The American Civil War Museum

Posted on October 22, 2019 by admin

I wasn’t in the best frame of mind when we got to the American Civil War Museum in Richmond on October 12. I expected an easy drive from where we parked, near the capitol, to the museum, which is at the site of the former Tredegar Iron Works on the James River.

No such luck. The Richmond Folk Festival had gummed up everything along the river, blocking all vehicular access, so after some time in sluggish traffic, we went back to the same parking lot near the capitol — luckily my receipt was good for the whole day — and walked the half mile or so to the museum. Not a bad walk, but it made me tired ahead of a walk through a museum. Such is the tourist experience, sometimes.

At first I thought the museum was in the multistory brick building.
Wrong again. That building houses the visitors center and a Civil War museum associated with the Richmond National Battlefield Park, a NPS entity that encompasses that part of Tredegar along with a dozen Civil War sites around Richmond.

The new building for the American Civil War Museum — opened just this year — is the modernist structure next to the brick building, though it incorporates some of the other Tredegar ruins. Designed by a local architectural firm, 3North, the museum isn’t overly large, coming in at 28,000 square feet.

We spent a couple of hours at the museum. Though a little frazzled when I got there, I soon got into the groove of the place and mostly enjoyed my time there. Ann did too. The permanent exhibits wind through the first floor, featuring things you’d expect in a museum devoted to the history of a war: military and civilian artifacts, photos, maps (though not enough), things to read, a few interactive kiosks, audio narratives and videos and so on.

Perhaps the most striking features are the large-scale photographic images placed on various walls or hanging over display cases. They are images of people alive during the conflict, and are all colorized. Only a few years ago, the colorization might have bothered me, but since seeing They Shall Not Grow Old, I appreciate artful colorization, which the museum manages to do.

Some of the artifacts were particularly intriguing, such as the carvings that prisoners of war made from whatever material they had at hand, some of them exceptionally fine — that they then traded for food or tobacco or whatever else they badly needed. Other artifacts edged into the realm of oddities, such as a fossilized biscuit from the siege of Vicksburg and a luckless soldier’s a pocket journal, split by the bullet that killed him.

As at a number of other museums I’ve seen focusing on the 19th century, the most unnerving artifacts are the medical tools. The American Civil War Museum has a collection on display, along with a some poor bastard’s primitive prosthetic arm.

I also encountered some incidents and stories about the war that I’d never heard. Of course, the Civil War is a sprawling subject, with countless untold or undertold narratives. The museum has a knack for illustrating some of them. For instance, the New York Draft Riot is covered in some detail. No surprise there. But so is the lesser-known Richmond Bread Riot of 1863. Always good to learn about something like that.

As interesting and informative as the museum was, I came away feeling a little unsatisfied. I wasn’t sure why. On later reflection, I worked it out. It isn’t that the museum eschews glorifying the Lost Cause, which I’m sure bothers some people. I wouldn’t have expected anything else from a museum created by serious historians.

Rather, I missed the generals ‘n’ battles approach to the story of the war. Though not as pernicious as the Lost Cause, modern historians usually shy away from that too.

The museum mentions many of the military engagements of the war, sometimes in some detail, but that isn’t the thrust of most of the exhibits. Rather, the American Civil War Museum takes an almost sociological approach to the war.

That is, how the war affected all of 19th-century American society. Soldiers, naturally, but also white civilians, male and female, blacks, free and enslaved, immigrants and others. Is that a good way to organize a civil war museum? Probably yes. Still —

That I felt the absence of generals ‘n’ battles says more about me, and how I’ve conditioned myself with the books I’ve read and the movies I’ve watched and the battlefields I’ve visited over the years, than it does any historic study of the period. Even so, that’s how I felt.

The Richmond National Battlefield Park facility next door, which we also visited (though for a much shorter time), seemed more traditional in that regard, if only because it focuses on the fighting around Richmond. There you can see large maps depicting the movements of armies, for instance.

I can’t be the only one who feels this way. Oddly enough, the American Civil War Museum acknowledges that, perhaps unconsciously, in its gift shop. Generals ‘n’ battles is alive and well there.

In the form of Lee and Grant bobbleheads, for one thing.

Models of the submarine boat Hunley and the ironclad Virginia.
Generals of the Civil War playing cards, but also Joshua Chamberlain playing cards.
The Chamberlain cards struck me as oddly specific. Wonder if the same card maker has a line of, say, Jubal Early playing cards?

The shop also had a nice collection of flags. Such as this one, which you don’t see too often. I had to look it up.
The Battle Flag of the First Corps, Army of Tennessee.

Virginia ’19

Posted on October 20, 2019 by admin

Some time ago, I noticed that Ann not only had October 14 off — for Columbus Day, that barely there school and post office holiday — but the next day as well, one of those days on which the teachers come to school, but students don’t. According to the way I think, that meant an opportunity to go somewhere.

So on Friday, October 11, Ann and I flew to Richmond, Virginia, returning on the 15th, for what amounted to a U.S. history trip. Fitting for her especially, since she’s in an AP U.S. history class this year. Fitting for me, since the trip included destinations that I’ve wanted to visit for a long time, but never gotten around to.

On Saturday, we spent the day in Richmond — partly downtown, at Capitol Square, where we toured the Jefferson-designed capitol, and at the newly opened American Civil War Museum, which includes part of the ruins of the Tredeger Iron Works, cannon and locomotive maker of the Confederacy.

Navigating downtown Richmond in a car proved to be pain in the ass, with its high volume of traffic, limited parking and numerous one-way streets. Every other street seemed partially blocked by construction, either of buildings or the street itself. Also, the Richmond Folk Festival was that weekend — and a lot of folks showed up for it, crowding the area near the riverfront, where the American Civil War Museum happens to be.

Downtown, as seen from the steep banks of the James River.

Despite traffic snarls, Richmond struck me as an interesting city, full of life in the present and echoes of its storied past. A day wasn’t nearly enough, but there were other places we wanted to see in Virginia.

On Sunday, we drove to Charlottesville, with Monticello as the main destination. For Ann, a completely new experience. For me, a second visit. But the first time was in 1988, so I’d forgotten a lot. And some things have changed there.

We also visited the University of Virginia that day, which I didn’t do more than 30 years ago (not sure why not). See one famed Jefferson site, best to see another close by. Closer than I realized: from Monticello you can just see the white dome of the Rotunda, the school’s most famous structure.

On the third day, technically Columbus Day Observed, we drove the other direction from Richmond to Williamsburg. More specifically, Colonial Williamsburg, the open-air museum of large scale and ambition, an odd amalgam of past and present.

There’s a lot to Colonial Williamsburg, including structures and displays and artifacts and craft demonstrations, but also programs by reenactors. The high point of the visit was one such, held at a reconstructed 18th-century tavern and featuring the Marquis de Lafayette and James Armistead Lafayette.

Afterward, they were willing to pose for pictures.
On October 15, we flew home in the afternoon. In the morning, I drove by myself to a place I’ve wanted to visit for years, the Hollywood Cemetery in Richmond, a stunningly beautiful cemetery perched on a hillside above the James River, populated by numerous historic figures.

After Ann woke up and we checked out of our room, we visited one last spot in Richmond: the Edgar Allan Poe Museum, small but compelling, managing to convey the misery of his life and the legacy of his art.

The American Toby Jug Museum

Posted on August 20, 2019 by admin

Yesterday I spent some time looking into the origin of the word flabbergasted. It’s a fun word, and sometime it fits just so. I would have guessed that it’s an Americanism, and a fairly new one at that, but no. Origin obscure. First attested usage: 1773.

According to World Wide Words, “… flabbergasted could have been an existing dialect word, as one early nineteenth-century writer claimed to have found it in Suffolk dialect and another — in the form flabrigast — in Perthshire. Further than this, nobody can go with any certainty.”

That word came to mind after I visited the American Toby Jug Museum in Evanston on Saturday. The museum, which happily doesn’t charge admission, is in the basement of an office building near the corner of Chicago Ave. and Main St.
I’d known about the place for years, but not much about it. I didn’t do any reading before I went. Sometimes it’s better that way, because the element of surprise can still be in play. I vaguely expected a few cabinets, sporting mugs with faces.

There were cabinets all right.
And more.
And more.
And even more.
I was flabbergasted. I was also the only person in the museum during my visit, except for the woman managing the place. When the extent of the displays sank in, I asked her how many items the museum had. About 8,400, she said.

Toby jugs, it turns out — according to people who collect them — depict a full human figure. Head-and-shoulder or head depictions are “character jugs” or “face jugs.” Though decorative, the original toby jugs were also used as jugs, with their tricorner hats convenient for pouring.

The museum is organized chronologically, so near the entrance are the oldest toby jugs, those of the 18th and early 19th centuries.
Staffordshire Potters, who had easy access to clay, coal and other raw materials, apparently developed the toby jug in the 1760s, as part of the area’s overall ceramic industry.

The form caught on in England and then other parts of the world. Soon character mugs were being produced along with the traditional tobies. They took on an astonishing (flabbergasting) variety of forms, including standard drinking characters, perhaps inspired by Falstaff or local barflies, but also occupational figures (soldier, sailors, bandits), faces from history, literature, myths, the Bible, and folk stories, along with animal figures, fanciful or stereotypical notions of peoples of the world, and — especially in the 20th century — lots of Santa Clauses, musicians, entertainers, sports stars, and more.

Early 20th-century UK prime ministers, made in Czechoslovakia, no less.
There were a lot of Winston Churchills besides these two.
U.S. presidents, too.
Musicians and entertainers of various periods.
And so much more.
Though I didn’t take its picture, I got the biggest kick out of the Col. Sanders mug, which didn’t seem to be any kind of advertisement. Someone simply considered him, as a chicken mogul, worthy of tobyfication.

Why is this collection in Evanston? Like many good small museums, it was the work of one obsessive man. Namely, Stephen Mullins of Evanston, who died only in June at 86, after a lifetime of collecting toby and character mugs. “He built his collection through dealers, private aficionados and eBay,” the Chicago Sun-Times said.

Mullins also had some tobies commissioned, including what the museum says is the world’s largest one, “Toby Philpot,” created in 1998.

Time for Pixar to get to work on a new franchise, Toby Story.

Three Decatur Museums

Posted on July 30, 2019 by admin

Near (or on) Eldorado St. — one of Decatur, Illinois’ main streets — are three small museums. Two are former mansions, one is attached to a factory. I figured we had time for two on Saturday afternoon, but in the end we visited all three.

This is the former mansion of three-time Illinois Governor, U.S. Senator and Civil War General Richard J. Oglesby (1824-99).

I’ve encountered Oglesby, in bronze anyway, in Chicago. He grew up in Decatur and had a successful run as an Illinois lawyer, Union Army officer, and politician. He panned for gold in California, traveled in Europe in the 1850s, married at least one wealthy woman (not sure about his first wife) and knew Lincoln well — was in fact at the Petersen House in Washington City when the Great Emancipator died.

Designed originally in the 1870s by William LeBaron Jenney, father of the skyscraper, in the 21st century the mansion is resplendent, the work of decades of restoration.

The museum’s web site says: “The Library is the most significant room in the house regarding authenticity. It remains as it was built. All the wood is of native black walnut, with the exception of the parquet floor. The original shutters have been reproduced, and glass doors were added to the shelves which were on the architect’s drawings. The books in the cases are Oglesby family books.

“The dining room is the other area that is known to be correct. During the restoration, the complete decoration of the room was found, even the color of the ceiling and all the faux finishes. This room has been reproduced as it was during the Oglesbys’ time in the house.

“The dining room wallpaper was reproduced by a company that was making authentic Victorian wallpapers. All the walls with the exception of the hall and the library are covered with Bradbury and Bradury Wallpaper copied from papers of the time period.

“Furnishings in the home have been chosen for the time period 1860-1885. Most came from old Decatur families. Many of the pieces and the artifacts have come from Oglesby descendants.”

My own favorite artifact is tucked away behind glass: a 19th-century prosthetic leg, that is, a primitive wooden item purported to belong to Antonio de Padua María Severino López de Santa Anna y Pérez de Lebrón, Napoleon of the West, and captured at the Battle of Cerro Gordo in 1847 after said Napoleon badly mismanaged things.

The authenticity of the leg hasn’t been confirmed, however. Unlike the other one in Illinois. Per Wiki: “Santa Anna, caught off guard by the Fourth Regiment of the Illinois Volunteer Infantry, was compelled to ride off without his artificial leg, which was captured by U.S. forces and is still on display at the Illinois State Military Museum in Springfield, Illinois.”

Not far from the Oglesby mansion is the Hieronymus Mueller Museum, a different sort of place.
Mueller, as in the Mueller Co. These days headquartered in Tennessee, but for a long time a Decatur company. Even now the company has a factory in Decatur, which is next to the museum. Mueller Co. made, and makes, metal parts and structures and machines. Half of the fire hydrants sold in the United States are Mueller made, for instance.
But that’s just a part of the output. Many examples of the company’s products are on display at the museum, along with various exhibits about the German immigrant Hieronymus (1832-1900) and his many children and grandchildren.
The company dabbled in horseless carriages, but didn’t go whole hog into that.
It did its part in WWII.
Here’s Hieronymus in bronze. He was a whiz during the golden age of American invention.
The museum says: “He started his business with a small gunsmithing shop but soon added locksmithing and sewing machine repairs. He had a knack for understanding mechanical devices. This led to his appointment as Decatur’s first ‘city plumber’ in 1871 to oversee the installation of a water distribution system.

“The following year he patented his first major invention, the Mueller Water Tapper who [sic] is, with minor modifications, still the standard for the industry.

“He and his sons went on to obtain 501 patents including water pressure regulators, faucet designs, the first sanitary drinking fountain, a roller skate design, and a bicycle kick-stand. In 1892 Hieronymus imported a Benz automobile from Germany and, together with his sons, began refining it with such features as a reverse gear, water-cooled radiator, newly designed spark plugs, and a make-and-break distributor – all leading to patents.”

Our third and final small Decatur museum for the day: the Staley Museum, one-time house of Decatur businessman A.E. Staley.
Staley was neither politician nor inventor, but had considerable talents as a salesman and ultimately boss man of A.E. Staley Mfg. Co., which started out as a starch specialist and expanded into many other products, mostly made from corn and soybeans. As a child, I ate Staley syrup.
Among other causes, Staley (1867-1940) was a soybean booster. In the spring of 1927, he organized a train to publicize and facilitate soybean cultivation in Illinois, the Soil and Soybean Special.
As the promotional material with the map says, “This is a farmers’ institute on wheels. If the farmer can’t go to college, this college will come to him.”

Staley is also known for founding the football team that evolved into the Chicago Bears: the Decatur Staleys, a leather-helmet company team. Here they are in 1920.
The origin of the team isn’t forgotten. Even now, the team mascot is Staley Da Bear.

Here’s the boss man himself.
Looking every bit the ’20s tycoon. He also developed an office building for his company a few miles from the home. The structure was one of the largest things in Decatur at the time, and a stylish ’20s design it is (see page 5).

Later in the day, we drove by for a look at the office building from the street. It’s still a commanding presence in its part of Decatur, though like the A.E. Staley Mfg. Co., it’s part of Tate & Lyle, a British supplier of food and beverage ingredients to industrial markets.

The Joliet Area Historical Museum

Posted on July 23, 2019 by admin

RIP, Debbie DeWolf. One Monday morning in 1988, when I was working at the Law Bulletin Publishing Co. in Chicago, the company receptionist — whose name I forget — reportedly called the company long distance from Kansas or Nebraska or the like and said she wasn’t coming to work that day. Or ever again.

Shortly thereafter, a young woman named Debbie DeWolf took her place. She was one of the more effervescent people I’d ever met and she ultimately make a career at the LBPC well beyond answering phones. I hadn’t spoken with her for many years before her death, but it was sad news.

On Sunday, Ann and I spent some time in Joliet. We noticed that the Blues Brothers pop up in odd places around town, such as on the wall of an auto parts business and at the main entrance to the Joliet Area Historical Museum.

That’s pretty remarkable traction for not only fictional characters, but for characters created more than 40 years ago. Then again, Jake’s nickname was “Joliet,” and he was seen being released from the Joliet Correctional Center when The Blue Brothers opened (and come to think of it, he was back in the jug at the end of the movie), so I guess Joliet can claim him.

Better than the city being associated forever with the prison. The museum doesn’t particularly downplay the long history of the prison, but it isn’t exactly celebrated either. In any case, it will probably be a few more decades before “prison” stops being the first answer in a word association game with “Joliet.”

It’s a longstanding tie. In 1972, Chicago songwriter Steve Goodman recorded a song called “The Lincoln Park Pirates,” about an aggressive Chicago-based towing service that regularly ransomed cars. It included the following lines:

All my drivers are friendly and courteous
Their good manners you always will get
‘Cause they all are recent graduates
Of the charm school in Joliet

The Joliet Area Historical Museum is a well-organized example of a mid-sized local history museum, with thematically grouped artifacts and reading material. In its main exhibition hall, the centerpiece re-creates a section of the Illinois and Michigan Canal, which passed through Joliet. The view from the first floor.
The view from the second floor, with stained glass from a demolished local church in the background.
Another transportation-related artifact: a Lincoln Highway signpost.
As it happens, the Lincoln Highway still runs through Joliet, half a block south of the museum, as U.S. 30. There’s also a sign in downtown Joliet marking the intersection of the Lincoln Highway and a branch of the former U.S. 66.

The museum does acknowledge the prison. In fact, there’s an entire gallery devoted to artwork made from material and debris and found objects from the former pen, or paintings inspired by it.

Even here, there’s no getting away from Jake Blues.
“Fight Girl,” “Caught” and “Jake” by Dante DiBartolo. Interestingly, the images are painted on metal shelving scavenged from the prison.

Part of the former prison burned in 2013 — arson — and some of the burned items were later used for art as well. Such as a scorched TV set for “Ren-ais-sance Man” by Terry M. Eastham.
I didn’t see a title for this one.
Remarkably, the work is by a 7th grader named Sophia Benedick. The words on the work are, “It’s Never Too Late to Mend.”

There is also a room in the museum devoted to John Houbolt. He was the NASA aerospace engineer who pushed successfully for lunar orbit rendezvous for Apollo, a concept that made the landing possible by 1969. I’d read about him before (and seen him depicted in the superb miniseries From the Earth to the Moon), but missed the detail that he went to high school in Joliet.

Besides the museum, we spent a short time in downtown Joliet. One of these days, I want to attend a show at the Rialto Square Theatre. Supposed to be pretty nice on the inside. The outside’s not too bad either.
On the grounds of the Joliet Public Library downtown is Louis Joliet himself.
Unlike Jebediah Springfield, he didn’t purportedly found the town or anything. Joliet just passed this way.

More Bits of Pittsburgh & West Virginia Too

Posted on July 18, 2019 by admin

The street that follows the edge of Mt. Washington in Pittsburgh is the aptly named Grandview Ave., featuring some truly grand views overlooking downtown and the three rivers. There are some multifamily properties and office buildings on the road that take advantage of the vista. But not that many. Am I missing something about the Pittsburgh market? Why, for instance, is this building in such a prime spot?

Maybe the lot’s too narrow for an apartment tower — like the one behind it — but what about a large house? I’d imagine that would command a handsome price.

The March 1936 flood in Pittsburgh was a bad one. How do I know this, beyond it being in the historical record? In downtown Pittsburgh, I encountered this wall. Note the plaque way up there.

“Nearly two inches of rain fell on March 16, which added to the 63 inches of snow that came throughout the winter,” the Heinz History Center says. “Warm temperatures melted the snow, swelling creek beds along the upper Allegheny and Monongahela Rivers.

“On St. Patrick’s Day, the rising rivers reached the North Side and washed into the streets of Downtown, wiping out historic businesses within hours. River levels reached a peak of 46 feet at the Point, more than 20 feet over flood stage, leaving more than half of Downtown businesses under water.”

In front of the Andy Warhol Museum is this street sign.
Not sure whether the museum had anything to do with that, but it’s a nice sentiment anyway.

PNC Park was on the way to the Warhol. July 5 was a game day.
The Pirates played the Brewers that day, losing 7-6 in 10 innings. But that was still in the future when we wandered by. If you look closely, you can see a statue of J.P. “Honus” Wagner, beloved Pirate of yore, just in front of the main entrance.

On Independence Day weekend, Pittsburgh is always host to Anthrocon, a national convention I’d never heard of before we took our Pittsburgh walking tour. Anthrocon attendees were out and about that day, and they were easy to pick out.

Here’s an attendee waiting to cross the street.
He had his headpiece off at that moment, but others walked by in full costume, defying the heat. Just what is Anthrocon?

The organization’s web site says: “Anthrocon began as Albany Anthrocon in 1997, and since then has grown into one of the largest anthropomorphics conventions in the world with a membership in 2018 of over 8,400 attendees… All of the finer aspects of anthropomorphic, or more commonly, ‘Furry’ fandom, are celebrated here.”

For local hotels, including the storied Omni William Penn Hotel, a convention’s a convention.
That other black-and-gold flag, by the way, is the Pittsburgh city flag.

The Frick Pittsburgh includes an exhibit of antique carriages and auto-mobiles. Cool little collection. Including the likes of a 1909 Stanley Steamer Model R Roadster.
And a 1929 Ford Model A, open to sit in. At some point, my mother’s father had a Model A. She told me about riding short distances — in their driveway — on its running board. I told that to Ann, not just to tell her about her grandmother, but also so she might know what a running board is. Seems like a good detail to know about the world.
I’m sitting in the back of the Model A because I’m too fat for the driver’s seat. Americans generally were more svelte 90 years ago.

A 1940 Bantam Roadster. I doubt that I’d fit in there either.
In a suburban Pittsburgh grocery store — the local brand, Giant Eagle, because you should visit grocery stores wherever you go — I saw local greeting cards.

On the way to Randyland, I stopped at a parking lot on the North Side to consult my map, and noticed an intriguing former church.
Until 2015, it housed the New Bohemian, an arts venue. The last time it housed a religious organization was 30 years ago. From the looks of it, nothing is going on there now.

At the Cathedral of Learning of the University of Pittsburgh, the International Rooms weren’t the only interesting features. At one point we entered a classic early 20th-century academic auditorium.
The kind of place where Indiana Jones might teach Archaeology & Derring-Do 101. Even he had to teach freshmen sometimes.

Missed Weird Al, who played Pittsburgh’s Benedum Center the evening we left town. Sold out anyway.
I think I’d pay money to see him, once anyway. But probably not as much as the tickets are priced now, in these gouging days for top acts. The time to see Weird Al would have been ca. 1981. I’m pretty sure “Another One Rides the Bus” was the first song of his I ever heard.

We returned home on July 7 via Columbus, Ohio, and Indianapolis — only a little longer than the all-tollway route we used to get to Pittsburgh from metro Chicago. The main consideration: I was especially annoyed by the Pennsylvania Turnpike, which charged $7.90 to go 11 miles. To compare, the entire Indiana Toll Road, about 136 miles, cost $8.70. Is the Pennsylvania Turnpike paved with gold? If only. I’ll never drive that road again.

I-70 west from Washington, Pa., takes you across the northern panhandle of West Virginia, a route of about 15 miles. We stopped and I put my feet on W. Va. soil for only the second time.

In 1988, I spent Labor Day weekend tooling around parts of Virginia — Shenandoah NP, Staunton, Monticello, etc. A meandering drive along back roads back to greater D.C. took me briefly into West Virginia. No one else was on the road, so I stopped and relieved myself. That was my total experience in W. Va. until 2019. What did we do at the West Virginia Welcome Center near Wheeling? Relieve ourselves.

The Andy Warhol Museum

Posted on July 15, 2019 by admin

The earliest memories I have of Andy Warhol are probably him being mocked by comedians, which I must have internalized somewhat. I didn’t give him much thought in my youth, and if I did, he was the weirdo who painted soup cans and oddly colored portraits of movie stars. Later I regarded his work is stuck in ’60s, as dated as go-go dancing or Hair.

More recently his work has grown on me. Maybe in part because he didn’t stick in the ’60s. That was his heyday, certainly, but half a century later, and more than 30 years after the artist’s death, Warhol is still packing ’em in at the Andy Warhol Museum in Pittsburgh, which originally opened in 1994.

But I’ve come to appreciate him for more than enduring popularity. I’m no authority of any kind on his art, but I understand a little about its context now, and see that he was doing new and intriguing things, or sometimes just odd or strange things. Taking his considerable talent as an illustrator in all sorts of curious directions. Making things that are still interesting to look at and think about, which is one of my crude baselines for judging an artist.

Though footsore from a day of tourism, we joined the crowd at the museum on the evening of July 5. The extra Friday hours and half-price admission helped attract us, but we probably would have gone anyway. Pittsburgh has a number of worthwhile fine arts museums, as do a lot of other places. Nowhere else has a museum devoted to Andy Warhol.
Richard Gluckman, who is known for his museum work, redesigned the building to be a museum. Originally built in 1911 as a multistory warehouse, the structure now sports seven floors of galleries and exhibition space, with the permanent Warhol exhibits taking up the top four floors.

Warhol’s early and student work, as well as his time as a commercial artist in the 1950s, takes up the seventh floor. On the sixth floor are ’60s works; the fifth floor features ’70s works; and the fourth floor exhibits works from the ’80s.

In some ways, his early works are the most interesting, simply because they are less familiar. On display on the seventh floor, for instance, are ink drawings of women and produce trucks (1946), “Seven Shoes” (third image down), which Warhol did for a shoe brand in the 1950s, and the risque “Female in Corset and Stockings,” which probably wasn’t for a client.

Equally interesting are items about Warhol’s childhood and youth. Such as a large, blown-up photo of his high school graduation picture. The face is him, and yet not any Warhol you’re used to seeing. Turns out Andrew Warhola of Pittsburgh had a childhood and an adolescence, as opposed to the comedian-fodder artist who appeared fully formed in New York with frizzy white hair, painting Brillo boxes.

Also interesting to learn about Warhol: he was the son of Lemko immigrants and he remained a practicing Ruthenian Catholic all his life.

The sixth floor displays the most familiar Warhol output: soup cans and other consumer product-inspired items, celebrity portraits in assorted hues, and clips from his early movies, all 1960s vintage. Most of these are so well known — so absorbed into the tapestry of 21st-century American culture — that I don’t feel the need to link to any images. Even so, I look at the soup cans now and think, interesting idea for 1962. Also, who eats Pepper Pot?

Google Image “soup can” and one of the things high in the results offers a silk screen of “Tomato Soup” for sale. For $500. Not even a limited edition. Presumably the Warhol Foundation is getting a cut. Warhol was an astute businessman as well as an artist, and I think that would make him smile.

All that said, I’m not paying that much for an open-edition silk screen of “Tomato Soup,” however interesting the original concept might have been.

The ’70s and ’80s galleries sported such interesting, or amusing, items such as the “Vote McGovern” (1972) and “Space Fruit: Lemons” (1978). An entire gallery wall featured “Mao Wallpaper,” which he created in 1974 but which the museum reprinted a few years ago, probably to put on the wall. Anyway, it’s there, along with “Skulls” on the same wall (individually, not in a group of six). I like to think that’s a comment on the millions Mao murdered, but I’m not sure the museum would say that.

One gallery display of late-life Warhol output was a complete surprise: computer-generated art. Specifically, Amiga generated.

According to the museum: “In the summer of 1985, Warhol was given his first Amiga 1000 home computer by Commodore International and enthusiastically signed on with the company as a brand ambassador.

“For their launch, Commodore planned a theatrical performance, which featured Warhol onstage at Lincoln Center with rock ’n’ roll icon and lead singer of Blondie, Debbie Harry. In front of a live audience, Warhol used the new computer software ProPaint to create a portrait of Harry. He later made a series of digital drawings including a Campbell’s soup can, Botticelli’s ‘The Birth of Venus,’ and flowers.”

These images are on display in the gallery, though for most of the past decades, they languished on obsolete Amiga floppy disks. “In 2014, we collaborated with Carnegie Mellon University and Carnegie Museum of Art to extract the saved files from Amiga floppy disks held in our archives collection,” the museum notes.

That was something I knew nothing about, since I wasn’t paying attention to Warhol or the Amiga in 1985, though I knew a fellow in my office who still had one of the machines in the mid-90s that he said was still working.

Warhol died in 1987. The Amiga display made me wonder what he would have done on the Internet, had he lived only a few years longer. Probably odd and maybe interesting.

After we left the museum, we walked across what used to be the Seventh Street Bridge, which is mere feet away. In 2005, it was renamed the Andy Warhol Bridge. Dating from the ’20s, it’s a self-anchored suspension bridge that has held up better than the original Silver Bridge, which was of a similar design.

I don’t know how Pittsburghers feel about that name; maybe hardcore Yinzers didn’t take to it. But it’s a fine name for a bridge — goes somehow with the neighboring bridges, named for Roberto Clemente (Sixth St.) and Rachel Carson (Ninth St.) — and I was happy to walk across it.

The Eugene V. Debs House

Posted on June 18, 2019 by admin

Tucked away among the buildings and open fields of Indiana State University in Terra Haute is a structure from the Gilded Age, but also associated with the golden age of socialism in the United States: the Eugene V. Debs House.

We arrived in the mid-afternoon on Saturday, in time to take a detailed tour from an exceptionally knowledgeable guide, but not for an event earlier that day in honor of the 125th anniversary of the Pullman Strike.

Debs led the strike, of course, and for his trouble was tossed in the McHenry County Jail in Woodstock, Illinois, for six months — an event that radicalized him. After he got out, his commitment to socialism never wavered.

The museum’s event involved a book signing of a new volume about the Pullman Strike — The Edge of Anarchy: The Railroad Barons, the Gilded Age, and the Greatest Labor Uprising in America by Jack Kelly — and a reading of “Liberty,” the speech that Debs delivered to a crowd of thousands of supporters in Chicago after his release from Woodstock Jail, on November 22, 1895.

It was a speech I’d never read, so I looked it up later. Credit to Debs for giving good speeches in an era when political discourse hadn’t yet been dumbed down to semiliterate 280-character bursts. A couple of selections:

“Out of range of the government’s machine guns and knowing the location of judicial traps and deadfalls, Americans may still indulge in the exaltation of liberty, though pursued through every lane and avenue of life by the baying hounds of usurped and unconstitutional power, glad if when night lets down her sable curtains, they are out of prison, though still the wage-slaves of a plutocracy which, were it in the celestial city, would wreck every avenue leading up to the throne of the Infinite by stealing the gold with which they are paved, and debauch Heaven’s supreme court to obtain a decision that the command ‘thou shalt not steal’ is unconstitutional…

“I remember one old divine who, one night, selected for his text George M. Pullman, and said: ‘George is a bad egg, handle him with care. Should you crack his shell the odor would depopulate Chicago in an hour.’ All said ‘Amen’ and the services closed.

“Another old sermonizer who said he had been preaching since man was a molecule, declared he had of late years studied corporations, and that they were warts on the nose of our national industries, — that they were vultures whose beaks and claws were tearing and mangling the vitals of labor and transforming workingmen’s homes into caves.”

The museum staff was giving away souvenir ribbons, replicas of the ribbons worn by supporters who greeted Debs when he got out of Woodstock. We got one.

The house is both a house museum of the period, with many of the Debs’ possessions, as well as a museum about labor organizing, American socialism — Debs was adamant that the ideology wasn’t some imported Euro-virus — and the fight against government overreach, as expressed by siding with the bosses in the ’90s and the sedition laws of the First World War.

It was a pretty nice house for its time, vintage 1890. I understand that Debs caught some flack for living in a comfortable house. Comfortable with a few touches of affluence, since his wife Kate brought some money to the marriage. Some of the fireplaces feature cobalt blue porcelain tiles imported from Italy, the mahogany dining and parlor furniture is pretty nice, and a display case sports the Debs’ set of Haviland china.

Of course that’s the kind of lightweight criticism that politicians and activists of all stripes receive. The house was clearly upper-middle class for the time, but so what? The Debs were supposed to live in a shotgun shack? Besides, bread and roses.

Also on display are a number of depictions of Debs. This one is by Wisconsin sculptor Louis B. Mayer (not the movie mogul).

LM could also be Louis Mayer. In any case, this is also a sedition trial-era work.

Plus plenty of buttons from Debs’ many runs for president.
In the house’s attic, which was once merely storage, all of the walls are covered with murals. The centerpiece is Debs in campaigning mode.
One of the smaller details on the mural walls, but one I liked best, is a campaign button from 1920. Debs received 3.5 percent of the popular vote, more than any other socialist candidate for U.S. president, before or since. While in federal prison.
The museum notes: “The murals were painted by John Laska, former Professor of Art at Indiana State University and active Foundation member. Completed in 1979 after three years of hard work, the murals depict Debs’ life and time in chronological order…”

The Ernie Pyle museum reminded me of a long-ago English teacher of mine, Mr. Swinny. The Debs museum reminded me of another long-ago teacher, Mrs. Collins. She taught us freshman U.S. history. About 60 at the time, she grew up in Buffalo and — I think I remember this correctly — had been a Wobbly as a young woman.

That would have been during the Depression, after the heyday of the Wobblies, but still. Mrs. Collins wasn’t shy about throwing in some labor history and using texts sympathetic to socialism, most notably The Jungle. Naturally, Debs came up as well.

The Ernie Pyle World War II Museum

Posted on June 17, 2019 by admin

I have a sneaking suspicion that the later 21st century is going to be completely indifferent to war correspondent Ernie Pyle. Like almost everyone else, he’ll join the ranks of the obscure. The items now collected at the Ernie Pyle World War II Museum in rural Indiana will scatter to archives or private collections or landfills. Only occasionally will anyone read his writings, as found in libraries or odd corners of the Internet.

The process is already underway. The museum used to be the Ernie Pyle State Historic Site, owned and run by the state of Indiana. When the recession came 10 years ago, state budgets suffered. I doubt that anyone put it down officially in a memo or the like, but I’m sure the decision to close the Ernie Pyle SHS came down to, “Who’s heard of him anyway?”

A nonprofit, the Friends of Ernie Pyle, now owns the site and carries on the struggle against obscurity. The organization renamed the museum nearly a decade ago. Yet Randy McNally, in its 2017 Road Atlas, still calls it a state historic site. So does Google Maps. It isn’t a place that gets a lot of attention.

We arrived in the hamlet of Dana, Indiana, early in the afternoon on Saturday. Rain had dogged us most of the way from Champaign, Illinois, where we’d spent the previous night. The museum includes the house in which Ernie Pyle was born in 1900, relocated from the nearby farm fields.

Next to the birth house are two Quonset huts, World War II vintage but never used for military purposes, that house displays and Ernie Pyle artifacts. It continued to rain while we were in the huts, with drops drumming on the metal in their distinctive way the whole time.

I probably would have heard about Ernie Pyle later anyway, but I like to think that the reason we came was that Bill Swinny, one of my high school English teachers, planted the seed by telling us about him during class one day. Mr. Swinny, who taught us a good deal more than high school-level literature, managed to convey how upset the nation was at the death of Ernie Pyle, coming as it did right after the death of President Roosevelt.

We were the only visitors at the museum. An informative woman in her 60s took our admission. Also on staff was a much quieter young man, perhaps as young as 20 and perhaps a relative of the older woman, who was doing his bit to help out, though that’s just a guess on my part.

The larger displays, including Pyle-like mannequins standing in for him, evoke Ernie Pyle’s wartime circumstances. That is, living with the GIs he wrote about.
A good number of his columns are posted for visitors to read. You can also listen to excerpts from the columns by picking up telephone receivers. There are a few videos. One is devoted to a single early 1944 column, “The Death of Captain Waskow.” As well it should be, since the column is a masterpiece of reportage.

Good to know that Ernie Pyle got a Purple Heart, by act of Congress in 1983. A rare honor for a civilian.
The birth house was interesting, though less compelling. But I did learn that Ernest Taylor Pyle was born poor. At the time of his birth, his parents were tenant farmers.

The museum isn’t quite all there is when it comes to commemorating Ernie Pyle in that part of Indiana. A few miles to the east of Dana, on U.S. 36, is the Ernie Pyle Rest Park, essentially a wayside rest stop. One feature stands out, and got me to stop despite the rain.

It’s a replica of Ernie Pyle’s memorial on Ie Shima, the small island on which he was killed by enemy fire.

At This Spot
The
77th Infantry Division
Lost A Buddy
Ernie Pyle
18 April 1945

This is a replica of the original built at Ie Shima by the 111S Engineer Combat Group United States Army.

I can’t speak for Ernie Pyle, but I imagine that the thought of being forgotten by future generations might not have troubled him. I get the sense that he would have preferred that the men he wrote about be remembered instead.

The National Memorial for Peace and Justice & The Legacy Museum

Posted on June 3, 2019 by admin

As you enter the National Memorial for Peace and Justice on a hill in downtown Montgomery, Alabama — as we did on May 17 — it’s hard to see what’s ahead.
The path passes “Nkyinkyim Installation” by Ghanaian sculptor Kwame Akoto-Bamfo, erected with the memorial when it opened only last year. The work speaks for itself.

The memorial structure includes over 800 corten steel (weathering steel) monuments, one for each county in the United States where a lynching took place. Engraved on the columns are the names of the lynching victims documented for that county.

Here are the victims in Wilcox County, Alabama, to pick one of the first steel monuments you encounter: Riley Gulley, William Lewis, Arthur Stewart and Ephreim Pope.
Visitors enter the memorial at one corner of the square shape. On the first side of the memorial, the steel monuments are flush with the floor, with the names at eye level or lower.

On the second side of the memorial, the floor begins to slope downward in the direction of travel, but the steel monuments continue to be at the same level.
In the third side of the memorial, the floor slopes even more and the effect becomes very noticeable. The steel monuments are hanging.
You need to look up to see the county names.

The fourth side. The effect is practically tunnel-like by now.
The writing on one wall says:

For the hanged and beaten, for the shot, drowned, and burned, for the tortured, tormented, and terrorized. For those abandoned by the rule of law.

We will remember.

With hope because hopelessness is the enemy of justice. With courage because peace requires bravery. With persistence because justice is a constant struggle. With faith because we shall overcome.

Water flows down the other wall.

The text:

Thousands of African American are unknown victims of racial terror lynchings whose deaths cannot be documented, many whose names will never been known. They are all honored here.

Outside the memorial structure are smaller versions of the steel monuments arrayed in long lines, lying with their text face up. I understand that if a county named on one of them wants to use it as part of a local memorial to lynching victims, it will be given for that purpose. So far no county has taken any of them.

The Legacy Museum, developed by the same organization as the memorial — the Equal Justice Initiative — is also in downtown Montgomery, pointedly in a building where enslaved black people were imprisoned, near the site of the city’s 19th-century slave market. By the mid-1800s, Montgomery was the focus of the slave trade in Alabama.
In full, it is The Legacy Museum: From Enslavement to Mass Incarceration. It’s a small museum, 11,000 square feet, but a powerful one.

The EJI web site for the museum says: “Visitors encounter a powerful sense of place when they enter the museum and confront slave pen replicas, where you can see, hear, and get close to what it was like to be imprisoned awaiting sale at the nearby auction block. First-person accounts from enslaved people narrate the sights and sounds of the domestic slave trade. Extensive research and videography helps visitors understand the racial terrorism of lynching, and the humiliation of the Jim Crow South.”

The museum also illustrates that the more recent (and ongoing) war on drugs, a toxic interplay of political calculation and moral panic, has made black Americans “vulnerable to a new era of racial bias and abuse of power wielded by our contemporary criminal justice system.”

A quote from the all together remarkable EJI Director Bryan Stevenson, who lead the effort to build the memorial and create the museum:

“Our nation’s history of racial injustice casts a shadow across the American landscape. This shadow cannot be lifted until we shine the light of truth on the destructive violence that shaped our nation, traumatized people of color, and compromised our commitment to the rule of law and to equal justice.”

Been There, Seen That

By Dees Stribling

Category Archives: Museums