Archive for the Southwestern US Category

Recent Work by PHOTOPIA

Posted in flora and fauna, National Parks, Soul Food, Southwestern US, Wanderings, wild creatures on April 16, 2016 by WanderArtist

For in the immediate world, everything is to be discerned… without either dissection into science, or digestion into art, but with the whole of consciousness, seeking to perceive it as it stands: so that the aspect of a street in sunlight can roar in the heart of itself as a symphony, perhaps as no symphony can: and all of consciousness is shifted… to the effort to perceive simply the cruel radiance of what is.

 James Agee

You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.

Ansel Adams

Recent Prints

Posted in Art, Artist Residency, National Parks, Personal History, Soul Food, Southwestern US, Woodblock Printing with tags , , , , , , , on August 13, 2015 by WanderArtist

There have been clouds of wood shavings flying from the woodblocks in my studio these days – I’ve also been focused on drawing and making prints. I believe I’ve generated more prints in the last four or five months than the many previous years combined. Some might say I have been visited by my muse. I appreciate the concept of the muse in art – a spirit or source inspiring art creation… However, ideas and creations are not solely the responsibility of a potentially fleeting spirit outside the artist…

Another definition of muse is to have deep thoughts, or to meditate. This is a large part of how I see my artistic muse these days. It is not merely a presence visiting and inspiring – it is hard work, observation and time spent in the outdoors – and being driven as well by the desire to push my ideas to the next level ~ along with many hours of drawing and carving fine lines in wood.

I hope you enjoy my musings from the last few months…

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.

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.

UnionPacificMotorCoachesZionLodge-ca1929

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.)

STONE-FACED BOX CULVERT

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.

American Indian Objects in The Alice Collection

Posted in American Indian, Art, Local Roaming, Museum, Southwestern US, Wanderings with tags , , , , , , , , , on May 17, 2013 by WanderArtist

As we finish renovation of a third floor room this month we are adjusting to the closure of the Lincoln Library and the four rooms adjacent to the library while paint dries. Because of the closure of these spaces I have placed some collections in other areas of the museum. One of these temporary exhibits is of select items from the American Indian collection. I simply could not allow tour participants to miss this wonderful group of objects while the room is off limits.

Alice T. Miner collected a wide variety of wonderful American Indian objects between 1910 to her death in 1950. Unfortunately, the museum does not know the provenance of most of these objects. We do hold a large number of stone implements donated to Alice for her museum by Lynn, Massachusetts mayor Ralph S. Bauer in the 1920s. It is likely that Alice Miner already possessed the wonderful baskets, pottery pieces, dolls and beaded works by the time she received the Bauer Collection.

This new exhibit offers a sampling of pieces for visitors to learn about and enjoy, including; a group of spear and arrow points, four baskets, a basketry women’s cap, a beaded Plains Indian doll, a clay pipe stem, two southwestern pottery pieces, a northwest coast Indian dance rattle (written about previously in this post – The Rattle Connection), a beaded tobacco bag, a small bow with eight arrows, and a Nez Perce woven bag.

PlainsDoll

The Plains Indian doll is sixteen inches tall and comprised of a leather body, head and clothing with beaded decoration and bead & metal jewelry. The face has some application of red pigment on the cheeks with eyes created from beads. 

The baskets in the exhibit are Klickitat, Hupa and Yurok-Karok in origin, therefore all were made in California, Oregon and Washington states. The Yurok-Karok and Hupa baskets are similar to each other and were likely made by related peoples in California. They are made of woven willow, pine root, bear grass and maiden hair fern – with a weave so tight and fine they are said to hold water. The Yurok-Karok cap is made in a similar way with the addition of a fabric lining. 

Yurok-Karok woman's cap

Yurok-Karok woman’s cap

Hupa cooking basket, ca. 10" tall - food was boiled in the basket using hot stones from the fire

Hupa cooking basket, ca. 10″ tall – food was boiled in the basket using hot stones from the fire

A Klickitat basket - ca. 13" tall

A Klickitat basket – ca. 13″ tall

Klickitat Brave, 1899 by Benjamin Gifford

Klickitat Brave, 1899
by Benjamin Gifford

The Klickitat baskets are large burden baskets woven of red cedar root, cattail leaf, or beaver grass with geometric designs and rawhide straps. The Klickitat, or Qwu’lh-hwai-pum (prairie people), lived along the shores of the Colombia River between the present day states of Washington and Oregon. 

The Nez Perce cornhusk bag is woven from dogbane or silkweed and decorated with colored fibers. Later yarn and corn husk were also incorporated in weaving these utilitarian bags or baskets. The addition of a rawhide strap made for easy carrying. The Nez Perce were also inhabitants of the Pacific Northwest of Washington, Oregon and Idaho. 

NezPerce

The two pottery objects included in this exhibit are from the southwestern U.S. and Northern Mexico. They are both polychrome decorated vessels with geometric designs.

AcomaJug

The pitcher was made at Acoma Pueblo in New Mexico using both mineral and vegetal based paints. The design uses a characteristic white background allowing Acoma potters to produce crisp black and polychrome designs. This pitcher is nine inches tall. Acoma Pueblo has been occupied by descendants of the Mogollon and Anasazi people for over 800 years, making it one of the oldest continually inhabited communities in the U.S. I could not resist including this wonderful photos of one of the houses at Acoma today.

A house in the Sky City of Acoma Pueblo 17 November 2012, by Beyond My Ken

A house in the Sky City of Acoma Pueblo
17 November 2012, by Beyond My Ken

The other pottery piece is a wonderful little polychrome pottery bowl made by Indians in the Casas Grandes region of Northern Mexico, in the modern day state of Chihuahua. Casas Grandes, also known as Paquimé was settled by people descended from the Mogollon. It is only about 4.5 inches tall and has holes pierced in the top for hanging or carrying.

CasasGrandesPot

A Man Named Zebulon

Posted in Inspiring People, Museum, Southwestern US, Wanderings with tags , , , , on April 4, 2013 by WanderArtist

Last December some intrepid souls braved frigid temperatures to mark the 200 year anniversary of Pike’s Cantonment in Plattsburgh, New York. Re-enactors held skirmishes and placed a wreath at the old post cemetery. Although the day was cold it was broken up by breaks inside warm buildings to listen to lectures and enjoy refreshments.

Warmth was generally not available to the original soldiers who camped out with then Colonel Zebulon Pike in the winter of 1812. No winter preparations had been made for these men and they were forced to live in canvas tents with just blankets, small fires and cut pine boughs to keep them alive in the cold until they finished building shelters.

Zebulon

Outside of the Plattsburgh area most people know Zebulon Pike (January 5, 1779 – April 27, 1813) for the exploration he led of southern portions of the Louisiana Purchase in 1806-1807. In their reconnaissance Pike’s Expedition discovered Pike’s Peak in Colorado, the headwaters of the Rio Grande River, crossed over the Sangre de Cristo Mountains in New Mexico, and were even arrested by Spanish troops in what is now Colorado – and brought to either Chihuahua or Santa Fe (depending on your source) for questioning by the Governor.

Zebulon_Pike_Map

But it was during the War of 1812 that Pike made his mark here in the north country. He commanded between 2,000-3,000 men as they built winter quarters – not completed until December. It is said that over 10% of soldiers under his command died during the first winter in the cantonment. They quartered in Plattsburgh until spring of 1813, and the British later burned the cantonment down. It’s location was subsequently forgotten, until recently. In the last few years, through the dogged research of local historian, Keith Herkalo, the site has been rediscovered and archaeological digs have been undertaken.

On January 12, 1813 Zebulon Pike wrote a letter from Plattsburgh sent to Colonel Learned reporting on the state of military affairs in Plattsburgh and asserting that he had collected all available men and taken possession of all public property. This letter is in the collection here at The Alice T. Miner Museum.

letter

Just three months after the communication was written newly promoted Brigadier General Zebulon Pike lost his life in the successful attack on York, Canada (now Toronto). He was just 34 years old – but you would not have guessed at his youth when reading his impressive resume!

Po’pay – Pueblo Indian Hero

Posted in American Indian, Art, Ideas, Inspiring People, Soul Food, Southwestern US, Wanderings with tags , , , , , , , on March 9, 2013 by WanderArtist

Sometimes, when wandering the internet (often late at night) I actually learn something! I was checking out some Hopi dances and videos recently, when I stumbled onto an article about the unveiling of a statue honoring Po’pay in the National Statuary Hall in Washington, D.C. The short story of Po’pay is this – in 1680 Po’pay (a Tewa religious leader) coordinated the successful revolt of the Pueblo Indians against Spanish colonial rule. Brutal treatment and European diseases had reduced the numbers of Pueblo people by more than half over the approximately 80 years of Spanish rule. Previous revolts had been isolated and easily quashed – a coordinated revolt was necessary.

Po’pay envisioned the revolt and worked hard at negotiating with other Pueblo leaders – often traditional enemies – to gain support for his plan. Amazingly, the plan was kept secret despite the large number of people and Pueblos aware of it. Po’pay apparently even murdered his own son-in-law for fear he was about to tip off the Spanish.

According to legend they coordinated the uprising by sending runners to each Pueblo bearing knotted deerskin strips… by untying one knot each day they would all begin the revolt on the same day – the day the final knot was loosened. In the process of distributing the deerskin strips two of the runners were arrested so it was decided to speed the revolt by two days. The Pueblo Indians were successful, completely surprising the Spaniards. The Spaniards took refuge in Santa Fe and the Indians cut off their water supply… eventually the Spaniards were allowed to escape to freedom.

This revolt led to the king of Spain recognizing the sovereignty of the Pueblo people, thus allowing them to keep their ancestral lands, languages and customs to this day.

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