Posted by Marty on August 4, 2014
History Journal #7
The history of the Santa Cruz Mountain redwoods consists of many stories: stories that tell of the thousands of years these aged giants thrived as the Ohlone people managed the landscape; that tell of the settlers who came from afar and saw the seemingly endless forests as a source of profit; that tell of the far-sighted women and men who joined together to preserve groves of these ancient trees. The stories progress to the present day as the split interests of logging and conservation continue to collide.
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Posted by Marla on June 17, 2014
History Journal #7 editor Lisa Robinson discusses the new MAH publication and why it’s a great read.
Redwood Logging and Conservation in the Santa Cruz Mountains – A Split History
This month, the long awaited Santa Cruz County History Journal #7 was released. Three years ago this journal was initiated by historian Stanley D. Stevens, then chair of the MAH publications Committee, because there was no single, comprehensive, book on the history of the lumber industry in the Santa Cruz Mountains. As the contents for the journal evolved it was clear that there were many angles to this story, all intricately entwined, and all needing to be told. Three years later this journal, with 21 authors, 34 articles, and an amazing 128 illustrations, delivers to the reader:
- Local ethnographic history, cultural history, art history, and natural history. After all that is what we are about- right?
- Contested history, including all the citations so you can dive deeper in to the material and judge for yourself.
- Alternate lifestyles. This is Santa Cruz!
- The growth of the preservation movement, which began much earlier than you might imagine, and the untold important roles played by Santa Cruzians in the formation of California’s first Redwood State Park.
- The foresight and leadership of the lumber industry in Santa Cruz County and their pioneering methods.
- Cutting edge research. Pardon the pun.
- Oh and yes, a sprinkling of fun, tragedy, and romance.
I visited Big Basin Redwoods State Park this week and took this photograph. It depicts the loggers’ spring board holes that were cut into the truck using an auger to create a platform on which the choppers and fallers stood in order to fell the giant old-growth tree. This remnant stump isn’t in some remote part of the park, but adjacent to a picnic area not too far from the park headquarters. But what say you – “I thought Big Basin was saved from the loggers.” Ah! Another great reason to read the journal.
Artist in Residence, Cid Pearlman is creating a participatory movement experience with teens, interns, professional dancers and visitors.
Posted by Stacey on June 12, 2014
As part of our ongoing Participatory Performing Artist-in-Residence Program (PPAIR), Cid Pearlman invites visitors to co-create a participatory movement experience for all ages at Art that Moves, Friday June 20th 2014 (click here for more info).
by Cid Pearlman
Over the last month I have been working with MAH’s Interns and Subjects to Change Teen Program, three of my dancers, and MAH’s fabulous staff to create Knotting the Broken String for Art that Moves on June 20th.
Early on in the process Stacey Marie Garcia, MAH’s Director of Community Engagement, asked me to set some goals for my project. I wrote: “I’d like to imagine big, and then scale down to do-able. I’d like to get my hands dirty and make things. I’d like the museum to feel mysterious and full of possibility, with surprises behind every door.”
The MAH has given me a lot of freedom, I am having a great time, and I think we are getting somewhere interesting. The big challenge is to figure out how to get visitors moving their bodies on the day of the event. We’ve come up with a variety of ways folks can participate as performers.
We are creating three installations that museum visitors can contribute to and inhabit: The World of Newspaper & String; The World of Plants, Rocks & Things; and The World of Forgotten Technologies & Birds That Sing.
The Interns – Charlotte, Lisa, and Kelsey – have been helping me create the three environments. These are a few of our early ideas:
Three amazing dancers – Sara Wilbourne, Cynthia Strauss, and David King – will act as “Dance Ambassadors” to each world, helping participants with translation and how to navigate the terrain.
Visitors will also have the opportunity to learn two set dances. The Memory Map Dance, considers what we take with us and what we leave behind as we move through our lives. This simple movement poem engages with some of the themes in Belle Yang’s Crossing Cultures: A Story of Immigration, which opened last week at the MAH. And David King will also teach a rhythm step dance that everyone can do.
Throughout the event folks will have the opportunity to make a variety of things to wear and to contribute the performance environments. Most everything we are using is recycled/repurposed, and it’s been fun to find new ways to use old things.
And to top it off there will be a parade – where you can show off the things you’ve made and learned throughout the day.
When I returned from my Fulbright year in Estonia in 2010, I began a series of works examining landscape, memory and community. This project for the MAH is an extension of this area of exploration.
…and suitcases continue to make appearances in my dances – so be on the look out for them at Art That Moves on June 20th.
Posted by Marla on June 10, 2014
A few weeks ago, Nina brought in to work a lovely box packed with donuts. She bought them at Ferrell’s on Mission Street and wondered who else went there for donuts. “Well, it used to be a local hangout,” I said. “In high school we would go there after prom.” Nina wondered if that was still a rite of passage, so I decided to do a little research.
My niece, Kat went to the prom last month. On the big day, I asked her if she was thinking of going to Ferrell’s afterwards. Was that still the thing to do? Kat said she thought maybe it was, but she was going somewhere else.
While shopping for her dress, Kat texted me images of her options. I don’t think we have any prom dresses in the MAH collection, but we have Eva Whinery’s dress when she graduated from Santa Cruz High in 1896. It is a lovely confection of cream satin and lace, with its wonderful long sash still intact.
The MAH also has a photograph of Eva posing in her dress, holding her diploma. It’s curious to note that in the photo Eva’s dress has larger, leg-o-mutton sleeves (yes, that’s a fashion term), a style quite popular in late Victorian fashion.
The dress we now have has been altered. Eva probably wanted to get some extra mileage out of the dress and had it updated to go with the times. I think my niece might make some changes to her prom dress too. Chop off a few inches, and its life could extend in the form of a snappy cocktail dress (or so her mom hopes).
Another thing about Eva Whinery: she and her parents are buried at Evergreen Cemetery near Harvey West Park. Evergreen was also a local high school hangout back in the day (but I’m not going to get into that now).
Back to the donuts: I think Farrell’s is still going strong even if it’s no longer a go-to post prom tradition. It seems fairly busy when I drive by and its Yelp reports are pretty favorable. There’s something about how they fry those donuts just right that keeps their customers coming back.
My niece graduates from Santa Cruz High this week, the same school Eva Whinery received her big, rolled up diploma so many years ago. Times have changed, hangouts shift, but every once in awhile it’s okay to take a picture in a fancy dress.
Posted by Marla on May 5, 2014
While getting to know artist Nikki McClure better (her incredible work is featured in the MAH’s current exhibition), we discovered that Nikki has Sister Mary Corita Kent’s “Rules” posted in her studio for inspiration. The name rang a bell. Deep in the flat files of the MAH collection, we have two prints by Sister Mary Corita; never forgotten, but never shown before.
Mary Corita Kent (1918-1986) was an artist and educator committed to social justice and universal compassion. She was born in Fort Dodge, Iowa. Following her high school graduation, she joined the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles.
Sister Mary Corita taught at the Immaculate Heart College in L.A. and was the chair of its art department. It was there that she created her 10 rules for the art department—and by which to live. Kent left the convent in 1968, and devoted the rest of her life to making art.
Most of Sister Mary Corita’s work is created using silkscreen and serigraphic techniques (like the works in the MAH’s collection). Her message of love and peace resonated with the social challenges of the 1960s-1970s, and continue to inspire artists like Nikki McClure today.
We have the 2 serigraphs by Sister Mary Corita on display. I see many MAH visitors stop and admire the works of bold colors. I saw a few people take a photo of Sister Mary’s 10 rules. One MAH collaborator, Peter McGettigan, came to me last month and said, “I haven’t thought about Sister Mary Corita in a long time. But this art brought back a lot of memories.”
Peter explained that his sister attended Immaculate Heart College. An all-girl school, a teen aged Peter occasionally “guest starred” in many of the college’s original theatrical productions. He knew Sister Mary pretty well. This was before Peter went on to work as an assistant and voice coach for the T.V. show “Gilligan’s Island.” He ran lines with Mrs. Howell (I was impressed by this, but that’s a whole different story).
My favorite rule of Sister Mary Corita’s is #9: “Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.” Amen.