Tag Archives: art

Seven Magic Mountains

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I first saw Seven Magic Mountains on my way to Las Vegas (NV) in December of 2016. I was heading south on I-15 when to my right, out in the desert…What is that? I wondered.

The Seven Magic Mountains art installation from a distance. I know this photo only really shows six towers, but trust me, there are seven!

In the middle of undeveloped nature rose several bright, multicolored pillars. They rose up from the desert floor, no other signs of humanity near them. What in the world could they be?

By the time I saw the pillars, I would have had to backtrack to visit them, and I hate to backtrack. Besides, I didn’t know if it was possible to visit the pillars or if there was an admission fee. Also, I was excited to get to Vegas and see my friends, so I decided to just keep going.

I tried to describe the pillars to The Poet and The Activist in hopes they could offer some explanation. They’re bright, colorful blocks stacked on each other in the middle of the desert…

My friends knew exactly what I was talking about. It was an art installation called Seven Magic Mountains, they said.

Wow! Large-scale art installations impress me, and this one was so brightly colored. Both the size and the colors of this one were awesome. The bright colors made each block look as if it had been sculpted from Play-Doh, but such an endeavor would have taken a lot of the modeling compound. Even though I hadn’t gotten close to the pillars, it was obvious that each block was huge.

While I was out and about in Vegas, I found a free informational card dedicated to the installation. I picked up the card and learned a few things about Seven Magic Mountains.

The artist responsible for the piece is Ugo Rondionone. On the card, Seven Magic Mountains is described as

a large-scale, site specific public artwork…

made from

This photo shows a closer-up shot of one of the magic mountains.

locally sourced limestone boulders stacked vertically in groups ranging from three to six. Each stone boasts a different fluorescent color; each individual totem stands between 30 and 35 feet high.

The card also gave the dates of display of the installation as May 2016 to May 2018. I felt sad I hadn’t stopped to see the installation when I was passing by. I hadn’t realized the towers would only be there for a specific period of time. I wasn’t going to pass that way when I left Vegas, and I didn’t know when I’d return to Vegas via I-15. I may have missed my only chance to see the art up close.

As luck would have it, I ended up heading to Vegas again in October 2017. As I left Baker, CA and got closer to Vegas, I remembered the bright towers. I texted The Poet and asked her

Are those giant colorful blocks still out in the desert between here and Vegas? If they are, I probably should stop and see them.

She wrote back

yes they r. last I saw. magic mountains something like that

That was enough information to get me there.

Right before exit 12 for NV-161 toward Jean/Goodsprings, I saw a small brown sign simply reading Seven Magic Mountains so I took the exit. When I reached the stop sign, there was a second brown sign, again reading Seven Magic Mountains and pointing to the right. I turned, came to a stop sign, and found no indication of which way I should go. How are visitors supposed to know which way to turn? I guess the sign posters figure if drivers don’t see the art to the right as they approach the exit, they’ll know to turn left at the unsigned intersection. I thought I had maybe missed the art, so I pulled into the casino parking lot and turned on my GPS to get me there.

The Google Maps lady on my phone (I call her Mildred Amsterdam) told me to take a left onto Las Vegas Blvd. I drove about five miles, then saw the colorful blocks on my right. This was it! I was almost there.

Signs along the road warn drivers not to park on the shoulder. There’s a fairly large parking area, just follow the signs to get there.

Once I was parked, I put on my hat, locked up my van, and walked out into the desert toward the art.

First stop was an sign with some information about the installation. These are some of the things I learned:

The artwork extends [the artist’s] long-running interest in natural phenomena and their reformulation in art. Inspired by naturally occurring Hoodoos and balancing rock formations, the stacks also evoke the art of meditative rock balancing.

As I walked closer to the installation, I counted the columns. I only saw six. Wait. What? I thought. This is supposed to be Seven Magic Mountains. Are their only six?

I stopped and counted again. Only six. Then I moved to the right, and the seventh mountain appeared! There are seven columns, but from different perspectives some of the columns line up and only six of them are visible at once. Ah, the artist was playing with the viewers. Fun!

This photo shows all seven of the magic mountains, plus the bonus natural mountains in the distance. Notice the size of the human visitors in relation to the limestone boulders.

The desert floor was almost empty as I approached the art. Only small, scrubby bushes grow in the area. I guess venomous snakes are an issue because there were a couple of signs warning visitors to watch out for them. I didn’t want to end up like my friend who was bitten by a rattler, so I was careful where I put my feet.

It was really cool to walk among the totems. I enjoyed looking up at them and seeing the bright colors against the blue sky. Everyone out there seemed to be having a good time.

The pillars are totally incongruous and also totally right. The colors stand out against the earth tones of the desert environment, but the size of the columns fit in the wide-openness of the desert. Their scale is just right. I guess Ugo Rondinone knew what he was doing when he decided to put the bright boulders out there.

That’s me in the hat, looking up and up and up and up.

I took all the photos in this post, except for this last one, which was taken by a very nice visitor lady. The older woman who was with the nice lady who took my photo said this was all very “interesting.”

Katrina Tree

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When my dad died, my sibling insisted I travel to Mississippi for his memorial service.

I was house sitting in Tracy, California when he passed on Monday afternoon. My dad’s wife scheduled the memorial service for the upcoming Friday evening. By Tuesday I’d bought a $600 round-trip airline ticket. By Thursday morning, I was flying out of Oakland, on my way down South.

My sibling and my sibling’s partner met me at the airport in New Orleans. They rented a car, and the partner drove us through the darkness surrounding Interstate 10, all the way to Ocean Springs. The three of us visited awkwardly with my father’s wife (who was holding up exceptionally well), then headed to Bay St. Louis where we would spend the night.

We stayed at the home of my sibling’s partner’s aunt and uncle. The aunt and uncle were out of town, but they graciously offered us the use of their empty home. It was dark when we pulled into the driveway, but my sibling managed to find the hidden spare key. It wasn’t long before we were passed out in the spare bedrooms, exhausted and probably still shocked at the unexpected death of the patriarch.

The next morning we were blessed by being able to sleep until we woke up naturally. My sibling cooked breakfast and we planned our day. I needed to stop at a thrift store before we saw my dad’s wife again so I could buy a new shirt. (I only had one shirt with me, the one I’d worn the night before. I thought my dad’s wife would only see me once before the memorial service, but it turned out she’d see me twice, and I knew she would notice if I had on the same shirt I’d been wearing the night before.) Before we went back to my dad’s house, my sibling wanted to show me the “Katrina Trees.”

My sibling and the partner and their son had visited my dad and his wife the previous summer. During the visit, my dad and his wife had taken them to see several “Katrina Trees.” The “Katrina Trees” were trees that had been killed by Hurrican Katrina in 2005 and later carved into large-scale sculptures. My sibling wanted me to see at least one of these trees that meant so much to my dad and his wife.

According to https://www.gulfcoast.org/listings/hurricane-katrina-tree-sculptures/3683/, the

tree-sculptures are located all along scenic Highway 90. There are now approximately 50 sculptures throughout the Mississippi Gulf Coast,

The website for the city of Biloxi (https://www.biloxi.ms.us/katrina-biloxi/sculptures/) says,

The trees were victims of the saltwater storm surge of Hurricane Katrina.

There was no plaque with the tree, no explanation or artist information. I did some internet research and determined this tree was carved by chainsaw artist Dayle Lewis of Indiana. My conclusion was confirmed by “Lewis 2012” carved into the bottom of the sculpture, just under the heron.

According to https://www.gulfcoast.org/listings/hurricane-katrina-carved-angels/4266/, Lewis has carved angel sculptures out of six live oaks killed by Hurricane Katrina’s 40-foot saltwater surge. The trees can be found throughout Bay St. Louis.

  • Two…“Carved Angels” stand in the Cedar Rest Cemetery on Second Street[.]
  • One [is on] Beach Blvd – In front of Our Lady of the Gulf Church[.]
  • One [is] near Century Hall[.]
  • Two are located on the first block of Demontluzin Avenue[.] The “Demontluzin Avenue Angel” was used as a life raft by three Katrina survivors and their dog.

I read an article on the Florida Times-Union website (http://jacksonville.com/sports/outdoorsoutside/2014-08-30/story/angel-tree-mississippi-gulf-coast-saved-3-lives-during) which shows a photo of the tree I visited with the story of the three Katrina survivors and the dog, but I think they used the wrong image. While both trees were carved by Dayle Lewis, the tree where the three people and the dog spent the night during the hurricane was described in an article on the WGNO web page (http://wgno.com/2016/09/14/the-unique-guardian-angels-of-bay-st-louis/) as “probably the plainest of them all.” The article goes on to say,

The most elaborate of the four angel trees looks out to sea, just like the original one — it has several angels carved into it, along with some herons, ladybugs, turtles and pelicans. One of the angels has white eyes — of all the angels that adorn the four angel trees, it’s the only one with white eyes.

The tree I visited is clearly elaborate, faces the sea, features turtles, herons, and pelicans (sorry, but I don’t remember any ladybugs), and includes an angel with white eyes.

We didn’t stay at the tree very long. I took photos, and my sibling hugged it, then we headed back to my dad’s house to prepare for his memorial service. We didn’t stay long, but it did me good to see the tree. It did me good to see such a wonderful part of the life of my father, a life that I missed for so many years.

Another Horse

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Since I wrote about a horse yesterday, I thought I’d stick with the theme and write about a horse of a totally different kind I saw in Truth or Consequences, NM.

I was house and dog sitting in a neighborhood near the hospital. One morning while walking the dog, I went down a street I hadn’t explored before. I looked over and saw a horse…a metal horse.

The sculpture was located in a fenced area between two houses. The fenced area was more of an empty lot than a yard. The fence was of the hurrican variety, so the horse was entirely visible. While the gate was open, I didn’t go into the enclosed area. I thought that might be a little too much like trespassing. Thankfully, I was able to aim my camera up and over the fence so I could get an unobstructed view.

There was no plaque to go with the sculpture, nothing about the artist or the medium or the technique used to create this creature. Maybe it’s a piece of yard art like I sometimes see being sold in tourist towns. Even if it is “just” yard art, I still like it. I like the horse sculpture in general, but especially the mane and tail. I like the jauntily raised hoof and the three-dimensionality of the piece. This is not some flat cutout! This horse has heft.

One of my favorite parts of house and dog sitting is exploring new neighborhoods and discovering their character. I like the spirit this metal horse adds to its block.

I took the photos in this post.

Valentine to My Own Dear Heart

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Coyote Sue told me about the contest.

A local coffee shop was holding an art contest with the theme “Sacred Heart” just in time for Valentine’s Day.

Oh yeah, I thought. I can collage it up to that theme.

I grew up Catholic, so I was familiar with the imagery of Jesus and his Sacred Heart, but if you’re not, here’s a picture from Two Heart Design (http://www.twoheartsdesign.com):

Wikipedia (https://en.wikipedia.org/wiki/Sacred_Heart) says,

The Sacred Heart is often depicted in Christian art as a flaming heart[3] shining with divine light, pierced by the lance-wound, encircled by the crown of thorns, surmounted by a cross, and bleeding. Sometimes the image is shown shining within the bosom of Christ with his wounded hands pointing at the heart. The wounds and crown of thorns allude to the manner of Jesus’ death, while the fire represents the transformative power of divine love.

Somehow the teachers at my weekly Catechism classes failed to teach me what the Sacred Heart was all about, and I had to turn to Wikipedia again. The aforementioned article says,

The devotion to the Sacred Heart (also known as the Most Sacred Heart of Jesus, Sacratissimi Cordis Iesu in Latin) is one of the most widely practiced and well-known Roman Catholic devotions, taking Jesus Christ’s physical heart as the representation of His divine love for humanity.

This devotion is predominantly used in the Roman Catholic Church and among some high-churchAnglicans and Lutherans. The devotion is especially concerned with what the Church deems to be the love and compassion of the heart of Christ towards humanity, and its long suffering. The origin of this devotion in its modern form is derived from a Roman Catholic nun from France, Saint Margaret Mary Alacoque, who said she learned the devotion from Jesus during a series of apparitions to her between 1673 and 1675,[1] and later, in the 19th century, from the mystical revelations of another Roman Catholic nun in Portugal, Blessed Mary of the Divine Heart, a religious of the Good Shepherd, who requested, in the name of Christ that Pope Leo XIII consecrate the entire world to the Sacred Heart of Jesus. Predecessors to the modern devotion arose unmistakably in the Middle Ages in various facets of Catholic mysticism.[2]

I only had a vague idea of what I wanted to do when I started the project. I knew I wanted to make a collage, and I knew I wanted to profess the sacredness of my heart. As interesting as a heart pierced by a lance wound and surrounded by a crown of thorns may be, I decided not to go the Jesus route with my project. Yes, in the collage for the contest, I would make the sacred heart in question my own.

Most of my collages are small, usually about 4″ x 6″, postcard size. The minimum size accepted for this contest was 8″ x 10″. OH! This was going to be a big one.

I started gathering materials at my favorite purveyor of inspiration, the thrift store.

I took this photos showing the original wall ornament after I painted about half the border with red fingernail polish.

At the thrift store, I found an inspirational plaque with the saying “Home is Where the Heart Is.” I liked it because the words were written on a piece of heavy cardboard that projected from the frame. I also bought half a bottle of red fingernail polish which I used to paint a copper colored border. Finally, I found a big red cardboard heart to use as the focal point of the project.

After painting the border, I started collaging the areas within and outside the border. I used mostly images I had on hand. I also collaged the big red cardboard heart. I went back and forth between those two parts of the project.

Royalty Free Images Anatomical Heart Vintage

This is the royalty free anatomical heart image I got from http://thegraphicsfairy.com/royalty-free-images-anatomical-heart-vintage/.

I wanted my sacred heart to be somewhat realistic, so I found a royalty free image of an anatomical heart from “a Vintage Circa 1884 Science Book” on http://thegraphicsfairy.com/royalty-free-images-anatomical-heart-vintage/. I used colored pencils to color the body of the heart red and the blood vessels a purply blue. Later, I used purple and red glass beads to accent the parts of the heart and the blood vessels.

My final touch on the anatomical heart was to add words of inspiration and aspiration next to the letters marking the different regions of the heart. For example, the letter H shows the part of my heart where “breathing with joy and ease” occurs. Part C of my heart is “joyous.” The letter I points to the area from where my compassion flows.

In addition to the images I cut from magazines and catalogs, I used real stones on my collage. I added turquoise (which is said to stimulate romantic love), rose quartz (the stone of unconditional love and infinite peace) and quartz crystals (a powerful healer and energy amplifier) I dug up in Arkansas. In the middle of the anatomical heart, I glued on a cubic zirconia a friend sent me last summer. The cubic zirconia and the self-stick “jewels” I bought at Wal-Mart give the whole project a bit of bling.

I pierced the representation of my heart with little skewers which once held tea bags from the shop sponsoring the contest. Those skewers sport little red hearts. I think the skewers evoke the piercing by the lance in the Sacred Heart of Jesus.

I attached  metal spirals which I painted with glittery nail polish, as well as a large red glass heart which had been crookedly glued to my dash. (I used three different kinds of glue to make this collage! Is that some kind of a record?)

The queen of hearts represents me, and the pink image of Guanyin (or Guan Yin) represents the compassion and mercy I want to offer to myself and others. (For those who may not know, Wikipedia [https://en.wikipedia.org/wiki/Guanyin] says Guanyin

is an East Asianbodhisattva associated with compassion as venerated by Mahayana Buddhists. She is commonly known as the “Goddess of Mercy” in English.)

Since I’m a word person, I couldn’t let the piece go without a written explanation.

My heart is sacred, fragile, and precious.

I used the definitions from an old dictionary Coyote Sue gave me to explain the meaings of the words “sacred,” “fragile,” and “precious.”

I call this collage “Valentine for My Own Dear Heart.” It’s a reminder to me that my heart needs to be treated with reverence and care. Anyone who gets close to my heart better be prepared to treat it kindly.

Play Me, I’m Yours (Part 1)

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In the spring of 2016, I was exploring the public art on Main Street in Mesa, Arizona. One of the coolest things I saw was a Pepto-Bismol pink piano labeled “Play Me, I’m Yours.” What was this about? I had no idea, but loved the presence of a piano out on the street available for anyone to play. As I walked further east on Main Street, I encountered two more street pianos. Very interesting, I thought. I figured the pianos were part of downtown Mesa’s permanent sculpture collection and didn’t think much more about them until I sat down to write this post.

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Front view of piano #6

According to the Street Pianos website (http://www.streetpianos.com/),

Touring internationally since 2008, Play Me, I’m Yours is an artwork by British artist Luke Jerram. Reaching over 10 million people worldwide – more than 1,500 street pianos have already been installed in over 50 cities across the globe, from London to New York, bearing the simple instruction Play Me, I’m Yours.

Located on streets, in public parks, markets and train stations the pianos are temporarily available for everyone to play and enjoy. Play Me, I’m Yours invites the public to engage with, activate and take ownership of their urban environment. Decorated by local artists and community groups, the pianos create a place of exchange and an opportunity for people to connect.

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Back view of piano #6

It’s really cool to find out the pianos I encountered are part of a global phenomenon. But wait, it gets better!

The page of the Street Pianos website dedicated to Mesa (http://streetpianos.com/mesa2016/) says,

Mesa Arts Center presented Play Me, I’m Yours, from March 1 until April 9 2016, as part of the celebrations of a major milestone: 10 years at their beautiful location in Downtown Mesa, AZ.  24 playable and artistically enhanced pianos were featured, in Downtown Mesa and at other satellite locations throughout the city.

What? Those pianos were there for a limited time only, and I got to see them? How cool is that? (Very cool, I think.)

I’m going to do three blog posts about the three Play Me, I’m Yours piano I encountered in Mesa.

Today I am writing about piano #6, which was located on Main Street, east of MacDonald. According to the Street Pianos website (http://streetpianos.com/mesa2016/pianos/6-main-street-east-of-macdonald/, where you can also view videos of people playing this piano),it was decorated by artist: Kyllan Maney  and students of the New School For The Arts and was donated by Myrna Horton.

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Left side view of piano #6

According to Kyllan Maney’s website (http://www.kyllanmaney.com/about/), she

works with aspects of nature that reminds her of the feelings of tranquility, discovery, spirituality and awe that exist when looking at plants and objects closely.  The visual foundation of Kyllan’s work is rooted in scientific illustrations, religious icons, human relationships and inspiration from past and current artists. Kyllan enjoys the inventive, creative process of working with mixed media, oil painting and large scale murals.

There’s so much I like about this piano. I think its bright, eye-catching color is grand. I like the individual portraits decorating it. As I said before, I think it is so cool to see pianos out and about, available for anyone to play.

Unfortunately, I don’t know how to play the piano. Music lessons were not something my parents

Right side view of piano #6

Right side view of piano #6

could afford when I was a kid, and by the time I took a piano class in high school, it was too late. I realized I basically have no musical talent, and it was going to take way more effort than I was willing to exert to learn to play the piano (or anything else).

That evening in Mesa, I was sad I couldn’t sit down and coax a song from this instrument, but I was glad to know it was out there waiting for someone more talented than I .

I took all the photos in this post.

To read more about public art in Mesa, go here: http://www.rubbertrampartist.com/2016/10/07/the-big-pink-chair/, here: http://www.rubbertrampartist.com/2016/10/15/booked-for-the-day/, and here: http://www.rubbertrampartist.com/2016/11/14/quackers/.

Detail from piano #6 for all my Bowie homies.

Detail from piano #6

Street Art in The Mission

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An important question, written directly onto the sidewalk. What’s your answer?

I spent a few days in the Mission District of San Francisco this fall.

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Stencil art I encountered in one of the mural alleys.

According to https://en.wikipedia.org/wiki/Mission_District,_San_Francisco,

The Mission District, also commonly called “The Mission”, is a neighborhood in San Francisco, California, United States, originally known as “the Mission lands”[4] meaning the lands belonging to the sixth Alta California mission, Mission San Francisco de Asis. This mission, San Francisco’s oldest standing building, is located in the northwest area of the neighborhood.

I did a lot of walking between 16th and 24th streets and Guerroero Street and South Van Ness Avenue. Mostly I was looking at murals, but I was also enjoying the hustle and bustle of big city life. It had been a long time since I’d been around so many people and been able to do such intense people watching.

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Stencil art I encountered in one of the mural alleys.

There are murals all over the place in The Mission. I took a lot of photos of a lot of murals, planning to do a lot of blog posts featuring the often political art. Alas, while I was researching the murals, I found a disclaimer on the Balmy Alley murals page (http://www.balmyalley.com/Murals.html):

Please remember that murals are copyrighted works of art. Photographs are for your personal enjoyment only. Any photos OR video taken of copyrighted murals for the purpose of reproduction (including t-shirts, album covers, web sites, guide books, music videos, commercials, etc) can only be used with written permission from the muralist(s).

I’ve contacted the community-based mural arts organization, Precita Eyes Muralists Association, to get permission to use my photos of murals in my blog posts. Before they will grant me any permission, I have to complete a multi-page form. Completing the form is on my list of things to do, but I haven’t been able to get to it yet. There will be no photos of the murals of Mission District alleys for my readers for a while.

In the meantime, I will share some of the examples of street art I encountered while I was exploring the neighborhood.

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Mushroom drawn directly onto the sidewalk, on Mission Street, I think.

The artrepublic website (http://www.artrepublic.com/art_terms/39-street-art-html/) defines street art as

Street art is any art developed in public spaces. The term can include traditional graffiti art work, as well as, stencil graffiti, sticker art, wheatpasting and street poster art, video projection, art intervention, guerrilla art, flash mobbing and street installations.

Whereas traditional graffiti artists have primarily used free-hand aerosol paints to produce their works with ‘tagging’ and text-based subject, street art encompasses many other media, techniques and subject matter including: LED art, mosaic tiling, murals, stencil art, sticker art, street installations, wheatpasting, woodblocking, video projection, and yarn bombing.

(For a cool list of Top 10 Types of Street Arts, go here: http://listdose.co/top-10-types-of-street-arts/.)

Some people wonder if there is any difference between street art and graffiti. The Herron School of  Art and Design (http://www.herron.iupui.edu/blog/06042012/street-art-vs-graffiti) says,

Graffiti limits an individual to what he or she can do with a spray can, on the spot. Street art, on the img_7250other hand, while employing some of the application techniques of graffiti, often involves a finished product that is ready-made and brought to the location -think stickers, wheat paste prints, and stencils.

Street art and graffiti are both powerful forms of public art that use visually striking, bold images and metaphors to convey a message. And in both cases, artists are risking legal punishment for spreading these messages.

Most of the art pieces I saw were created from stencils and spray paint. According to https://en.wikipedia.org/wiki/Stencil_graffiti,

Stencil graffiti is a form of graffiti that makes use of stencils made out of paper, cardboard, or other media to create an image or text that is easily reproducible. The desired design is cut out of the selected medium and then the image is transferred to a surface through the use of spray paint or roll-on paint.

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I think these fish were created using multiple stencils.

The process of stenciling involves applying paint across a stencil to form an image on a surface below. Sometimes multiple layers of stencils are used on the same image to add colours or create the illusion of depth.

My favorite part of street art is the DIY (Do-It-Yourself) ethic. Street artists don’t need a museum or a gallery or an agent or a patron. Street artists just need their art supplies and an empty patch of sidewalk or wall.

I also appreciate encountering street art for free, while I’m out and about. I don’t have to pay admission to a museum; the whole neighborhood is a museum for a street art aficionado.

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Turtles swim across a white wall.

Folks who want to learn how to cut a stencil or to connect with stencil, street, and graffiti artists should check out the Stencil Revolution website (http://www.stencilrevolution.com/). To see examples of street art from around the world, go to the Street Art Utopia website (http://www.streetartutopia.com/).

I took all the photos in this post.

Teaching Children Since 1878

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I’ve written before about the sculptures on Main Street in Mesa, Arizona. (Read about The Big Pink Chair here: http://www.rubbertrampartist.com/2016/10/07/the-big-pink-chair/ and Booked for the Day here: http://www.rubbertrampartist.com/2016/10/15/booked-for-the-day/.) Today’s featured sculpture is called Teaching Children Since 1878.

According to http://collections.si.edu/search/results.htm?q=record_ID:siris_ari_316604,

The sculpture is the central piece of a larger plaza setting, which includes 16 bronze or brass relief plaques on surrounding stucco wall with inscriptions on the history of education in Mesa and 4 columns from the original Mesa High School (formerly known as the second Abraham Lincoln School).

The brochure (https://res-5.cloudinary.com/simpleview/image/upload/v1/clients/mesa/DMA%20Sculpture%20Guide%203-2015_7bd31763-551d-4e7d-8dac-5cdcc56c8d24.pdf) with information about the self-guided tour of the Mesa’s sculpture collection lists the sculptor as James Avati, but the img_5842aforementioned Smithsonian Institution website lists three people as sculptors of this piece: James  R. Avati, C. L. Harding, and Dennis Tidwell.

While writing this post, I learned James R. Avati is from a family of artist. According to https://en.wikipedia.org/wiki/James_Avati,

“His [grand]father was a professional photographer in New York City and his father was “James Sante Avati…an American illustrator and paperbackcover artist. ”

James R. Avati’s biography on the Utah Artist Project website (http://www.lib.utah.edu/collections/utah-artists/UAP-James-Avati.php) refers to Teaching Children Since 1878 as a “major commission.” It also says,

James R. Avati of Redbank, New Jersey, and Salt Lake City, is an excellent and sensitive sculptor who img_5845studied at the Newark School of Fine and Industrial Arts, at the Arts Students League in New York City, at Ricks College in Idaho, and at Brigham Young University. He was also a graduate student in the Department of Art at the University of Utah where he earned his M.F.A. in 1988. While there he worked with Angelo Caravaglia in the development of his frequently powerful art.

This life-size bronze sculpture is located on the south side of Mesa’s Main Street, on the corner of Sirrine Street.

I enjoy the juxtaposition of the fashions worn by the teacher and her students against the backdrop of modern buildings and cars, motorcycles and traffic lights. The teacher reminds me of a statue of a pioneer woman in Austin, TX a friend and I once used as the star of a short film.

Next time you’re strolling in downtown Mesa, be sure to checkout these scholars.

I took all of the photos in this post.