California / photograph by Ansel Adams.

Creator(s): Adams, Ansel, 1902-1984, photographer

Date Created/Published: [1943] Medium: 1 photographic print : gelatin silver.

Summary: Young girl, half-length portrait, standing, facing slightly left, holding a volley ball with both hands.

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An Artist-in-Residence Studio and efficiency apartment located in the Lower Town Arts District of Paducah, Kentucky

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No fluff, just the cutting-edge US & UK P2P Lending News Daily...

The Homeless Paradise

"I don't just want to survive, I want to thrive... I don't want to die here."

Quartz

Quartz is a digitally native news outlet for the new global economy.

Imagine Rodeo Productions

One cowboy and a tame bucking bull.

retireediary

The Diary of a Retiree

California Ink in Motion

Poems and Spilled Ink

My Life

Exploring new experiences Everyday

The Nomad Notes

Adventure and Travel Blog

thefatmanblog

The fat man v. the food rules

The Good Weigh

A topnotch WordPress.com site

SmoothShooter

Viajes bajo la mirada de una cámara.

petersouthlandphotography

Photography reviews, ramblings, and other things you need to know

Through Open Lens

Home of Lukas Kondraciuk Photography

RAVI AND ALISON

Taking a career break to travel the world!

A Poet in Time

One Poet's Writing Practice

Maybe someone should write that down...

Writerly ways for Family Historians and Storytellers

Game4Learning

Fun Learning Resouces for Kids

Nessa Grace

Relevant Xpressions

Inese Poga: Art and creative discoveries

Power of art relies on the divine in nature

simpletravelourway

Beth and Joe enjoy simple and active travel – every day of the year. They started their trip in 2012 and are still slowly traveling the world.

Dinosaurs, Science, and Design

Illustration, Design, and Motion Graphics

mejfote

life fashion & more

the radiant poet

Find Art and Beauty in Everything.

Vrykola

그저 당신의 사랑의 씨앗을 지키는 허수아비처럼...

The Tin Whistle

Explorations in lesser-known cracks and crevices of the counterculture.

Day Shift Photography

Photos taken on my days off.

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