Ormond museum features art from the war in France and the war at home

(Continued from Jan. 13)

I spend a lot of time at Malcolm Fraser’s “The Soul Escaping Death” painting flanked by a framed spread of many medals earned in World War 1. He served in the French Blue Devils unit and was wounded five times. He also was an officer with the Red Cross on the frontlines.

Chris wanders off. She knows that I may be awhile. 

That’s what you do at a museum, right? Wander. Or roll, depending on your mobility.

If you look up Fraser at New York City’s Salmagundi Club web site, you find that Fraser was a member. I had to search for him and the screen listed 56 items in the file. But the link does not go to the artwork but you can see some in person at the Ormond Memorial Art Museum & Gardens, 78 E. Granada, Blvd. The Salmagundi club is dedicated to representational art so it’s natural that it drew Fraser who painted portraits of the living and the dead, angels, soldiers, and John the Baptist among them.

“The Soul Escaping Death” shows a dead soldier on the ground in front of blasted battlements. He is wrapped in a U.S. flag that he apparently was carrying on the staff he grips in his dead hands. An angel has one hand on the body and another on a robe stripped from what’s supposed to be the soldier’s soul rising into the gilded heavens. The spirit looks free and happy, the vestments looking as if they are morphing into angel’s wings. The soul’s naked body looks female with long curly hair and the possibility of breasts and any genitals hidden under a triangle of pubic hair. It could be that this is Fraser’s vision of the angelic form, one that is human but intersexual, one that represents a brand-new being that we become after death. The exposed flesh of the dead soldier and the angel is rough and brown as if they were connected to the ground like old oak trees. The soul’s flesh is the pink of life, a representation of new life in the soul.

I looked at this painting a long time. I couldn’t decide if it was a work of hope in the face of death or a memoir of an artist who has witnessed slaughter on a grand scale. He was awarded both the Croix de Guerre and the Verdun Medal. “Verdun” was symbolic of the war for the French, a battle cry and also a memory of defeat. Verdun was the longest battle of the war, lasting 11 months. Casualties were enormous for the French and Germans, with 700,000 dead, missing, and wounded. The site’s towering Douaumont Ossuary contains the bones of more than 100,000 soldiers never identified, French and German dead intermingled. You can view them through little windows.

Fraser was an accomplished artist. Not sure he took many risks. The 20^th century was about to explode and the explosion was captured by poets and writers. The so-called “Lost Generation” gave us exciting and troubling masterpieces.

Charles Humes Jr. is a living artist from Miami who has much in common with this creative breed. Humes lives in the present and creates in the present. As an African-American, he has an endless array of subjects, many taken from daily newspapers. Lest we miss his messages, he uses newspaper clippings in his mixed media work.  The museum’s handout for the new year shows Humes’ “Gentrified” on the cover.

“Gentrified” is a loaded word in the black community. It often means that a black neighborhood is being turned over to developers and the mostly-white gentry who will inhabit the condos/townhouses that will replace independent businesses. Artists figure in this, too. They often are the first to occupy rundown urban neighborhoods because they can afford them. Then the city (I’m looking at you, Denver) becomes known as an arts hub and young people swarm in and then smart developers who saw this coming and bought rundown buildings kick out the artists and renovate them into condos and before long you have ranks of techies wandering the streets looking for art for their walls by artists who once lived in their building but now can only afford the prairie exurbs or some quaint rural village in the foothills that soon will swarm with newcomers seeking real estate in artsy quaint rural villages.

It's not the fault of artists. Hey, I just wanted a place to paint! It’s life in America. Not sure what it’s going to look like in Trumplandia.

Oh yes I do. I truly do.

Humes’ work will be on exhibit through Feb. 9. Next up are Colombian sculptor Felipe Lopez and collage artist Staci Swider. Accord to the handout: “Her [Swinder’s] work is a meditation on aging, memory, and the unseen forces that guide us.” Sounds intriguing and timely. Opening reception at the museum gallery is Feb. 20, 6-8 p.m.

Malcolm Fraser flies with the angels at Ormond Memorial Art Museum & Gardens

What makes a 49-year-old artist abandon his paints and go to war?

That’s the question I pondered when visiting the Ormond Memorial Art Museum & Gardens.

Malcolm Fraser was a Canada-born professional painter and illustrator who had graduated from the Sorbonne and attended Heidelberg University. In 1917, he left the U.S., steamed to Europe, and joined, after some intense training, the French “Blue Devils” unit at the Front. He was wounded five times and received France’s Croix de Guerre for his heroics. Later, he joined the A.E.F., was promoted to captain, and served with the American Red Cross on the front lines.

Fraser ended up spending most of his time in Ormond Beach. Toward the end of his life, he looked for a place to feature his artwork and one that was dedicated to veterans. A $10,000 endowment by Fraser in 1946 got the ball rolling and led to this impressive place.

Its priorities are clear when you leave handicapped parking and roll through the jungle. As Credence sang:

Better run through the jungle, 

Better run through the jungle, 

Better run through the jungle, 

Whoa, don’t look back and see.

I roll on my electric scooter and Chris walks. A beautiful space, and peaceful. I can barely hear the traffic zooming by on one of Ormond's busiest intersections. We enter the sheltered labyrinth and follow the lines on its painted multicolored surface decorated with butterflies and hummingbirds. It was designed by by Joan Baliker and the late Carol Bertrand and refreshed by Mack Sutton (artists must be named). This one is within a big gazebo and is a great play place for kids. I think about the outdoor stone labyrinth at my hometown Cheyenne Botanic Gardens, now covered with snow. 

Along the walkway is a monument by Mark Chew to veterans of the Korean War. Its streamlined silver surface reaches for the trees and beyond. It's the shape of a flame but cold as the Chosin Reservoir. Around the next turn is a bronze for Vietnam veterans by Gregory Johnson. On what looks like an old kitchen chair sits a helmet and canteen. Dog tags and a uniform shirt hang from the chair back. Its legs straddle beat-up combat boots.

I linger. This was my generation’s war, not mine physically, but it's lodged in the memories of any guy of draft age from that time (December 1968 passed Draft physical Jacksonville FL, high school deferment; December 1969 Selective Service Draft Lottery #128; Navy ROTC midshipman 1969-71; two months served on USS John F. Kennedy as midshipman, summer 1970; released from the Draft on Jan. 1, 1972). I once read this about those times: "Vietnam sucked the soul out of an entire generation."

Memories remain. 

Johnson's statue is homey, I think, the things a grunt might leave behind when he changes into civvies. Or it could be a family's reminders of a GI whose psyche never made it back home. Think of war stories: Krebs in Hemingway’s “Soldier’s Home” or Ron Kovic in “Born on the Fourth of July” or Billy Lynn in Ben Fountain’s “Billy Lynn’s Long Halftime Walk” (whatever happened to Ang Lee’s 2016 movie based on the book?).

We emerge from the jungle and its memories. The sun shines on a colorful "Can Do" sculpture by the late Seward Johnson, part of the public art display on Grenada by the Ormond Beach Arts District. Also on the ground is the "Embracing Peace" sculpture celebrating the famous Times Square kiss on VJ Day. Inside the museum, a bronze plaque lists more than 200 residents who served in WW2 (updated in 1999 to list African-American veterans) and one dedicated to WW1 veterans. A WW1 Doughboy helmet rests in a glass case by Malcolm Fraser’s photo and bio that greet visitors. This is a decorated soldier, and we are here to see his artwork.

(To be continued)

Carbon County Museum lights up local history

Dino the Sinclair dinosaur and an unnamed mule deer in front of the Carbon County Museum in Rawlins. Photo by Annie Shay.

Daughter Annie and I traveled to Rawlins a few Fridays ago to cover a story on the Carbon County Museum. Annie's a photographer and this is the first story we worked together. I've watched her start her own photography business. She's assembled some good photo equipment. I've watched her edit her work on PhotoShop, a world of mystery to me. Photography has been a hobby and part of my job several times, including my time at the Wyoming Arts Council. My skills have always been rudimentary. Over the years, I've found that I can interview the subject or take photos but not both. I need to query the subject, watch their body language, and study the face. 

So it was a bonus for me to work with a photographer. We also traveled and had lunch together. How cool is that? It's fun to talk and negotiate the snowless Snow Chi Minh Trail over Elk Mountain, there and back again. Always a good stop at that rest area, although not so pleasant in January when frigid 80 mph winds freeze your hands and buffet you about. Annie shot photos of the mountain, free of snow in late June which I found odd but in keeping with climate change. 

But, summer. It's short but glorious.

Annie and I cruised to Anong's for lunch and then found the museum at 9th and Walnut. It's in an old LDS church and it looks church-like but for the museum's sign and the big green dinosaur staring off to the north and the mule deer lying in the shade. 

Annie: Is that real?

Me: Dinosaurs are extinct.

Annie: No, the deer.

Deer (looking at us): It's a damn sight cooler here in the shade. Think I want to be out on the parched prairie and its 95-degree heat and coyotes and rattlers and the sudden urge to dart into speeding traffic? I'd be inside if I could figure out a way to open the doors (raises hoofs) See?

Annie and Me: Oh

After our deer encounter and, equipped with opposable thumbs, we go inside. Dr. Steven Dinero sits behind the old bank teller's cage. He's the ED and serves some shifts as the official greeter and gift shop cashier. 

You have to read "From outlaw skulls to rail stories, Rawlins Museum animates history" on WyoFile's Studio Wyoming Review. Take a look at the accompanying photos and click on the captions so you can see Annie's credit line, her first-ever. She's proud of it and so am I. 

A note about museums: I've lived in Wyoming for 30 years but I'd never been to this museum. I've been to the Frontier Prison and the real prison south of town. I've toured the old train depot and stopped for food and bio breaks dozen of times. Weather stopped me one February day and I chose to go the northern route back to Cheyenne so I didn't miss Chris's birthday. I wonder how many other of the state's 100-plus museums have I passed by. Dozens, I suspect. Take an hour break on your summer sojourn and visit a museum. 

The "Poetry Apothecary" prescribes plenty of poetry and art

How have the arts been impacted by the pandemic?

Bigly.

No surprise, since the creating of art can be a solitary act but it's enjoyed with others. We gather for concerts, dance performances, plays. We gather in museums and galleries to appreciate the visual arts. We read singly yet gather for talks and book signings by writers. We gather in book clubs to celebrate our favorite writers and maybe drink some wine.

This is the summer of ungathering.

Many arts groups, not content to start planning for 2021, have come up with creative ways to reframe their events. Impromptu performances from city balconies. Zoom collaborations. Drive-in concerts.

I wrote about one of these groups this week for WyoFile's Studio Wyoming Review.

The coronavirus cancelled the annual June Jackson Hole Writers Conference, one of the most esteemed events on the country’s literary calendar. Since planning is done years in advance, staffers scrambled to put conference sessions online for free (registration is usually around $375) and only charged fees for critiques offered by faculty.

Matt Daly, assistant director of the JHWC, came up with the "Poetry Apothecary" that showcases visual arts and writing. The show is up at the Center for the Arts gallery until the end of July. The JHWC web site features a video tour (updated regularly) of the exhibit along with two other videos featuring artist/poet collaborations.

Daly proposed “Poetry Apothecary” well before the pandemic but needed to do some fancy footwork to adjust to the times. As he was helping to redesign the conference, he also was installing the show at the Center for the Arts. As anyone who works in the arts knows, fancy footwork is part of the job.

Read my Studio Wyoming Review article on the show on WyoFile. It was posted yesterday in a slightly edited form. 

All articles need editors. As one, I have revised, reframed, and rejected many stories. I tell young writers to expect changes to everything you write. My daughter Annie recently submitted a script to the True Troupe. The acting company is reviewing play scripts for the fall. Annie read one of my old short stories and transformed it to a one-act. She asked me to be thorough in my critique. I was. What I wasn't prepared for was Annie's interpretation of my story. She condensed and rearranged it. I had the chance to experience my work anew. She had workshopped my story before I had a chance to edit her. 

One of my Dad the Editor lines is "it's not finished until it's finished." She obviously was paying attention. My story, 15 years on, was still being finished. And it won't be finished yet. If the troupe adopts the script, the director and actors and crew will workshop it again. Lines may be dropped and lines may be added. Characters may change or disappear altogether. It's a wonderful process and not one for the faint of heart. 

Take some time to read Studio Wyoming Review. It's supported by WyoFile and grants from the Wyoming Cultural Trust Fund and the Wyoming Arts Council. 

And then there's this:

From noon to 12:30 p.m. on Thursday, July 23, “Prescribe,” a livestream "Poetry Apothecary" reading, will be presented in the Center for the Arts Mainstage in Jackson. Medical professionals read poems as acts of healing. Masks and social distancing will be in effect.

What do the Mozambique and Fort Collins beer cultures have in common?

No surprise to find an exhibit about beer in the craft-brewing Nirvana of Fort Collins, Colo.

What is surprising is to find an art museum exploring beer making in Africa. The exhibit, "Crossing Communities: Beer Culture Across Africa," is up in the Griffin Foundation Gallery at the CSU Gregory Allicar Museum of Art through Sept. 23. The Griffin is in the new wing of the museum that opened last year.

I visited on a particularly hot afternoon in late June. Good day for a cold one. I didn't find that at the Allicar but I did find a fascinating exhibit of handmade beer-making equipment from Uganda, Cote d'Ivoire, Malawi and other African cultures.

Exhibit sponsor is Maxline Brewing, a newbie to FoCo, getting its name from its site along the Max Bus Line in Midtown. According to the exhibit catalog, Maxline joined the project in its early days. Brewery staff toured the exhibit, "examined the ceramic brewing pots and learned about traditional African brewing methods, rituals, and ceremonies." Maxline's brewer then went to work crafting a beer meant to imitate those traditional brews. The brew, named "Kulima" for the Swahili word for "cultivate," is made from millet, maize, barley, hops, gesho leaves, and grains of paradise. Maxline's Crowler label was designed by CSU's Liz Griffin.

The public-private partnership is music to the ears of this former arts administrator. A privately-endowed gallery at a publicly-funded land grant university teams up with an eager local start-up company to educate the public about a commodity -- beer -- and traditions of other cultures. The African ceramic vessels were donated to the museum's permanent collection by Robert F. Bina and Delores De Wilde Bina. An anonymous donor helped fund the purchase. Partnership such as this one have been going on for a long time. Often the catalyst is a local or state arts agency or the NEA. But not always, as I found no mention of Fort Fund or Colorado Creative Industries in the catalog. Not necessary. This is America and we don't requite the imprimatur of the culture ministry to approve an exhibit. We damn well can show anything we want. Almost anything, as attempts at censorship are often in the news. But if I was the culture minister, I would want to be associated with this fine show.

The exhibit is comprised of 39 pieces. They include water and grain-carrying vessels, brewing pots, and drinking vessels. All are handcrafted in a technique displayed in the film that accompanies the exhibit. The drinking vessels may be the most interesting. Some were large enough to serve an entire village while other were akin to mugs we use in the West. One featured five spouts, looking almost like an invitation to a drinking game.

Beer in Africa is not just for pleasure. It also serves a ceremonial function. Find out more about this in exhibit catalog essays by CSU student art major Laura Vilaret-Tuma and Dr. David Riep, associate curator of African art. Vilaret-Tuma's essay is "Ceramics Across the African Continent." Dr. Riep writes about "the spiritual aspects of terra firma in ceramic arts across the African continent." Get more info and photos of the exhibit at the museum's web site.

The making and drinking of beer is ritualized all over the world. Beer is a staple at football games and backyard barbecues. Friends sit in a pub drinking beer and swapping tall tales. some of them true. The advent of craft beer caused beer brewing to become almost ceremonial, with brewmasters concocting their creations in public view. Like ancient magicians, they combine intriguing ingredients, such as the aforementioned gesho leaves and grains of paradise, to the mixture. True, their brewing vats are stainless steel and not ceramic, but they serve the same purpose. We sample the beers with a reverence that startles, even annoys, the casual beer drinker slamming down a few cold Buds. Advancing age and good sense led me away from keggers to craft beers. I can sip them at my leisure, marveling at the brewer's art. Most of these beers have a higher alcohol content that mainstream varieties (I am talking about you, Melvin Brewing Co. of Alpine, Wyo.). This can ambush newbies. They won't see God but they may end up talking to Ralph on the big white telephone.

If you require an excuse to travel to FoCo for a ritual beer tasting. the museum invites you to the reception for the exhibit on Thursday, June 29, 5-7 p.m. View the arts and sample Maxline's Kulima out in the sculpture garden.

What better way to spend a summer evening?

So what else was going on 100 years ago?

Sabino Osuna, "Felicistas in the YMCA," ca. 1910-1914, photograph, courtesy of Sweeney Art Gallery and Special Collections Library, University of California, Riverside. Part of the Mexico at the Hour of Combat: Sabino Osuna’s Photographs of the Mexican Revolution, , now at the UNM Maxwell Museum of Anthropology in Albuquerque.

Chloe Courtney is one of the excellent writers and art historians who write for Adobe Airstream: Art, Music and Film from the West. She penned the following review in A2's Nov./Dec. issue. It caught my attention for several reasons. One, the photo is startling, with its group of gunman by the window of a YMCA in Mexico. Second, my wife works for the local Y, and I spent some time imagining a group of revolutionaries or counter-revolutionaries using the Y as a gun emplacement against... who, liberals streaming over the border from Colorado? Third, my grandfather, Raymond Shay, was with Pershing on the Mexican border, allegedly there to keep Pancho Villa and his irregulars on the southern side of the demarcation line (more about this in future posts). Finally, it alerted me to an excellent exhibit in the Rocky Mountain region that I may travel to in my retirement. If I can get there before it closes on Jan. 31.

Here's a snippet of the piece entitled "How to View the Mexican Revolution:"

In the photograph “Felicistas in the YMCA,” snipers crouch near a window in a rubble-strewn room and train their weapons on the street below, and yet, the title informs us, this violent scene takes place in a former community center.

The photograph appears in the exhibition Mexico at the Hour of Combat: Sabino Osuna’s Photographs of the Mexican Revolution, on view at the University of New Mexico’s Maxwell Museum of Anthropology. It defies an otherwise chronological and thematic structure following the revolution and developments in Osuna’s photography. Located at the entrance of the exhibition, the image reveals a curatorial strategy to make the subject of the Mexican Revolution accessible for a US viewership. Some Americans may not recognize the names of revolutionary leaders Pancho Villa or Emiliano Zapata, but they know the YMCA, and likely experience the shock of seeing a familiar community center occupied by gunmen.

Mexico at the Hour of Combat shows, for the first time, a group of documentary photographs from UC Riverside Libraries Special Collections and Archives. This collection comprises 427 glass negatives of Sabino Osuna’s documentary photographs of the Mexican Revolution, 56 of which have been selected for inclusion in the exhibition.

The show includes compelling portraits of key figures of the Revolution, as well as powerful documentation of the brutal violence of the war, and images constructed to craft a new Mexican identity. As a whole, the exhibition importantly works to combat the under-representation of Mexican arts in U.S. cultural institutions, and seeks to draw attention to the Mexican Revolution as an important player in our understanding of revolution and resistance today. 

Viewing O'Keeffe on St. Patrick's Day in Denver

Your humble blogger (far left) with Georgia O'Keeffe peeking over my shoulder on St. Patrick's Day at the Denver Art Museum's O'Keeffe retrospective. Next to me in my wife, Chris, followed by Kate McMorrow Wright, Lori Brand, Rachel Kelley and Ray Brand. A batch of Democrats from Wyoming let loose on the big city. Photo by Unsuspecting Bystander using Kate's iPhone.

"Arts in the Parks" exhibit opens Nov. 16 at Wyoming State Museum

Arts happening on Friday:

Artwork featured in the 2013 “Arts in Parks” calendar will be on display at the Wyoming State Museum through December 30.  An opening reception for the exhibit will be held on Friday, November 16, at the State Museum in downtown Cheyenne, 5-6 p.m.

As part of Wyoming State Parks, Historic Sites and Trails 75th Anniversary, sponsored by Cameco and in partnership with the Wyoming Arts Council, which also provided logistics and funding as part of our Arts in the Parks programming, the calendar features 13 artistic pieces depicting different State Parks and Historic Sites. The artistic pieces include oils, photography, mixed media, acrylics and watercolors.

In conjunction with the Wyoming Arts Council and the Wyoming State Museum, the Division of State Parks, Historic Sites and Trails invited artists from throughout the state to render artistic depictions of any of Wyoming’s State Parks and Historic Sites.

Some of the sites included in the artistic pieces are Ames Monument, Buffalo Bill State Park, Edness Kimball Wilkins State Park, Fort Phil Kearny State Historic Site, Glendo State Park, Guernsey State Park, Hot Springs State Park, Keyhole State Park, Medicine Lodge State Archaeological Site and Sinks Canyon State Park.

Artists included in the calendar are Glenda L. Heimbuck-Haley, Anthony James and Tim Haley of Cheyenne; Alissa Hartmann and Christine Meytras of Jackson;  Joyce Keown and Mack Brislawn of Laramie; Virginia Butcher of Evansville; Mike Conaway of Evanston; Marie Elena Bramson of Frannie; Pat Schermerhorn of Cody; Nancy Brown of Gillette; and Sally La Bore of Sheridan.

Calendars will be available through the Wyoming State Museum Store and from the Wyoming Division of State Parks, Historic Sites and Trails.

Wyoming State Museum is open Mon.-Fri., 9:00 a.m.-4:30 p.m.; Sat. 10:00 a.m.-2:00 p.m. Closed Sundays and State and Federal Holidays.

Out with the old and in with the new at Southeast Wyoming Welcome Center

Columbian Mammoth cast at new welcome center

Chris and I took a Saturday afternoon drive out to the new Southeast Wyoming Welcome Center at the High Plains exit south in I-25. We missed yesterday afternoon's official dedication due to too many workplace meetings. But we did read about it on the front page of this morning's Wyoming Tribune-Eagle. You can also read an earlier article I wrote about it here.

The welcome center is part highway pit stop, Wyoming Travel & Tourism Department offices, and historic museum. Its top-notch exhibits and dioramas show the state's history through dinosaurs digs, water projects, transportation, energy and outdoor recreation. Sometimes you experience it in many dimensions. The sloped walkway that takes you from the mammoth skeleton to the transportation exhibit is all about water: lakes, dams, waterfalls and fishing streams. You can hear the rushing water, and lights glimmer off the floor, giving you the feeling that you may be walking on water. Hallelujah!

The grounds are criss-crossed with trails marked with historic markers explaining it all for you. Multitudes of native deciduous trees and bushes have been planted. in about ten years, the place will have plenty of shade. There's a fenced-in pet walk area and a wetlands that drains the run-off from the highway. Berms have been added from the dirt remaining from construction of the center and the highway overpass. Along the top of the main berm is a series of five wind generators which were spinning today, powering the indoor exhibits.

This place is all about alternative energy and is powered by wind, solar and geo-exchange sources. Interesting to note that state taxes on coal and oil and natural gas paid for the bulk of construction costs while its operation will be powered predominately by renewable energy. Out with the old and in with the new. We are not really finished with the old, but places like this illustrate what the future holds.

It's also true that this place would not exist without the arts of architecture, design, photography, videography, literature, music and sculpture. A word about the music: no Muzak for this center, but it features western, C&W and Americana tunes. While there today, I heard a cowboy song by Wyoming's own Chris LeDoux and "Somebody Robbed the Glendale Train" by New Riders of the Purple Sage. Nice mix.

Stan Dolega's "Wind Code" outdoor sculpture not only uses steel beams patterned to look like Wyoming's ubiquitous snow fences, but also includes native rocks and is built to remind of us of the mountains we can see in the distance. It was put in place through the state's Percent for Art program.

Take a jaunt out to the new welcome center. It's functional and educational and pretty and fun. Sounds are good too.

First Coloradans steal Buffalo Bill's body. Now they turn him into a superhero!

From Denver's Westword: On Sunday, February 26, the Buffalo Bill Museum and Grave will open a new special exhibit titled Buffalo Bill Superhero. The character of Buffalo Bill (born William F. Cody) was on the cover of almost 2,000 dime novels, making him America's first comic book hero and paving the way for Batman and Superman. Covers provided by Steve Friesen.  

Out West at the Autry -- "Saving the LGBT Story: Preserving Personal History Collections"

This event is in L.A., located several miles away from Cheyenne. However, it's being organized by Gregory Hinton, who grew up in Cody and is in the midst of a research fellowship at the Buffalo Bill Historical Center (BBHC) in his hometown. Some of you may remember Hinton from the staged reading of "Beyond Brokeback" that he put together for the April 2011 Shepard Symposium in Laramie.

Here's the event:

The Autry National Center in L.A. presents "Saving the LGBT Story: Preserving Personal History Collections" on Saturday, December 10, 2–3:30 p.m. 

This is a discussion featuring archivists and experts who will provide personal collectors with information about caring for their photographs, documents, and ephemera and raise awareness about institutions that might be appropriate future repositories for their collections. The event is part of the acclaimed program "Out West at the Autry," a series of public events focusing on lesbian, gay, bisexual, and transgender (LGBT) history and culture in the West with gallery talks, film screenings, lectures, performances, and other cultural events. 

“Whistling at the past comes with its risks and rewards," said Hinton, producer of Out West at the Autry. "It is our duty to be good stewards of our histories. The Autry Library has shown remarkable vision by including the archives of the International Gay Rodeo Association in its permanent rodeo collection. By doing so, the Autry has recognized the significant contribution of the gay and lesbian Western community to the sport of rodeo, a first for any major Western cultural institution.”

The presenters for the December 10 event are Liza Posas, Autry Archivist and Head Librarian, Braun Research Library, Autry National Center; Greg Williams, Vice President, Board of Directors for ONE National Gay and Lesbian Archives and Director, Archives and Special Collections, Archives/Special Collections at CSU Dominguez Hills; and Angela Brinskele, Director of Communications for the June L. Mazer Lesbian Archives. 

This event is made possible in part by a generous grant from HBO.

Out West at the Autry is a series of public programs that explores the contributions of the lesbian, gay, bisexual, and transgender community to Western American history by bringing together scholars, authors, artists, politicians, musicians, and others for gallery discussions, performances, and screenings. Conceived by independent curator Gregory Hinton in 2009, Out West at the Autry was inspired by the Autry’s installation of the iconic shirts worn by Heath Ledger and Jake Gyllenhaal in the film "Brokeback Mountain," on loan from collector Tom Gregory, as well as the permanent inclusion of the International Gay Rodeo Association (IGRA) archives to the Autry library (both facilitated by Hinton).

Art Design & Dine adds a creative jolt to downtown Cheyenne

The Art Design & Dine Art Tour happens tomorrow evening, Thursday, July 14, 5-8 p.m., in Cheyenne.

During this very fine local event, art venues open their doors to anyone interested in browsing and possibly buying art in a friendly atmosphere.

Participating galleries:

Participating food venues include Suite 1901, the Laramie County Public Library Cafe and Ruby Juice.

AD&D is two years old now and getting better all the time. Some great shows for July, including:

Clay Paper Scissors presents watercolors, prints, two kinds each of ceramics and tote bags! This show features Amy Misle, Amy Iribarren, Kandice Starbuck, K.K. Hamblin, Meggan Stordahl and Steve Schrepferman!

This month will feature live music and literature at two locations:

The Fiddlers on the Range (the Bob Mathews family fiddlers) will be at DeSelms Fine Art from 6-7:30 p.m and local writer Mike Shay (that's me) and will be at Clay Paper Scissors Gallery & Studio from 5-6 p.m. I will read excerpts from my work. I rehearsed with my ukelele accompanist Linda Coatney Tuesday night but, on Wednesday, she was called out of town on a family emergency. She will be replaced with a hologram.

It's a little unusual to stage a reading in a locale where everyone is coming and going. But I will come up with something appropriate.

Thanks to the Cheyenne Arts Council for providing the entertainment. More performances will enliven future AD&D events. AD&D provides another jolt of energy and creativity to downtown Cheyenne. The Lights On! Project is providing another needed jolt to downtown, so is the new construction. And a big welcome to the Morris House Bistro and its Carolina Low County Cuisine. Can't have enough innovative eateries in the downtown area.

Don't forget that the Cheyenne Old-Fashioned Summer Melodrama launches its 2011 season Thursday night. My wife Chris and I will be volunteering at the Atlas Theatre. Come on down, buy a ticket and prepare to be interactively entertained. We have beer too!

Let's Move! program gets kids up and moving and creating and eating healthy food

Having fun at the Manhattan Children's Museum

This new program sounds fun and educational -- with emphasis on the fun. Kids who take part in activities that promote healthy local foods and artistic movement and creativity (and creating) will be better prepared for the challenges they will inherit from their elders. And less likely to believe that the local food movement is a Commie plot. They also may get the strange idea that public-funded entities (That Darn Gubment!) such as museums and libraries are essential to their community’s well-being. We can hope. And support innovative projects such as Let’s Move!

This blog post comes from Susan Hildreth, director of the Institute of Museum and Library Services:

The space shuttle wasn’t the only launch in Houston last week! At a meeting with thousands of museum professionals I had the great honor of joining First Lady Michelle Obama as we launched Let’s Move! Museums and Gardens. 

 Speaking via video message to attendees of the Association of Children’s Museums and American Association of Museums Annual Meetings, Mrs. Obama said, “Everyday, in museums, public gardens, zoos, and so many other places, you expose our children to new ideas and inspire them to stretch their imaginations. You teach them new skills and new ways of thinking.  And you instill a love of learning that will stay with them for the rest of their lives. 

Every day, you all make such a difference in the lives of our children. And that’s why I’m so excited to work with you on an issue that is so critical to their health and well-being.”  

The national initiative, coordinated by the Institute of Museum and Library Services, will provide opportunities for millions of museum and garden visitors to learn about healthy food choices and physical activity through interactive exhibits and programs. 

Museums and gardens are eager to do their part in making a difference. Many of them have core missions that focus on creating healthy environments for children and their families.

Let’s Move! Museums & Gardens will focus on interactive exhibits, afterschool, summer programming and food service that help young people to make healthy food choices and be physically active.

Wyoming Hell Pig rampages through book festival

The "Hell Pig" (a.k.a. Archaeotherium) display at the Tate Geological Museum at Casper College. I was attending "A Conversation about Dinosaurs" at the Tate as part of the Equality State Book Festival. Dino illustrator Ray Troll was one of the speakers. His colorful "Hell Pig" illustration adorns Tate T-shirts.

More on Hell Pig from an October 2009 Casper College press release:

Kent Sundell, Casper College geology instructor, appeared on a new National Geographic TV series: "Prehistoric Predators." The segment in which Sundell appeared was entitled: "Killer Pigs."

"At four feet wide and 1,000 pounds, the killer pig was a prehistoric battle tank that dominated the North American landscape. Endowed with some truly unique bioengineering traits, the killer pig relied on its massive three-foot-long skull and binocular vision to catch its prey," said the National Geographic Society on its website: http://channel.nationalgeographic.com/series/prehistoric-predators/3885/Overview.

The National Geographic crew filmed Sundell in the field at Douglas, Wyo. and at the Wyoming Dinosaur Center for three days in June of 2008. Sundell has proven that the local prehistoric pig specimens from Wyoming, scientific name Archaeotherium, are “definitely predatory in nature.”

It was a Cold War -- but the art was hot!

A nuke explodes in April 1953 at the Nevada Test Site. Looks like a painting, doesn't it?

As the Cold War recedes into the past, it's tempting to be nostalgic. Gee, the planet didn't go up is smoke, as it did with the Doomsday Device in "Dr. Strangelove" or in dozens of sci-fi books. The Russkis are sort of our friends now, fellow travelers in the world of unbridled capitalism and swarthy mob bosses. Those of us on the far side of the Iron Curtain did have some good times, though. We had hula-hoops and rock'n'roll and PCs and moon walks (the real kind) all happening during those halcyon years. Art, too. Lots and lots of art.

The University of Wyoming Art Museum launches an exhibit of Cold War art on Aug. 21:

"Cold War in America: Works from the 1950s - 1970s, Selections from the Art Museum Collection" opens to the public Saturday, Aug. 21, at the University of Wyoming Art Museum. A free public reception for all the fall exhibitions is scheduled at 6 p.m. Friday, Sept. 17.

The end of World War II in 1945 marked the beginning of a new conflict, the Cold War. This ongoing state of political conflict, military tension and economic competition continued primarily between the United States and the Soviet Union.

Abstract expressionism, color field painting, pop art and minimalism all came of age during the Cold War period, representing a radically new engagement with materials and space, and redefining the role and purpose of art.

Abstract expressionist artists, such as Willem de Kooning and James Brooks, who based their works on the pure expression of ideas relating to the spiritual, the unconscious and the mind, will be included.

Color field painting is characterized by large fields of flat, solid color creating areas of unbroken surface and a flat picture plane. It will be represented by the work of artists such as Robert Motherwell and Adolph Gottlieb.

Pop art in the United States, considered a reaction to abstract expressionism, will be represented by artists Alice Neel, Robert Rauschenberg, Ed Ruscha, Lee Krasner and Larry Rivers.

For more information on exhibitions and programs, call the UW Art Museum at (307) 766-6622 or visit the museum's Web page at www.uwyo.edu/artmuseum or blog at http://www.uwartmuseum.blogspot.com/.

The museum has a great blog that's updated regularly. Great visuals, too, as you'd expect.

Wikipedia lists the era of the Cold War as 1947-1991. The U.S. military recognizes Cold War veterans as those serving between September 1945 and December 1991. Other sources say it began in 1948, with the Berlin Airlift.

No matter when it started, the end came with the dissolution of the Soviet empire. I wasn't born until 1950, but by then the struggle was going full force. The Korean War had started earlier in the year, pitting the North Korean and Chinese Communists on one side and South Korea, the U.S. and various allies on the other. North Koreans live in the Stone Age while South Koreans drive KIAs and eat sushi. The ChiComs are all capitalists now.

BTW, North and South Korea are still fighting.

The Cold War is becoming an easy way to mark an era. Historians seem to like dealing with handy chunks of time, such as World War II or the sixties. But a span of 44 (or 46) years seems unwieldy, as if you were talking about the the Ice Age or the Jurassic Era. For now, historians like their Cold War subjects in smaller bites. But one day, it will seem as remote as The Day the Dinosaurs got Clobbered by the Comet.

More than one way to transform hate

Eran Thompson, Billings director of Not in Our Town, will be one of the speakers at the opening reception for the traveling exhibition of “Speaking Volumes: Transforming Hate” at Yellowstone Art Museum in Billings, Mont., on Thursday, April 1, 5:30-7:30 p.m. Thompson is flanked by Jim Riswold’s “The Hitlermobile,” left, and Robbie McClaran’s print depicting terrorist bomber Timothy McVeigh. Get more info at http://www.billingsgazette.com/entertainment/arts-and-theatre/visual/article_59df83b6-385f-11df-9d02-001cc4c03286.html. Photo by Casey Riffe of the Billings Gazette staff.

Boulder museum stages "open wall" for artists

Saw this event promoted on Facebook. A twist on the open reading concept for writers and poets, although readings are sometimes followed by a book signing if any of us have books to sign. For this event, artists are invited to hang their work on the BMoCA's blank wall and then attendees bid on the art. The 50/50 split is also a great idea -- money for the museum AND the artists. I didn't see anything on the web site restricting entries to Colorado artists.

Here's more info from Elephant Journal:

Citizen Artists: If you would like to sell your piece, a silent auction will take place from 8-10 p.m. to raise money to support the museum… and to support you (a 50/50 split)!

Or, looking to purchase original, fine art? Our silent auction is a great way to support the museum and local artists, and uplift your walls.

Additionally, the museum’s upstairs gallery will feature elephantjournal.com’s selection of community artists. This specially curated space will also offer a grouping of eco-art pieces, complete with “do-it-yourself” tips for “greening” your studio.

The evening will include local music by Harper Phillips and her ukulele, as well as a cash bar. Admission is a $5 suggested donation.

Localarts. Localfunding. Localfun.

And, if we continue with the guidelines for local as locales within a 100-mile radius of Cheyenne, this probably counts. Boulder is 102 miles from Cheyenne. In some ways, "The Peoples Republic of Boulder" is a world away from home of the country's largest outdoor rodeo. In other ways, it's not. Artists and writers are always looking for new and interesting ways to market their work.

By the way, if you're looking for work by Wyoming artists, go to my WAC workplace blog at http://wyomingarts.blogspot.com/. On the right sidebar are links to the state's arts orgs, folk artists, visual artists, performers and writers.

BTW: Cheyenne artist Georgia Rowswell tipped me off to this Boulder event. See her art at http://www.artfulhand.org/.

Noah: "This ark ain't gonna float if we have to put one more pair of dinos on it"

The new 20,000-square-foot Glendive Dinosaur and Fossil Museum in Montana includes sculptures of T-Rex skeletons, murals of ancient mountains and a diorama of dinosaurs walking two-by-two into Noah’s Ark.

Yes, just when you thought it was safe to venture back to eastern Montana, a creationist museum opens up.

Glendive, known to some as the crossroads of east-central Montana, and to others as the only town on I-94 in Montana east of Billings to have three exits, opened its new museum this summer.

Donna Healy wrote about it in Sunday’s Billings Gazette. It sounds like an educational and amusing place:

Displays on the Glendive museum's second floor, which rings the central exhibit space like a gallery, are geared toward refuting evolutionary theory.

A large case contains a diorama of Noah's ark, built on a scale meant to represent an ark of 300 cubits, or 450 feet. Miniature animals and dinosaurs move two-by-two into the ark.

Glendive is dinosaur dig country. Many of the skeletons at the museum are modeled after those found in the vicinity. It's also the site of Makoshika State Park in the Hell Creek Formation that has yielded major dinosaur finds, and the nonprofit Makoshika Dinosaur Museum, which opened in 2004 in a renovated downtown building.

Both the state park and the Makoshika Dinosaur Museum are on the Montana Dinosaur Trail, a nonprofit created in 2005 to promote tourism at affiliated museums and dig sites.

Otis E. Kline Jr., founder and director of the Glendive Dinosaur and Fossil Museum, attended some early meetings of the Dinosaur Trail group, he said. But he left the organization when the group adopted the slogan "150 million years in the making."

Kline doesn’t say this, but he probably would have preferred something like "6,000 years of ignorance – and counting."

The Montana museum joins two other creation-based dino museums in the U.S. – one in Kentucky and one in San Diego. They now are drawing dangerously close to Wyoming. While most Wyomingites are known for their pragmatism and live-and-let-live attitudes, the state also home to scores of dinosaur digs and lots of space for kooky museums. There also has been an alarming rise in fundamentalist activity.

We’ll let a member of the reality-based scientific community have the last word. Jack Horner, the curator of paleontology at the reality-based Museum of the Rockies in Bozeman, says that there is a fundamental difference between his museum and the one in Glendive.

"It's not a science museum at all," Horner said. "It's not a pseudo-science museum. It's just not science. …There's nothing scientific about it."

Ridin' and ropin' those docile dinos

This photo by John Scalzi is great in so many ways. It's from Kentucky's Creation Museum, and shows a boy riding a statue of a baby Triceratops, which is Wyoming's official state dinosaur. The kid is having fun, and probably doesn't care a wit that Triceratops were never used as rodeo stock. Since it's rodeo season in the West, you can ask just about any cowboy -- horses and bulls are preferable to dinos. It's a fine idea, though, and one which should be considered if we ever get our hands on that dino DNA that was used so disastrously in "Jurassic Park." I think it would be much more fun to ride bareback on a Velociraptor, with others playfully nipping at your boot heels. But that's just me.

The Creation Museum contends that humans and dinos lived side-by-side. It also contends that the T-Rex was a vegeterian. Not sure what those big pointy teeth were used for. Maybe plants were tougher 6,000 years ago.

In Wyoming, we know our dinosaurs and our evolutionary history. That what makes the closing of the University of Wyoming's Geological Museum so sad. In a time of Creation Museums, we desperately need as much real science as possible. So budget cuts are made and the thing that UW decides is expendable is a museum devoted to the reality-based world. The move has been controversial. I heard news yesterday that private funding has been raised to keep the museum in business. Let's hope so.

More dinosaur bones have been dug out of Wyoming that almost anywhere else in the world. Plant and animal life from millions of years ago make up our massive oil and coal reserves. We boast an official state dinosaur and an official state fossil, the Knightia. I think we're the only state that puts so much stock in the ancient world, one that goes back way farther than 6,000 years.

I have a story called "The History of Surfing in Wyoming" that posits a post-global warming Wyoming (Wyoming Islands) where the surf is bitchen on the beaches of the Big Horns and Wind Rivers (formerly mountain ranges) and aqua-rodeo cowboys get their kicks riding sea creatures resurrected from the floor of the ancient inland sea. Reality-based scenarios are fun when it comes to science. But they don't hold a candle to the worlds conjured by the imagination.

I leave you with the Wyoming Islands version of the Beach Boys' Surfin' U.S.A. (feel free to sing along):

If everybody had an ocean
Across the U.S.A.
Then everybody'd be surfin'
Like Wyoming-yay
You'd see 'em wearing cut-off Ryders
Stetsons and (boots) too
A buzz-cut surfers’ hairdo
Surfin' U.S.A.

You'd catch 'em surfin' at Happy Jack
Casper Island Beach
Flaming Gorge and Lander
and the Big Horn Islands
All over South Pass
And down Encampment way
Everybody's gone surfin'
Surfin' U.S.A.

We'll all be planning that route
We're gonna take real soon
We're waxing down our surfboards
We can't wait for June
We'll all be gone for the summer
We're on surfari to stay
Tell the teacher we're surfin'
Surfin' U.S.A.

Rock River and Sundance
and Laramie Peak
Meeteetse and Midwest,
Big Surf Reef near Ten Sleep
All over the Wind Rivers
and Uinta Bay
Everybody's gone surfin'
Surfin' U.S.A.

Remembering some of the very hot elements of The Cold War in Wyoming

At home in the family fallout shelter

If you happen to be traversing Wyoming on I-80 this summer, stop in at the Uinta County Museum in Evanston for the traveling exhibit, "The Life Atomic: Growing Up in the Shadow of the A-Bomb.” It opens tomorrow, June 1. Get more info at the Uinta County Museum.

The museum web site notes that

"The Life Atomic" illustrates the impact of the atomic bomb on everyday life through photographs and objects, in ways both serious and light-hearted. From civil defense warnings to B-movie posters and "atomic" toys, "The Life Atomic" shows the many ways the bomb influenced life in the 1950s and early 1960s.

Exhibit panels focus on the development of the bomb, early atomic testing in the American Southwest, civil defense preparations, fallout shelters (see photo), the influence of the bomb on movies and television, “atomic” toys and games, and the impact of the bomb on home décor.

“The Life Atomic” was developed and is traveled by the Rogers Historical Museum, Rogers, Arkansas. This project was made possible by a grant from the U.S. Institute of Museum and Library Services.

Speaking of Cold War relics, you can drop into a real bomb shelter in the basement at the Historic Governor's Mansion in Cheyenne. I toured the place and it really took me back. When I was a lad in the '50s and '60s, we all felt fully protected from the a-bomb with "duck and cover." We practiced often, just in case. Who needed a bomb shelter when you had that?

You can also tour the I.C.B.M. Missile Museum at Warren AFB west of Cheyenne at Fort D.A. Russell Days during the annual Cheyenne Frontier Days celebration the last full week in July. Lots of live MX missiles sit in silos on the prairie. Can't visit those unless you're a missileer.