Places I'm Visiting: Monument Valley

Monument Valley has to be among the most photogenic places on Earth. It is, at least, among the most photogenic place I have ever visited. We arrived at around 1:00PM and took a four-hour tour lasting until just before sunset. I'll let the photos speak for themselves in this case. 

 

Places I'm Visiting: Santa Fe and Taos

The next stop on my recent trip to the Southwest was Santa Fe, a rather long drive from Tulsa. At first, our goal was simply to get as far west of Tulsa as we could the night before to somewhat shorten the drive awaiting us the next day. We ended up staying in a fairly shabby motel in El Reno, New Mexico, after having rejected a room in an even shabbier motel where the night manager seemed incapable of programming a key to the right room or programming a key that worked once a suitable room was found. We looked at it, declined, and moved on to a nearby alternative. El Reno had the cheapest gasoline we encountered on the trip; we filled up at a Shell station at $2.05/gallon.

Dinner was in the only restaurant in the area that wasn’t fast food – a Mexican place where the food was decent and the was staff friendly but barely bi-lingual. While I’m bi-lingual, Japanese was of no use. A football game played on a big screen over the bar. Men sat at tables in baseball caps and cowboy hats drinking beer –  a cowboy hat is a look that some people can actually pull off, but I think you have to be born to it.

We found a quirky hotel in Santa Fe, a place called Guadalupe Inn, which was close to Josef’s where we had an interesting bottle of wine (an Italian Ribolla Gialla) and a decent meal, but one that gave the impression the chef was trying too hard to impress with fancy presentation. After the nearly eight-hour drive that took us from El Reno to Santa Fe, I had a terrible headache that made it hard to enjoy the food, but the kale salad was excellent. Who knew kale could be so delicious? We were seated at the bar beside a voluble local man who said he eats at Josef’s once or twice a week. He was eager to talk with both us and the handsome young bartender who served as our waiter.

We stayed two nights in Santa Fe. The morning of our first day, we went straight to the Georgia O’Keefe Museum, which, I have to say, was a disappointment. The collection is not very large and I’ve seen a lot more of her work and better work by her at various museums around the world. About half the space was showing work unrelated to O’Keefe. Having said that there were a few gems. Also, I long ago read that a friend of O’Keefe’s showed some of her (O’keefe’s) early charcoal drawings to Alfred Stieglitz, which prompted him to show them at his Gallery 291 in New York (formally called the Little Galleries of the Photo-Secession, but known as “291” for its address at 291 Fifth Avenue) and that that was how O’Keefe and Stieglitz met. I’ve always been curious to see what these drawings looked like and the Museum has two or three of them on display. Apparently, the museum will soon move to a new, bigger location now under construction. It may be that not everything usually on display was there to see when we visited.

The rest of the day we spent walking around the old downtown, looking at bookstores, other shops, and at galleries, but the galleries were showing mostly commercial art for the tourist trade, nothing much of interest. For some reason, Santa Fe has a lot of rug dealers. I like rugs but already have more than I need. We stopped in at Mission San Miguel Archangel, the “oldest church in the US” (built around 1610 and rebuilt about 100 years later) and saw “the oldest house in the US.” The church claim is credible. It's attractive and interesting for its altarpiece and for the adobe buttresses added to shore up the original adobe structure. The oldest house claim is disputed and the building was closed. 

Dinner at Sazón, one of Santa Fe’s fanciest restaurants. My wife was acquainted with chef and owner Fernando Olea because he sometimes visited a girlfriend here in Santa Rosa and sometimes ate at the Chinese restaurant she (my wife) worked at. We were given the royal treatment. Two glasses of Champagne appeared. Chef Fernando came out to greet us. We were served appetizers we didn’t order. Dessert was on the house. Sazón prides itself on its selection of mole sauces. Five are presented at the start of every meal as a sort of pre-appetizer, which allows you to decide whether you want a dish prepared with mole (or not) and which mole you prefer. We had roast pork with two mole choices, one made with jalapeño peppers, one made with hotter red peppers and tomatoes that was spicy but flavorful. We also had roast duck with two other versions of mole. Overall, excellent, but too much food – as is so often the case at restaurants in the US. Along with the meal, we had a Mexican Tempranillo/Cabernet Sauvignon blend.

Before dinner we had visited Sherry Parker, a fellow collage artist and friend, formerly of Santa Rosa, who left for Santa Fe after losing her house in the 2017 Santa Rosa fires (and a beautiful house it was, with a very fine art collection). Her house in Santa Fe, too, is beautiful, situated north of the town with a breathtaking view. It was good to catch up, if even only briefly. Sherry told us why we missed seeing good art in Santa Fe. Apparently, the better galleries are in the railyard area near Site, which is a big, modern art complex. Next time we’ll know better.

The following day we went to Taos. I hadn’t realized that Taos was more than an hour north of Santa Fe. We took the scenic “High Road” (New Mexico Route 76) rather than the highway, stopping on the way at El Santuario de Chimayo, which put me in mind of Lourdes, in France, because of all the notes and tokens of thanks left around statues along the walkway up to the main church. El Santuario de Chimayo refers to the main church here but also to the whole surrounding pilgrimage complex. People who believe they’ve been healed leave tokens of thanks and prayers and many photographs.

One of the main draws is a little chapel with “holy dirt” that people scoop up and take with them for the healing powers it’s supposed to have. The dirt sits in a pile in a shallow hole in the ground (with scoops conveniently provided) at a spot where a cross is said to have once miraculously appeared. When I asked, the attendant in the gift shop and visitor center casually said “Oh yeah, people scoop up bags of that stuff and take it home with them.” Having seen the depression full of loose dirt, I suspect that once in a while someone dumps another bag of potting soil in there from Home Depot to sustain the demand.

Aside from the dirt, people come for mass held at the main Sanctuary de Chimayo, which has an attractive rustic altarpiece. There are various other small chapels and outdoor memorials and prayer areas set aside on the grounds aside from the above-mentioned gift shop and visitor center. The parking lot is very large. On pilgrimage days thousands gather here we were told, but, on a cold January morning, we were the only visitors. 

Taos itself is a rather ordinary-looking small town that could have been any other city in the Southwest or the US. I had imagined something more quaint. The main attraction (for me) was the famous church there, the San Francisco de Asis Catholic Mission. I’ve always wanted to see for myself this church made so familiar by images by O’Keefe, Ansel Adams, Paul Strand, and others. 

It’s easy to miss. We drove right by it and had to backtrack about ten minutes as it’s not really in Taos but in Ranchos de Taos, just outside of Taos proper. Its famous backside faces the road but the building is at the far end of a parking lot about 60 yards from the main road and facing the opposite direction.

It’s easy to see why the church has fascinated so many artists. Its back side is simple, elemental. It’s pure form. Although a row of boulders has been added around the perimeter (presumably to keep cars from ramming into the vulnerable adobe) and the view is somewhat marred by a gas meter, it looks much the way it looks in the famous Paul Strand photograph and other representations. Remnants of a recent snowfall adorned the soft adobe curves when we visited.

All these early adobe mission churches seem to follow the same plan. The front façade has one or two towers, usually with a bell or bells. The front door opens into a single open space with a timber ceiling and an alter at the far end. Sometimes there are side niches, but often there are none. Usually there is a loft directly above the front entrance, accessible by a single set of wooden stairs (or just a ladder) on one side of the main doorway. 

Facing the parking lot of the church was a little gallery that looked like a tourist trap but I was curious. It turned out to have a museum-quality collection of native American basketry that was worth seeing. From there we headed west again, aiming to get as close as possible to our next stop, Monument Valley. We stayed at a very attractive hotel called Casa Blanca Inn & Suites tucked away a bit incongruously in a residential neighborhood of Farmington, New Mexico. We settled into our room after another longish drive (a little under four hours). The décor is a mishmash, with suggestions of both the Southwest and Morocco, but it somehow works. The bathroom was rather elaborately done in two shades of green tile. Dinner was microwaved leftovers from Sazón and leftover wine from Josef's. Farmington put us a manageable two and a half hours drive from the Monument Valley Tribal Visitors Center where we were booked for a sunset tour of the valley the following day.

Places I'm Visiting: Tulsa

Getting back to my recent trip to the Southwest, after visiting my son in Dallas/Fort Worth, we made a fairly drastic detour to the north, to Tulsa, a drive of a little more than four hours. We arrived in the early afternoon, had a quick lunch and then took a private tour of some of Tulsa’s remarkable Art Deco architecture. It was Louis, my first college roommate, a Tulsa native, who first alerted me to the existence of structures worth looking at in Tulsa. I had never thought of Tulsa as a place likely to have much worthwhile to look at until he pointed out that Tulsa was an important center of oil development in the 1920s through the 1950s, and that that meant money. Where there is money, wealthy people seem always to try to outdo each other by building fancy buildings in the latest styles. Tulsa actually makes perfect sense as a place to look for interesting examples of buildings in the Art Deco style. 

We did a tour in the cold with Jeffrey, of Tulsa Tours. We began with a look at the Atlas Life Building, which just predates the Art Deco period. The tour begins here to provide a point of reference for the changes in style that would come soon afterward. Highlights included the clock in the lobby with a gold figure of Atlas holding up the world and the coffered ceiling in the lobby. The exterior has neo-Gothic elements and some interesting details, including another figure of Atlas above the entrance. Our guide pointed out that the unusual spaces on either side of the structure were left to ensure good air circulation in the interior spaces, which was a reaction to the deadly Spanish Flu Epidemic that had immediately preceded its construction in 1922. The office building has since been converted into a Marriott hotel.

We next looked at the Southwestern Bell Building, which immediately struck me as odd because it looks like two buildings merged into one and our guide confirmed that it was originally a two-storey building and that four floors were later added on top of the original structure. The lower part of the building is pre-Art Deco. The upper floors begin to show the emerging Art Deco Style with pronounced verticals. 

We toured the Philcade Building, an office building at the southeast corner of East 5th Street and South Boston Ave. It was designed by Leon B. Senter, for oilman Waite Phillips. Construction began in 1929. It was completed in 1931. It is noted as an outstanding example of the zig zag style of Art Deco architecture. 

The interior was pretty stunning. The photographs speak for themselves, but the guilded ceiling in the lobby and the chandeliers, made locally in Tulsa, are of particular interest. There is some attractive detailing on the exterior as well using stylized flora and fauna and Egyptian motifs. The roofline is decorated with terra cotta designs also showing Egyptian influence. The main entrances are adorned with Egyptian style columns that extend to the second floor. Above the entrances are crests with the initials "WP" (for Waite Phillips) surrounded by carved vines, fruits, and flowers. Also very impressive is some of the metalwork in the lobby near the doors. I particularly liked the windows above some of the interior doors with a design that simultaneously suggests skyscrapers and arrowheads.

The last building we looked at in the immediate downtown area was described as Tulsa’s last Art Deco style building. Today it is known as the ARCO Building (as in the Atlantic Richfield Co.) but it was built in 1949–1950 for the Service Pipeline company and some of its interior decoration subtly alludes to the pipeline business. I loved its green glazed terra cotta exterior, its richly marbled lobby, and its metal elevator doors. Floor levels inlaid into the terrazzo floors at the base of the elevator doors is a nice detail. The doorways have some fairly spectacular aluminum decoration as well.  

Moving a little away from the downtown area, we stopped at the Oklahoma Natural Gas Building, the TransOK Building, which housed Tulsa’s electric power utility, and then the Tulsa Club Building and the Pythian Building. The Pythian Building isn’t that much to look at from the outside, but the interior, while rather less fancy than the gleaming interior of the Philcade Building is impressive in its own way. The entire first floor is done in mosaics showing the influence of native American design and in colorful tile work. This was one of the highlights of the tour.

Going further afield, we visited the Tulsa Union Depot, which has some interesting exterior detailing, including stylized falcons and winged train wheels, the Tulsa Fire Alarm Building, the Warehouse Market, and finally the Boston Avenue United Methodist Church. 

The Tulsa Fire Alarm Building was a little outside of what would have been the city’s original downtown (to protect it from fire). It was built in 1931. It was the central reporting station for Tulsa’s fire department. Fires were reported from alarm boxes at various locations in the city hardwired to this building from which the fire station closest to the fire would be alerted. Designed by architect Frederick V. Kershner, it was inspired by Mayan temple design, according to Wikipedia. It features terra cotta friezes using fire-related motifs as well as dragons. Over the front door a panel shows a half-naked male figure holding alarm tape (part of the original alarm system used in the building; the tape was punched with a number corresponding to the fire alarm box making the call) flanked by two helmeted firefighters. Bolts of lightning or electricity surround him. To the sides, are images of alarm boxes and fire hoses. According to our guide, the building originally had two large art deco style lanterns flanking the front doorway, but these are now gone. At the back of the building are a number of grotesque figures up by high windows. 

The Warehouse Market is in disrepair, but it has some impressive tile work. It was originally a marketplace for farmers to gather and sell their produce. Later, as it became neglected, it appears to have been put to other uses. Notable are the tower, the elaborate tile work around the entrance, and two roundels on either side of the entrance, one personifying agriculture, the other personifying industry. 

Our final stop was to look at the exterior of the Boston Avenue United Methodist Church, which is pretty spectacular. It was built in 1929 and is considered among the most important Art Deco style buildings in the United States. It has a 225-foot tower and a semi-circular apse, which gives it something of the look of a Gothic cathedral (but without the flying buttresses). At the same time, its strong verticals, also suggestive of cathedral design, seem quintessentially Art Deco. It uses a combination of metal, terra cotta, limestone, and granite. Above the south entrance are three equestrian Circuit Riders, statues of early Methodists engaged in spreading the “Good Word.” This building seems way over the top for a religious order not known for ostentation. It’s a bit surprising that such a spectacular design was adopted, but there it is. 

By the end of the tour, which was two hours, outside much of the time, on a cold and windy January day, I was happy to get into the car again to head West, but I think the detour to Tulsa was worth it even though we missed many other buildings in the area I would like to have seen – for example, the Will Rogers High School building, where my roommate Louis went to high school. Maybe next time….

Miscellaneous: Bird sightings

Our recent trip to Texas and the Southwest was so busy that I've not had a chance to write up details or post a lot of photos, but I spent Saturday and Sunday in the woods. So, in the meantime, until I can get more posted from the trip, here are some bird and mushroom photos for your viewing pleasure.

From top to bottom: Pileated Woodpecker, Hermit Thrush, Hygrocybe sp. (possibly singer, possibly acutoconica), and a Lincoln's Sparrow.

Places I'm Visiting: Fort Worth

After a day in Dallas, I spent a day in Fort Worth, starting with a visit to the Cowgirl Museum, which turned out to be rather more interesting than I expected. When we visited, it was only partly open as it is undergoing an expansion, but on view were a section featuring riding gear used by women who participate in Escramuzza Charra, part of the charrería, or Mexican rodeo. It is a timed, competitive event in which riders (in fancy dress and riding side saddle using specially designed saddles) go through a routine of twelve or more exercises for review by a panel of judges who look at clothing, tack, and execution; there was a section looking at the cowgirls who rode in the shows of Buffalo Bill, including a great deal about Annie Oakley; and there was a display of Western-themed Hermés scarves, which noted that Hermés started as a tackle company, a fact that was new to me. Also new to me was the fact that in her retirement Annie Oakley lived at 233 Salem Ave, in Dayton, Ohio, fairly close to where I once lived.

After the museum, we went down to the Fort Worth stockyards, which is now mostly shops and restaurants, but twice a day a herd of longhorn cattle is paraded through the streets. In reality, only about 17 head of cattle were in the parade, led by cowboys on horseback, but it was interesting to see the animals and, after the parade, the area where the cattle are kept is open to the public. There is an elevated walkway that allows you to look down on the animals in the pens below. Some of the animals have a hornspan (if that’s a word) of up to 10 feet, but 6–7 feet appears to be normal. Both males and females grow horns, I was told. Apparently the horns grow quickly in the first 7-8 years of the animal’s life but then mostly they stop. 

The shops are stocked with such things as cowboy boots, cowboy hats, belts and belt buckles, cow hides, cow hide pillows, cow hide furniture, horns in various sizes, cow skulls with horns, and taxidermy of all sorts, including cattle, goats, elk, deer, foxes, coyote, and buffalo. A nice longhorn head for your wall will cost you about $2,000. A buffalo head for your den will cost you more like $8,000. 

After the stockyards, we were introduced to Fort Worth-style barbecue – brisket, pork ribs, and smoked catfish – along with such local specialties as deep-fried pickles, which are exactly what you are probably imagining them to be: sliced, deep-fried dill pickles.

Places I'm Visiting: Dallas Museum of Art

After visiting the former Texas Book Depository Building and the museum it houses on my recent trip to Dallas, I went to The Dallas Museum of Art. I had always wanted to visit. I’ve noticed many choice paintings on loan from the museum in large traveling shows at other institutions over the years, suggesting a strong collection. 

Having now seen the museum, I can confirm my impression. There are some gems. In addition to the permanent collection (which is quite broad, including some fine textiles aside from the paintings), there was an exhibition of Surrealist art on show featuring works on loan from the Tate Gallery. 

Here are some favorites, including a Jackson Pollack splatter painting. In general, I really don't care much for the these paintings, which are so highly praised. Often they just look messy to me and, while I understand the idea that they may be intended or at least interpreted after the fact as records of an action, they often strike me as simply uninteresting to look at. This one, however, I rather enjoy. I think it's the blank areas of canvas that make it more appealing. 

 

Places I'm Visiting: Dallas

Two days visiting in Dallas/Fort Worth. I heard opinions only on the Fort Worth side, but it seems people from Dallas and from Fort Worth don’t think much of each other. I get the impression that, at the very least, Fort Worth natives think Dallas is sterile, cold, and citified, whereas Fort Worth, they will tell you, still has its cowboy soul. 

We visited Dallas mostly to go to the Dallas Museum of Art, but, as it opens relatively late, at 11:00AM, we went to the Book Depository Museum, which occupies the sixth and seventh floors of what was the Texas Book Depository in November 1964 when John F. Kennedy was shot from one of its sixth-floor windows. Like many people, I’ve seen photos of the building, photos of the stretch of Elm St. the president’s motorcade was passing when the shots were fired that killed Kennedy and wounded Texas Governor John Connally, and I’ve seen photos of the “grassy knoll.” I have seen the Zapruder film, sequences isolated from the film, and stills from it. So, visiting Dealey Plaza in person, felt oddly familiar. 

The Museum mostly presents an extended series of explanatory panels. Some put Kennedy’s visit to Dallas into the context of the time. Others show what happened as the president was hit and right after. Still others look at how the world reacted to the assassination, at the investigations and re-enactments that followed, and at the forensic evidence for assigning the murder to Lee Harvey Oswald. A large model of Dealey Plaza used by the FBI and by later investigators is on display. Examples of cameras various journalists and amateur photographers used at the scene are on display.  Lee Harvey Oswald’s wedding ring is even on display.

Most moving, however, is simply being able to stand at almost exactly the spot on the sixth floor from which the sniper fired. From there, you can look down and to the right and see the X etched in the pavement on Elm St. showing the approximate point at which the fatal bullet struck. 

Having seen the path of the motorcade from the perspective of the sniper, one thing seemed odd to me. The motorcade made a right turn off Main St. onto Houston St., pointing right at the corner of the Book Depository Building from which Oswald fired. It then made a left turn onto Elm St., passing in front of the Book Depository Building, moving away from the sixth floor corner window, off to the shooter’s right. I don’t understand why he waited. He would appear to have had a closer, easier shot just as the motorcade slowed before making its left turn onto Elm St. We will never know what Oswald was thinking, but, had it been me, I would have fired at that – most vulnerable – moment rather than waiting for the car carrying the president to start moving away toward the triple underpass beyond the Grassy Knoll. 

After seeing the museum, we walked down to look at the X on Elm St. from the Grassy Knoll and at the place nearby Mr.  Zapruder was standing as he filmed the progress of the motorcade and, inadvertently, the assassination. Judging from the historical photographs, the place has changed very little since November 22, 1963, the day the president died. 

November 22, 1963 is the first day in my own life that I have a memory of. I was going on four years old. My mother and I were returning from grocery stopping. As we approached the short flight of steps up to the main doors of our Brooklyn apartment building, a neighbor came out and said something to my mother who then took me inside and rushed me down the hallway leading to our apartment door at the far end of the hallway. Inside the apartment, my mother kneeled down on the rug in front of the television, still holding a paper bag of groceries, and turned on the set – something she never did; my mother was largely indifferent to television; in later years, she didn’t even own a television. Having been a small child, I didn’t at the time understand what had happened, but I remember the day and the name Lee Harvey Oswald being spoken over and over again for days. Visiting the museum and the location of the assassination was a quintessentially touristy thing to do, but it was worth doing once.