Tag Archives: Mesa

The Night Garden

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The first thing Nolagirl and I saw at spark! Mesa’s Festival of Creativity was The Night Garden by Jenneva Kayser.

The festival’s website calls The Night Garden a

colorful, illuminated landscape inspired by bioluminescent plants and fungi…created on site and consist[ing] of sculptures made of woven recycled fabric and translucent porcelain clay. The artist invite[ed] visitors to “take a walk through the wild landscape—an underwater desert in outer space!”

What in the world is “an underwater desert in outer space”? Wow! I don’t even know what that means. In any case, Nolagirl and I were fascinated by the cacti made from fabric.

On a March 7, 2018 post on the Mesa Arts Center website called “Woven Together,” Kayser writes of the assistance she got to create this installation. She orginally proposed to create a small piece in a “tucked away” location. She thought she’d be doing all the work herself. When the review committee asked for something bigger to display in a more prominant location, Kayser needed help.

About forty people snipped and wove as we processed all the recycled fabric into string, and crocheted the vines and cactus that make up the garden. Four hundred fifty pounds of t-shirts later, I am full of gratitude for a task I simply could not have done alone.

On her Instagram page, Kayser describes herself as “Studio Manager at Mesa Art Center. Artist, poet, cook.” That’s all the biographical information I can find for this artist. Also, is she the same Jenneva Kayser, poet, interviewed in a 2014 issue of Geosi Reads? Ms. Kayser is as mysterious as The Night Garden itself.

The aforementioned Instagram page is a great place to see what The Night Garden looked like at night, something I’m sorry I missed. It’s also a great place to get up close and personal with the textile sculptures.

There’s so much for me to like about this piece. I love that this art is created from recycled fabric. What a fantastic use for 450 pounds of t-shirts! I so appreciate people who can create beauty from items one step away from the trash. I’m also attracted to bright colors, so the reds and purples and fluorescent yellows really drew me in. Since the Sonoran Desert has wormed its way into my heart, any scene with cacti catches my attention.

The Night Garden was a fabulous welcome to the spark! Festival. It drew me and Nolagirl right in and awakened our sense of wonder, preparing us for the other enchanting art we would see that day.

I took all the photos in this post.

 

spark! Mesa’s Festival of Creativity

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Nolagirl and I were going to hang out.

I have to bring my kid to Mesa, she said. She’d been thinking about checking out the free spark! event at the Mesa Arts Center. I told her that was fine with me. Nolagirl always finds the quirkiest, funkiest, grooviest, all-around-most-fun activities in the greater metro area, and I’m pretty open to trying new things. If Nolagirl likes a cultural event, I’m probably going to like it too.

I looked up spark! on the internet. The event’s website says,

This year’s Festival of Creativity will feature an exhibition of 16 art cars, multiple hot rods and lowriders, and interactive arts experiences for people of all ages. spark! celebrates the imaginative spark in all of us, by showcasing Arizona artists and performers and inviting visitors to explore and enjoy live music, aerial dance performances, hands-on experiences, live art-making, installations, demonstrations, a variety of foods, a beer, wine and cocktail area and more.

We arrived at the event around noon. The crowd consisted of a lot of families with kids, but there were plenty of adults without children out there too. I was glad to see the event wasn’t packed; we could still move around just fine and experience everything that was happening.

We entered the festival from Main Street. We could hear the music of the 1950s being performed by Come Back Buddy as we approached. The music was good, and I’m sure I was tapping my foot and swaying my hips, but it was The Night Garden by Jenneva Kayser of Tempe, AZ that really got our attention. We were fascinated by the cacti created from what the aforementioned website calls “woven recycled fabric and translucent porcelain clay.”

As we moved through the Shadow Walk between the Mesa Contemporary Arts Museum building and the Ikeda Theater, we encountered another stage where Rising Youth Theatre thespians were performing Light Rail Plays. According the theatre’s website,

Teams of youth and adult artists work together to explore the public transit experience with original plays from a youth perspective…Performers…travel between platforms to maximize the number of people who can experience performances!

We didn’t stop to watch the performance, although we did pause briefly to see the vast array of “food” that festival participants had molded and shaped. The sparks! website calls this participatory activity led by Elliott Kayser a “Community Still-Life in Clay.”

A dining room table set in the style of a classical still-life painting, complete with ceramic serviceware, [was] created prior to the event. During the festival, colorful clay [was] given out to festival-participants with a prompt: to make food that they associate with family tradition. Performers dressed as waiters…compose[d] and arrange[d] the finished “food” within the still-life.

It’s like a coloring page on a car!

A little farther down was a chalkboard car folks could decorate with colored chalk. This interactive experience was the brainchild of artist Kyllan Maney. The sparks! website says this 1981 BMW 528 was

pre-installed with chalkboard paint on the exterior and black lights in the interior. Festival goers [were] invited to color the car in a pre-planned design with chalkboard markers. Vinyl chalkboard shaped birds [were] temporarily adhered to the ground making pathways to the interactive art car, to mimic shadows [of] the birds flying overhead.

When we walked up, volunteers were cleaning off the chalk so newcomers could experience the fun of coloring on a car. We didn’t linger to do any decorating of our own.

The next cool thing we saw was the construction of an art car under the leadership of Harrod Blank, and (apparently very busy) artist Kyllan Maney. The spark! website explains the finished result will be an art car called “Desert Marlin” which was

I love the glass saguaros on this art car.

inspired by the flora and fauna of the Sonoran Desert. The exterior will be covered with cactus and succulents ranging in size and texture, created out of metal, glass and painted directly on the car. The interior, inspired by the “heart” of the Mesa Arts Center community, will be created by visitors to the festival. They will be invited to create and add a piece to the car during the event.

It was probably when Nolgirl said art car while telling me about the event that I was totally in. It had been a long time since I’d been to an art car event, but I think it’s really cool to take something as ordinary as a motor vehicle and turn it into something original and unique. Nolagirl and I spent probably the next hour looking at each of the sixteen art cars and two art cycles on display in the Arts Center parking lot.  (I’ll be sharing photos and info on my favorite art cars in upcoming blog posts.)

I had so much fun sitting in this chair!

After looking at the art cars, Nolagirl and I went off in search of a restroom. Before we found the restrooms, we found magnificent wobbly chairs. Based on Weeble Wobble technology, the chairs swayed, tipped, and rolled, but never dumped the occupant on the ground. Nolagirl and I both tired out a chair, but I think I enjoyed my experience more. Once I realized I was safe in the chair, I relaxed, leaned back, and had a good ol’ time. I would have played in the chair for the next half hour if little kids hadn’t been waiting their turn.

(I made up the part about Weeble Wobble technology. I mean, yes, there is a certain technology that allows Weebles to wobble but not fall down, but I don’t know if the chairs worked on the same principle.)

We were directed to a restroom in the Mesa Contemporary Arts Museum. I was surprised to see a proclamation of “free admission” on the door. Admission wasn’t just free on that day, but all the time! Wow! I will remember to take advantage of this free admission if I’m ever in Mesa again.

After our visit to the (very clean) restroom, we decided to spend some time with the museum’s exhibits. I was glad the museum was a manageable size. I go into art overload rather easily, so I was happy to see three rooms of current pieces and be done.

When we left the museum, Nolagirl was hungry, so she ordered some food from the Short Leash Hot Dogs truck. I found an umbrella-shaded table, and ate a LÄRABAR® while I waited. After our lunch, we thought we’d seen it all and started heading back to the car. When we got to Main Street, I asked, Is there more to see over there? so we walked over to check. Yes, there was more to see!

There were more cars over there. They weren’t art cars, but they did have bright and shiny paint jobs and they weren’t like the average cars on the street. These were hot rods and low riders representing different car clubs. I couldn’t find any information about these cards on the sparks! website. Although I’m not a huge car buff, I did enjoy the bright, shiny colors of the automobile exteriors.

We were heading to the corner when we saw a crowd gathered against the rail above the museum’s courtyard. What’s going on over there? we wondered, then saw the women sitting on the museum’s roof. Oh! It looked like we’d be able to catch the last performance of the Dark Sky Aerial  theatre company.

Photo courtesy of Nolagirl.

It was a mesmorizing performance both above and below us. (I’m confident the dancers performing on the ground were part of CaZo Dance Company, but I couldn’t find any information online to confirm this assertion.)

While six performers in white dance and tumbled in the coutyard below, five women in black used the outside walls of the museum as their vertical stage. They flew through the air, harnessed to ropes that both tethered them to the stability of the building and allowed them to soar through the air. In about a dozen minutes, the show was over. Lots of people  were still having fun at the spark! event but for me and Nolagirl, the performance of Dark Sky Aerial and CaZo Dance was a magnificent end to a fun time at the festival.

Photo of me enjoying myself in the titly chair courtesy of Nolagirl.

 

I took the photos in this post, unless otherwise noted.

 

Drawing Room

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Nolagirl and I were walking towards the Mesa Arts Center on Main Street in Mesa, AZ.

I want to go look at that rocketship thing, I told her.

Right there by the lightrail stop? she confirmed.

I explained I’d taken phots of it in 2016. but I didn’t have any information about the artist. I wanted to find the name of the piece or the name of the artist or something.

We walked across the street, and Nolagirl gazed at the art. I wouldn’t have called it a rocketship, she said, but I get it.

I suspected it wasn’t supposed to represent a rocketship, but that was the closest comparision I could come up with. The round, tapering shape suggested a 1950s concept of space travel to me.

I couldn’t find any permanent information about the art, but Mesa was having a silly event where folks could interact via text with inanimate objects downtown. This piece of art was part of the project, so I was able to find the artist’s name in a cirlce on the ground.

Nolagirl actually texted this object as I was looking for information and taking photographs. Their exchange was rather boring. We were totally over it when the sculpture asked what business we wanted to see downtown. A free box! I chimed in, but I think Nolagirl had already told the art something else.

These faces belong to real people. Those people are part of the Mesa community.

The art piece does have a name, although I couldn’t find it anywhere in the area. (I didn’t go up on the actual lightrail stop waiting area where the seats are. Maybe the name of the art is somewhere over there.) According to Ralph Helmick’s website, the piece is called Drawing Room. The website explains about the faces on the piece.

Its walls are comprised of graphic cutout silhouettes of an inclusive array of actual Mesa citizens. Each profile occupies an oval frame that connects with its neighbors, the collective creating a soaring web of community.

I think it’s really cool that the silhouettes are of actual people who live in Mesa. I wonder how the folks were recruited. I wonder if folks ever scrutinize this piece of art to find their own image or the image of a loved one.

Helmick’s website also says,

Taking the shape of a giant conic form of perforated metal, viewers recognize it as a visual beacon from blocks away and walk underneath while passing to and from the light rail.

You can definitely see this piece from blocks away. It’s a good landmark for not just the lightrail stop, but the Mesa Arts Center as well. I definitely noticed that it’s a portal. To get on the train or return to Downtown Mesa, commuters have to pass through this portal of community.

You must pass through this portal of community to catch your train.

 

The website mentions another thing I’d noticed.

Viewers looking up from beneath the sculpture may draw parallels between our interest in the expansive mysteries of the universe and our quest for civility and fellow-feeling here on earth.

Well, ok, I didn’t draw any parallels or think any deep thougths, but I did notice that it’s really cool to stand within the sculpture and look up, up, up all the way to the hole in the top. The experience is a little dizzying, but very, very cool, especially when light and shadows are playing on the metal.

The CODAworx website says

Ralph Helmick is a sculptor and public artist.

Since his first public art commission in the mid-1980’s – the Arthur Fiedler Memorial, on Boston’s Esplanade – he has worked in various materials (including metal, stained glass, cast resin, and found objects) to create large-scale public sculpture in parks, schools, museums, and other public spaces across the US.

As I did research on Drawing Room and Helmick, I was surprised to see the artist had created another sculpture I know. Helmick is also responsible for the Stevie Ray Vaughan Memorial on Town Lake in Austin, TX. I’ve visited that staute before. The muscian wears a poncho and a big hat with a brim running all the way around it. Austin folklore has it that as a tribute to Vaughan, fans leave joints on the brim of his hat. I suppose it works as a sort of “take a joint, leave a joint” gift economy, because I was told to always reach up and search for a joint. I suppose if there’s one up there, the finder smokes it in Vaughan’s name. When I visited the statue, I reached up, but didn’t find any treats on the hat.

I took the photos of Drawing Room in this post. My friend Lou took the photos of the Stevie Ray Vaughan Memorial. Thank you, Lou!

Mural Row

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Nolagirl and I were walking on Main Street in Mesa, AZ, looking for the Big Pink Chair. We approached a building at McDonald, on the south side of Main. I saw murals painted in large, shallow alcoves on the east side of the building.

I’ve never seen these before, I said.

The murals show Arizona natural landscapes and other snapshots of the state’s natural scenery.

I love the vivid sun and the way this painting seems to invite the viewer to stop right into those mountains. I don’t know who painted it.

The mural below was painted by Matlock the Artist, as we can see from the stenciled “signature” on the bottom left of the piece below. Matlocktheartist.com seems to be out of commission, but I traced the moniker to Mark Matlock, artist and owner/curator of (possibly defunt) Fragment Gallery in Tucson. The most current information I could find (2015) is that Matlock left Tucson and moved to Mesa.

This larger-than-life rendering of saguaro blossoms is my favorite of the nature scene murals. The desert is extra beautiful when the saguaros are in bloom.

I think it’s great when the artist has an element from one painting invisibly span the empty space between the two murals and pick up in the adjacent painting. I think this technique helps show the relationship between the murals and make them seem less like isolated pieces. In the pieces above and below, you can see how the artist has used this technique with the the tree branch that runs in front of the saguaro and ends up in the top right corner of the mural featuring the young woman.

Only one of these murals includes the human form, in the person of a young woman standing under the phases of the moon. Who is this woman? Who does she represent? Why is she standing under the changing moon? Those are questions I can’t answer.

I also wonder who painted this mural. I can’t see a signature anywhere. Can you?

I don’t see a signature on this mural either, but it reminds me of a small painting on the other side of Main Street, just down from the Smith-O-Lator cookie store.  Perhaps the same anonymous artist created both paintings.

The spines on these cacti look wicked!

The following mural is called Three Riders and was painted in aerosol by Kerry Niemann of Apache Junction, AZ. Niemann

studied painting, drawing, and sculpture at the University of Kansas in the early 1990’s…

Currently, [she is] most interested in drawing the people and places where [she] live[s]…in Apache Junction, including the mountains, rodeos, restaurants, cars, bull riders, spectators, actors, horses. [She] also paint[s] murals of similar subject matter.

I like the juxtaposition here of a very traditional Western scene topped by an abstract representation of the sky. I wonder if the three figures on horses are perhaps riding off into hell.

Chuck Wan signed this mural of larger-than-life birds, but I can’t find any information about him, other than his collaboration with Carlos Mendoza on a mural for sale through Phoenix Center for the Arts.

Anyone know anything about Chuck Wan?

On the other side of the building, where a wide alley bisects the block, we found more murals painted in large shallow alcoves. While the first murals we saw depict scenes of the state’s natural beauty, the second set shows aspects of mid-20th century American Southwest civilization such as advertisements on Route 66 and other highways and byways of a pre-interstate era.

 

I don’t see a signature on this depiction of the Buckhorn Baths sign.

These are all places in Arizona, Nolagirl said in awe.

She was right, according to information I found about these murals in a December 2015 article in the East Valley Tribune. More specifically, the murals depict places in Mesa. The article, “Downtown Murals Evoke Mesa Memories” says,

Murals that depict neon signs on businesses that previously operated in the city [Mesa] have been painted on the west wall of Surf and Ski building at 137 W. Main Street.

According to the East Valley Tribune, Anthony Galto re-created three vintage signs in this mural.

According to the aforementioned East Valley Tribune article, the next mural was painted by Jesse Perry. On his website, Perry says,

Using an abnormally bright color pallet to deliver my New School Pop Art Style, my work is both bold and versatile, often filled with humor and fun loving characters of the Southwest, commonly laced with hidden messages that speak to the idea of unity and community.

Jesse Perry’s website says he painted this mural with spray paint. I love the Arizona sunset sky.

Also featured in the East Valley Tribune article was this mural by Mark Matlock, aka Matlock the Artist. According to the article, only black and white photos of the sign he chose to paint were available ,

 so he had to choose colors for the mural. His desire was to make the mural look like an old post card and look like neon. He used a wash to rub over the final work…

My favorite of the neon sign murals is this one by David “Dski One” Oswoski of Mesa. I like the slightly blurry edges which gives the piece a dreamlike quality. I can imagine being a little kid in the backseat of the family Buick, eyes half closed after a long day of fun and seeing this sign beckoning me to spend the night in one of their clean, comfortable beds.

I was glad to spend some time with these murals; they really help beautify the two walls. It’s nice to have these downtown reminders of Arizona’s colorful commercial past and its fragile natural beauty.

Mural on the Mesa Contemporary Arts Museum

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In the spring of 2016, I lived briefly in Mesa, Arizona while working nearby. One afternoon after my money job was over for the day, I went downtown to explore the public art. I saw art depicting a Big Pink Chair, a girl reading a book, and a toddler feeding ducks. I really appreciate public art and the way it levels the playing field by allowing everyone from all socio-economic levels to experience and enjoy what others have created.

As I passed the Mesa Arts Center, I saw a huge mural on the wall of the Center’s Mesa Contemporary Arts Museum. I didn’t realize at the time that the mural was brand spanking new.

When I did some research on the mural, I got a lot of information about it from a Phoenix New Times article by Lynn Trimble called “El Mac on His New Two-Story Mural at Mesa Arts Center, Inspiration, and Collaboration.”

  • The mural was painted by El Mac, “one of the world’s most noted street artists” who has ties to the Phoenix area but now lives in LA.
  • The woman depicted in the mural is an old friend of the artist.
  • “The mural was done completely with aerosol enamel paint, and a specific type of cap that helps give his work its characteristic pattern of circles and lines” and was completed in March of 2016.

I love the gentle beauty of this mural and the way the color of the rose pops against the dark contours of the woman’s features. I love seeing a woman of color (the model is originally from Guatamala) looming larger-than-life over museum patrons. It’s a lovely piece, and I think it adds some street cred to a part of town which could easily be mistaken to be primarily for white folks.

I took the photos in this post.

 

Random Art in Downtown Mesa, AZ

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Our day in Mesa started at Lost Dutchman Cafe (12 N. Center Street ) where we met a friend of mine who was living in the area. As we left the coffeeshop, Nolagirl spotted two brightly decorated electrical boxes. You know it’s a pretty cool part of town when even the utility hardware is turned into works of art.

I’d been on a self-guided art tour of downtown Mesa in the spring of 2016, and now Nolagirl and I were walking around on Main Street in March of 2018. We’d just left the Sparks! event at the Arts Center, and we were looking for the Big Pink Chair. I love the Big Pink Chair, and I was hoping Nolagirl could take some photos of me sitting in it. During our walk up and down (or was that down and up?) Main Street, we saw several pieces of public art, some I’d seen in 2016 and some brand new.

As we headed to the Arts Center early in the day,  I noticed this Mesa mural painted in the style of an old-school postcard. I particularly like the saguaro and mountain scene painted in the “M.” This mural is across the street from Milano Music Center, and I took some photos while I was standing in front of the music store, but they didn’t look so good. I took this photo in the afternoon when I ened up right in front of the mural.

The artist is Ericka Jaynes, and you can find her on Facebook.

Down the street, we saw another mural I’d admired inthe past. This one is called Mesa Mural.

The way the sun hits it on spring afternoons makes it very difficult to photograph because the lighting is uneven. If I were a better photographer, I’d probably know how to even out the shadows and light. Nolagirl and I decided the best time to capture the mural is probably in the morning, during the golden hour, before the sun and surrounding buildings work together to cast shadows on it.

I’ll go ahead and share my 2016 photo of the mural, even though it’s not perfect.

According to the Waymarking website, the mural is located at 63 W Main Street and the artist is Lauren Lee. Lee’s website says,

This mural was completed in August 2015, commissioned by the City of Mesa and Downtown Mesa Association.

That Sunday afternoon was a good day for murals. Near where Downtown Mesa’s Permanent Sculpture Collection ends, we saw this mural decorating the side of a building. (The mural actually wraps around to the front too.)

I like the wavy, funhouse mirror quality of the scene. Is the fantasy building going to fall down? Will it quiver but continue to stand? Did the building do psychedelics or is it the viewer who’s chemically altered? Maybe the artist was on drugs or maybe the idea for this building came from a fever vision. In any case, I think it’s a fun mural.

An October 2012 article in the East Valley Tribune answers many questions about the mural. The building it graces was once the Eclectic Monkey Emporium, a second-hand clothing store. No drugs were involved in the idea for the mural; the building in the painting is supposed to be melting, as in from the heat. The artists who created this hot but cool mural are R.E. Wall and Margaret Dewar.

Outside the Smith-O-Lator cookie shop (124 West Main Street), two pieces of art decorate two columns in front of the store.

The first was created by public participation during an art event in downtown Mesa. Used 16 oz. plastic water bottles were cut open, painted, then attached close together to look like a patch of flowers growing out of the building. I love the texture (how cool that old plastic bottles can look fluffy!), and I was impressed by how well the color has held up to the Arizona sun and heat.

Next to the installation of water bottle flowers is a painting of a mermaid, or more accurately, half a mermaid.  She is delightful, although I don’t know who painted her or under what circumstances. (When I enlarge the photo, I can see see what appears to be the remnants of letters on the bottom of the painting, but they’re too faint for me to read them.) How does she fit into the landscape of downtown Mesa? Maybe the artist longed for the sea while being stuck in the desert.

Not far down the sidewalk is a painted scene that is a better fit for a desert town. I love that big saguaro reaching up to the cloudy sky and the purple mountains in the background. I also love the sense of anticipation I get from this piece. Is there a storm brewing? Will there be rain?

I can’t tell if the names in the white paint on the bottom right of the piece is the artist’s signature or ramdom tagging. Can anyone solve the mystery of who created this bit of urban art?

The last piece of art I saw as we continued walking on Main Street was an old favorite. I’d first seen it in 2016, which is when I took this photo.

 

The creator of this piece is Kyllan Maney. Her artist statement says

[t]he visual foundation of Kyllan’s work is rooted in scientific illustrations, religious icons, human relationships and inspiration from past and current artists.

I love that the dove is also a map of Mesa. “YOU ARE HERE” the map says, in a place of love and peace. Mesa can be a place of drugs and crime, heat and desperation, but in this piece Maney reminds us that art can be a kind of sanctuary.

I took all the photos in this post.

Little Free Library in Mesa, AZ

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Sometimes I go looking for Little Free Libraries, and sometimes they surprise me. The Little Free Library Nolagirl and I found one Sunday afternoon in Mesa, AZ was a complete surprise.

We were in town for the Spark! event at the Mesa Arts Center. We weren’t surprised to find all the parking spots close to the Arts Center taken, so we had to venture farther to find a place to put the car. Nolagirl settled on the free lot behind the Milano Music Center.

This piano was on the Main Street edge of the pocket park last time I was there.

We can walk through the park with the blocks, she said as we gathered our things and locked the car doors.

I didn’t know what she was talking about until we walked up to the pocket park in the narrow area between two buildings.

Oh, I’ve been here! I said. There was a Play Me, I’m Yours piano the last time I was here.

The piano was gone (all of the Play Me, I’m Yours pianos seem to be gone from Mesa), but the artificial turf and the large, colorful blocks were still there.

Is this grass fake? I asked. Nolagirl said it was, and we both laughed. Why put down fake grass in a pocket park in an alley? Oh, the mysteries of Mesa.

Little Free Library in a pocket park off Main Street in downtown Mesa

I don’t remember who spotted the Little Free Library first, but we were both happy to see it. We’ve gone Little Free Library hunting together; we both think the gift economy of books they facilitate is great.

This Little Free Library in Taos, NM is made from an old newspaper vending machine.

Nolagirl was especially pleased to see this Little Free Library was repurposed from a container that once housed free reading material one often finds in cities. She and her husband are both in the newspaper business, and she said they’ve discussed repurposing discarded metal newspaper boxes into Little Free Libraries. I told her about the Little Free Libraries I’d seen in Taos, NM made from old metal newspaper boxes. Her idea is being implemented!

The Little Free Library in the Mesa pocket park was a renegade. It didn’t have an an official charter sign or charter number. Someone had come up with the the old dispenser and painted “Little Free Library” and “Take a Book or Leave a Book” on it, but hadn’t registered with the Little Free Library organization or paid for a charter sign. I do appreciate the Little Free Library organization, but I also love grassroots efforts done on the cheap, so I love renegadae Little Free Libraries too. It’s not necessary to be registered to get books to the people!

There were several magazines and a few books in this Little Free Library.

(However, registrations does bring benefits, including the option to add the library to the Little Free Library world map which makes it easier for patrons to find and visit the library.)

There were a few book in the library, as well as some back issues of Sports Illustrated. (What a great way to pass on magazines after reading them!) I didn’t need any of the reading material, so I didn’t take anything. I wished I had some books to donate to the library, but all of the books I was ready to part with were in my van. This time my only contribution would be documentation.

I hope the Little Free Library stays in that pocket park for a good long time. I hope folks who find it continue to take books and leave books too.

I took all the photos in this post.

Scrap Book Boy

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Scrap Book Boy by Tom Bollinger,

When I first saw the Scrap Book Boy sculpture on Main Street (between Robson and Macdonald streets) in the Mesa, AZ permanent downtown collection, I thought it was a companion piece to Booked for the Day. In the former piece, a young boy rests on his stomach looking at a big book, while in the later piece a girl sits on a bench reading. I wondered if they were by the same artist. A little research showed me the two sculptures are not related except by proximity.

Dan Hill created Booked for the Day, and the creator of Scrap Book

Booked for the Day by Dan Hill

Boy is Tom Bollinger. Also, Scrap Book Boy seems to be a one of a kind piece, while different versions of Booked for the Day are on display in more than half a dozen cities.

Tom Bollinger’s biography calls him

a visual artist, living and working near Phoenix, Arizona. Born in North Dakota. Bollinger is a self-described “Sculptor”. He is inspired by his observations and life experiences and inspired by what he describes as the “hoped for..” in humanity. Bollinger seeks, by way of his exploration, to discover what is beneath the surface of what we are and what we see.

I was unable to find much information about Scrap Book Boy online. Bollinger’s list of Commissions and Placement referes to it as

Boy with Book, cast bronze, life size figure, Public Art Program, Mesa, AZ.

However, the plaque on the ground next to the young boy looking at the book uses the name Scrap Book Boy and tells a sad story of the loss of Bollinger’s younger brother.

Upon closer inspection of the book, you really can see the pictures etched from the original scrapbook owned by the senior Bollinger.

So while this piece of art commemorates the sad loss of a child, it also incorporates a cool technique that lets the viewer share in parts of the family history.

To learn more about public art in Mesa, view the brochure that goes along with the self-guided tour of the city’s sculpture collection. You can also read other posts I’ve written about public art in Mesa like the Big Pink Chair, the Mesa Pioneer Monument, Quackers, and Humpty Dumpty.

I took all the photos in this post.

Mesa Pioneer Monument

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Pioneers in Mesa’s Pioneer Park

The last time I lived in Mesa, AZ, I visited the city’s Pioneer Park at 26 E Main Street. Near the southern entrance to the park is the Pioneer Monument.

In an article on the website of The Church of Jesus Christ of Latter Day Saints titled “Statue Honoring Arizona Pioneers Dedicated,” the history of the statue is told. In the mid-80s, sculptor Claude Pomeroy was in Pioneer Park and heard someone suggest its name be changed to Rose Garden Park. Pomeroy

decided to make sure Mesa’s residents didn’t forget their colorful pioneer heritage.

[T]he four leaders of the First Mesa Company of 1878 [are] depicted by the statue.

Charles I. Robson, George W. Sirrine, Charles Crismon, and the sculptor’s grandfather, Francis Martin Pomeroy, were portrayed holding the tools they labored with: a shovel, a gun, a spirit level, and a map of the townsite.

A woman and a boy, referred to in the article as well as on the plaque on display with the sculpture only as “mother and child” are behind the male settlers. I suppose this means the women and the children present during this time in Mesa’s history are not real pioneers, they’re more of an afterthought, those whose places are behind the real (male) pioneers. I supppose this means only the men and their work were important.

Did the sculptor not know of any real women and children of the time to base his work on? Perhaps he could have used his own grandmother as a pioneer model, as he used his grandfather.

Surely Pomeroy could have included female pioneers in his work if he had chosen to. The women could have been portrayed holding the tools they labored with: a butter churn perhaps, an iron, a spoon and cooking pot, a needle and thread. Women’s work has always been important and it’s terrible that history and artists like Pomeroy have ignored that work.

I apologize to the unnamed pioneer woman pictured here for relegating her to the shadows. My arm placement was rather unfortunate in light of my desire to have the pioneer women of Mesa given their due.

Am I surprised that a piece of public art made by a artist who is a member of the Church of Jesus Christ of Latter Day Saints and depicting people of the same religion relegate a woman and child to the back of the crowd? Am I surprised that female ancestors are not given the same respect as male ancestors? Am I surprised the ratio of men to women in the statue is 4 to 1? Am I surprised that women and their work are mostly ignored? I’m not surprised by any of those facts, but I am still disappointed.

A second plaque on display with the sculpture does a better job of being inclusive. It states,

This monument is dedicated to the founding men, women, and children of Mesa whose efforts, with others of all races, religions, and cultures, changed a harsh desert land into this vibrant cit of today.

I would like to see another artist come along and get a grant from the city to make a second monument for the park. In the new monument, women would stand tall and proud next to their husbands and sons, fathers and brothers. The new statue could be called Women Were Pioneers Too, and the women depicted could stand with a butter churn, a spoon and cooking pot, a needle and thread, and an iron.

While I’m wishing, I’d also like to see a third piece of art, this one depicting the men and women native to the area, as well as the

others of all races, religions, and cultures, [who] changed a harsh desert land into this vibrant cit of today…

mentioned earlier. It’s time to stop honoring only the white people (usually men) who came into an area and made it their own. If we’re going to honor people, we need to be diverse and inclusive.

I took the photos in this post.

Motels of Mesa

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The Hiway Host Motel sign on Main Street in Mesa, AZ.

The Hiway Host Motel sign on Main Street in Mesa, AZ.

On a multi-block strip of Main Street in Mesa, Arizona, one can find several old motels. The rates are cheap (especially for folks who go the weekly or monthly route) and the living can be rough. Yes, it’s a part of the city I wouldn’t care to walk in alone after dark (although I have before). Many of the folks walking around the area seem to dabble in (or perhaps concentrate on) methamphetamine, which leads me to refer to the neighborhood places of lodging as “meth motels.”

img_5963As is often the case, it wasn’t always this way. Main Street in Mesa was once part of U.S. Route 80. According to a vintage postcard website,

U. S. Highway 80 was one of the original Federal Highways commissioned in 1926 along with some of its more famous newly numbered cousins such as U. S. 66 – “The Mother Road”, U. S. 30 – “The Lincoln Highway”, and U. S. 40 – “The National Highway…”

[I]t was probably more important [than the other, more famous, named highways mentioned above] because it was an all-weather, all-year route that was dependable to transcontinental travelers.

Wikipedia says,

U.S. Route 80 (US 80) also known as the Ocean-to-Ocean Highway was a major transcontinental highway which existed in the U.S. state of Arizona from November 11, 1926 to October 6, 1989.[2][4] At its peak, US 80 traveled from the California border in Yuma to the New Mexico state line near Lordsburg...[5]

Low weekly rates appeal to the modern clientele on Mesa's Main Street.

Low weekly rates and kitchenettes at the Trava-Leers Motel probably appeal to the modern clientele on Mesa’s Main Street.

US 80 was a particularly long highway, reaching almost 500 miles (800 km) long within the state of Arizona alone.[7] With the advent of the Interstate Highway System, Interstate 10 and Interstate 8 both replaced US 80 within the state.[8] US 80 was removed from Arizona in 1989; the remainder of it now being State Route 80.[5]

The folks who named this hotel didn't know--or didn't care--that kivas are used religiously and people from the Pueblo tribes don't wear feather headdresses.

The folks who named this hotel and designed the sign didn’t know–or didn’t care–that kivas are used religiously and people from the Pueblo tribes don’t wear feather headdresses.

 

In a 2012 article about preservation of the neon history on Main Street in Mesa, president of the Mesa Preservation Foundation Victor Linoff said,

I think "refrigerated" meant "air conditioned."

I think “refrigerated” meant “air conditioned.”

From quite a distance, you’re traveling in your car, you’re tired, you want to stop for the night or get something to eat. These signs pulled you in. They were like beacons in the night.

In the aforementioned article, Demion Clinco, president of the Tucson Historic Preservation Foundation, said of neon signs,

They are emblematic of the classic automobile age in America, [t]hat mid-century modern highway culture that just doesn’t exist anymore.

Not all of the old motels on Main Street have neon signs. Maybe some of them never had neon and simply relied on their competitors’ signs to draw enough people into the general area. There were probably enough drivers passing through to ensure every business got a piece of the pie.  Some neon signs have been lost to the ravages of time. At least a couple of the motels lacking cool signs still boast cool architecture.

This photo shows a view of the Citrus Inn. There are parking spots for cars between the rooms.

This photo shows a view of the Citrus Inn. There are parking spots for cars between the rooms. The Citrus Inn has a really boring, modern sign, but its architecture is old-fashioned cool.

I particularly like the motels with parking spaces between the rooms. The Citrus Inn is designed this way. The open space between the two rooms is big enough for two cars. A covered parking area is a huge luxury for anyone whose car would otherwise be pounded by the Arizona summer sun.

I think this photo shows the Kiva Lodge, but I'm not positive. In any case, it's another example a motel with covered parking next to the rooms. I also like the turquoise accents and the red Spanish tile on the awning.

I think this photo shows the Kiva Lodge, but I’m not positive. In any case, it’s another example a motel with covered parking next to the rooms. I also like the turquoise accents and the red Spanish tile on the awning.

The motels of Mesa and their signs are part of Arizona history and U.S. history too. They are relics of a time before motel chains, when each motel on the road was part of a unique travel experience.

I took all of the photos in this post.