This drum painting is part of the new Desert Reflections: Water Shapes the West exhibit at the High Desert Museum. The artist, Ka’ila Farrell-Smith, blends traditional indigenous art forms and contemporary installation art. The traditional concept of a drum is extended into a large rectangular form. Two “hitchhiker” rocks anchor it to the ground.
The sounds and views of this instrument change as it reacts to sunlight. The shadows of the sinew on the back move across the front as the sun moves across the sky. The sinew expands and contracts as temperatures change.
The painting on the front references the Long Lake abstract petroglyphs. It is an example of Great Basin Curvilinear, Rectilinear, and Representational rock art styles.
I liked the back of this work just as much as the front. Loved the lines!
My friend asked me to go hear author Pamela Royes talk about her book Temperance Creek: A Memoirat a quilt shop. At a quilt shop? I thought. I didn’t know that QuiltWorks had a “Books to Quilts” program.
Pamela spoke about her book and showed slides of where she lives in the rugged country near Hells Canyon in northeastern Oregon. A chance encounter with Skip Royes led her into living the life of a wandering shepherder. She and Skip spent four years on a life-changing journey in the wilderness. Pamela transforms from a carefree hippie into a responsible woman who learns to appreciate the wildness of her new home. She also learns of the culture of the Nez Perce, who first occupied this land.
Her lyrical prose helps paint pictures in your mind of her adventures and the surrounding country. Quilters made the “words into art” and they displayed their work in this shop. Pamela became emotional as she described her appreciation for the quilts depicting her words. These creative works meant more to her than any trophy.
Sheep and a special dog
These quilts show different interpretations of sheep. Some are realistic while others are whimsical. Their dog, Puss, helped keep the sheep in line.
Here are quilts showing horses and mules, an important part of their family.
Flora and Fauna
These quilts show some of the plants and animals that live in northeastern Oregon. Pamela and Skip had many exciting encounters with wildlife in the back country.
Camping out and remembering
They spent months out in the wilderness living in a tent. They remembered the contributions of Native Americans who called this place home.
These quilts focus on some of the small details of their life. Sometimes Pamela had one foot in one world and the other in another.
Many of the quilts focus on the beauty of the land. Some of these are abstract, others are realistic. They vary in appearance and texture, just like the land they represent.
And as the sun sinks into the West
This quilt captures the color and majesty of the country around North Temperance Creek. I hope you liked these beautiful words into art quilts as much as I did.
I entered a short story I wrote in a local contest and I just found out it took first place in the Children’s Fiction category. Hooray for me! 😀
The short story from my first novel is called How the River of Falls Came to Be and it’s about a little newt who gets more than he asks for. He ends up turning into a tortoise in the desert and he misses the rain.
Here are the last couple of paragraphs:
“Many years later, Tortoise passed away and his shell tipped upside-down and filled with water from passing storms. In fact, the shell caught so much rain it overflowed. The heavy shell eventually sunk and settled deep in the earth. It became the source of a river with many waterfalls. Río de las Caídas.
Sometimes when you walk along the river, you can see the smiles of Rain and Sun in waterfall rainbows. They are showing their gratitude for the gift Tortoise gave to the world.”
I’ll be reading the story I entered in the Central Oregon Writers Guild Contest next month at the downtown library in Bend, Oregon.
Back to work editing my book, Dark Fountain Songs. Maybe I’ll draw some pictures of tortoise to go along with the “award-winning” tale.
I’m sharing the March issue of the High Desert Voices newsletter. It’s a newsletter for volunteers and staff at the High Desert Museum in Bend, Oregon. I help out with the newsletter and I’m particularly proud of this issue.
This issue of the High Desert Voices newsletter includes a History event – 19th Century Making & Mending; Art – a new exhibit by Native American artist, Rick Bartow; Nature – a fact sheet on white sturgeon; People – a profile of our Communication Director; and Recreation – a trail through the colorful Blue Basin. There’s a little more related to updates for the different areas of the Museum and kudos, for work well done.
The Tin Pan Alley Art “gallery” is located in a short alleyway in downtown Bend, Oregon. The alley features large pieces of art created with a variety of media. Some are 2-dimensional while others are more sculptural. Do you have a favorite among these wonderful pieces of art?
This collection is part of a public art initiative that supports local arts and culture. It takes our outdoor lifestyle into consideration. Another example of outdoor art is featured in many of Bend’s roundabouts.
This is The Visitor by artist Carol Sternkopf. This is a mixed media piece that combines photography, vinyl, paint, twigs, wood, metal, and salvaged home decor. Nature and animals were important in Carol’s childhood. She incorporates them into her art. She hopes viewers think about the “larger story within the magnificent blue owl’s eyes” in this piece.
Here’s a picture of the whole collection. We like to go to the Lone Pine Coffee Shop in this alley. It’s small, but it’s our favorite. The owner takes the craft of creating the best cup of coffee very seriously.
Metal and wood
This is Love Lost, Love Found by artist Bill Hoppe. This colorful metal work represents the artist’s interpretation of an 11th Century Indian manuscript. The many pieces of this sculpture were created by hundreds of community members. This was part of a community engagement goal set forth by the Central Oregon Metal Arts Guild.
This is Tomas’ Riddleby artist Judy Campbell. This piece is created from steel, wood, and lights. Judy was inspired by infinitely repeating patterns, or fractals. In this piece she sought to bring the “abstract concepts such as love, mystery, and infinity into the earthly plane.”
This isRide with Me by artist Jeff Remiker. The mountain culture, especially biking, is a big part of Bend. Jeff was inspired by a childhood love of bike riding. He incorporated wood and metal work into this rustic piece. Viewers can interact with this piece by putting things into the bike basket.
This is an untitled piece by artist Andrew Wachs. This piece was inspired by basalt rock formations that can be found throughout Central Oregon. The artwork represents a close-up perspective of a vertical overhang. Andrew works with metal and wood design in his studio, Weld Design Studio.
Photographs and paintings
This is Southwark by photographer/artist/adventure seeker Amy Castaño. This photograph of a bikeway in London captures some of the many textures and sights of the city. Amy looks for unique viewpoints, different angles, interesting parts of the ordinary, and the perfect radiant light.
This is A Parade of Strange Ideas by artist Phillip Newsom. This vivid painting represents a spontaneous procession of ideas “emerging from the unconscious and growing as multi-dimensional shapes in some back-alley of the mind.” Phillip’s work includes book & magazine illustrations, animal portraits, murals, landscapes, and graphic designs.
I visited Blue Pool on a cool September day. Mother Nature was busy there producing colorful works of art. The colors in the pool are unbelievably beautiful and intense. On this day, the warm colors of fall leaves were reflected on the water.
As I mentioned in Blue Pool is a Jewel, the reflections look like Impressionist paintings. I could have stayed there for a long time taking pictures. Can you see why?
The Photographs of Edward S. Curtis in the By Her Hand Exhibit
This exhibition features portraits of Native women by photographer Edward S. Curtis from the collection of Christopher G. Cardozo. Curtis took the featured photographs over a 30-year period as part of a project to document Native American’s lifestyle and culture in a time of change. Curtis traveled across North America from 1900 to 1930 photographing over 80 tribes.
By Her Hand Exhibit of Edward S. Curtis Photos, High Desert Museum, Bend, Oregon
Edward S. Curtis worked out of a studio in Seattle, Washington and received financial support from J. P. Morgan. Curtis collected information about the lives of each tribe through photographs, writings, and audio recordings. With the help of Native translators, he assembled a 20-volume set titled The North American Indian. Curtis intended to publish 500 copies but due to a series of financial and personal setbacks, only about 272 were printed. Ninety percent of the original sets are owned by institutions, including the High Desert Museum.
Hupa Female Shaman – by Edward S. Curtis
The portraits in this exhibit have a beautiful yet haunting quality to them. The labor-intensive photogravure process Curtis used allowed him to create subtle variations in tone and focus. Curtis insisted on using only the highest quality materials and he experimented with a variety of techniques. In 2015 there was a city-wide celebration of Curtis’ work in Bend. Dawn Boone, of the A6 studio, gave a lecture on the photographs. She made an observation that one of the women portrayed seemed to be “softening back into the earth right before our eyes.”
On the Beach – Chinook by Edward S. Curtis
Native American author Louise Erdrich has an interesting perspective on the women represented in Edward S. Curtis’ photographs. She said, “Women’s work is celebrated in Curtis’ photographs–women grind corn, bake bread, make clay vessels, doctor each other, pick berries, haul wood and water, gather reeds, dig clams. These images of women working are among my favorites, for they are more practical then elegiac, yet entirely harmonious, and they are often the most sensual of Curtis’ works.”
While Curtis’ ambitious project documented the tribes, it was not without controversy. He often staged portraits. Sometimes he mixed up artifacts and traditions between tribes. He referred to Native Americans as a “vanishing race.” Native peoples were losing their rights and their lands but many did successfully adapt to Western society.
There was a revival of interest in Curtis’ work beginning in the 1970s. He was an exceptional photographer, and he documented many facets of Native American life that no longer exist. Museums across the country feature major exhibitions of his work. Original printings of The North American Indian bring extraordinary prices at auction.
Historical and Contemporary Art from the Museum’s Collection
This new exhibit also includes basketry, beadwork, and leatherwork created by Native Americans of the Columbia Plateau. Intricate beadwork adorns bags, a cradleboard, and clothing. There are examples of different styles of basketry in this exhibit. Featured contemporary Native artists include Pat Courtney Gold, Roberta Kirk, and Kelli Palmer. Kelli Palmer often designs baskets based on photographs from the past—including those of Edward S. Curtis.
By Her Hand Exhibit of Edward S. Curtis Photos, baskets, and beadwork, High Desert Museum, Bend, Oregon
Native American cultures passed techniques for creating basketry and beadwork down through generations. Many items were utilitarian, but the makers included symbols and patterns in artistic ways. Contemporary artists may include materials such as commercial string and yarn in traditional and newly created patterns.
By Her Hand Exhibit of Edward S. Curtis Photos, baskets, and beadwork, High Desert Museum, Bend, Oregon
In the early 20th century, Native people were forced to live on reservations. Many lost their language, ways of life, and skills such as basket making. Children were sent to boarding schools and weren’t allowed to learn things associated with their cultural identity. Columbia Plateau people have been working to bring back the knowledge of cultural traditions. As new generations learn the traditions and art forms of their ancestors, they will ensure the culture portrayed in Curtis’ photographs survives. Pat Courtney Gold notes that basket making is not only artistic; it is an expression of and central to the revitalization of her culture.
By Her Hand Exhibit of Edward S. Curtis Photos, baskets, and beadwork, High Desert Museum, Bend, Oregon
This exhibit will be on display at the High Desert Museum through January 20, 2019. For more about Edward S. Curtis, see a series of articles I wrote here.
This is a reprint of a November 2018 article in High Desert Voices, a newsletter by and for volunteers and staff at the High Desert Museum in Bend, Oregon. To see more issues of the newsletter, go here.
This summer a new big bold mural was added to the collection of outdoor art in the Old Mill District of Bend, Oregon. Yuya Negishi created this artwork. He was inspired by the mountains, colorful skies, and brilliant flowers of Central Oregon.
Did you notice that the dragon in this mural is breathing flowers instead of fire?
“Yuya Negishi is a Japanese visual artist based in Minneapolis, Minnesota. His work combines his extensive background in the classical Japanese techniques of calligraphy and SUMI with Japanese pop culture images such as koi, dragons and Buddha’s. Yuya approaches his work in the spirit of play often exploring new ideas and mediums. He also teaches hands on workshops sharing his approaches to SUMI and Calligraphy.
Yuya was born in a small farming community in the mountains beyond Tokyo. Yuya draws artistic inspiration from the memories and sensations of growing up in the Japanese countryside, where he would roam “like a hidden Ninja” exploring the woods, temples and mountain tops of the breathtaking Gunma region.”
The ground trembled beneath a stunted sagebrush shrub. The Toad Queen emerged from her burrow to a changed world. Clouds of smoke hung over the land from a wildfire. The spadefoot toad gazed at this new world through golden slitted eyes. Sand tumbled down her spotted back.
A purple larkspur plant stood near her burrow. Its head of flowers tilted toward the earth, wilted from the blistering heat.
The Toad Queen heard a meadowlark singing nearby. The song stopped abruptly, interrupted by a fit of coughing.
“What happened while I slept in my burrow?” She glanced around at the desert landscape.
She and the other spadefoot toads had pulled moisture from the soil as they slept underground and it helped them survive. Other creatures had not been so lucky. The carcass of a sage sparrow fledgling lay near her burrow. A few feathers clung to the tiny dried out body.
“Wind and fire are taking the water from the land,” her mate said. He had emerged from his own burrow. The toad shook the sand off the black spades on his hind feet.
“The sun is drying everything,” she said. “We must call for help.”
A call for help
Her mate called the spadefoot toads. His loud croaking call carried far over the sagebrush steppe. Other toads joined in and soon the air was filled with a chorus of croaks.
Over their heads, dark clouds collected in the smoky skies. Thunderheads formed. The patter of rainfall on the earth woke other spadefoot toads. They emerged from their burrows and joined in the chorus. The air was alive with the energy created by their song.
Rain fell, dousing the fires. White smoke rose from the burning trees and shrubs doused by the rain. Hours later, the fire was out.
“Thank you,” the Toad Queen said. She smiled at the group of spadefoot toads gathered around her.
The meadowlark alighted on a greasewood shrub near the Toad Queen. His melodic song of gratitude echoed across the landscape.
Renewal and change was coming to this land, but it would take time.
I am always amazed by the beautiful beadwork on display at the High Desert Museum where I volunteer. The carefully crafted pieces represent work by tribes of the Columbia Plateau in parts of modern-day Washington, Oregon, and Idaho.
Tribes represented include Umatilla, Wasco, Wishram, Paiute, Washo, Chehalis, Quinault, Nez Perce, Skokomish, Chinook, Tillamook, Yakima, Warm Springs, Haida, Salish, Yaqui, and others.
Doris Swayze Bounds Collection of Native American Artifacts
They are artifacts with an emphasis on “art.” However, Native Americans in the 1700’s and 1800’s did not make art for art’s sake. Beads embellished utilitarian pieces. Beads adorned items ranging from small handbags and knife cases, to deerskin clothing and footwear.
The High Desert Museum houses the Doris Swayze Bounds Collection of Native American Artifacts. Born in 1904 in Oklahoma, Doris Swayze Bounds later lived in Hermiston, Oregon, where she worked as a banker. She always appreciated Native American people and their culture. Many of the pieces in the collection were gifted to her by local Native Americans as a way of showing their respect and affection to her. The artifacts date from the 1870’s to the 1960’s. The collection has many pieces, but I focused on the beadwork in this post.
A brief history of beadwork in North America
In the early 1800’s, beads used in trading with native people were referred to as “pony” beads. Transported by pack animals, the beads were limited in availability and colors. The smaller “seed” beads became widely available after about 1850. These inexpensive beads were available in larger quantities and in a wider variety of colors.
White traders thought of the beads as cheap trinkets but to native peoples, they were highly prized. The beads were valued for their beauty and durability. They also freed up time that would have gone into crafting beads from bone, shells, and other materials. The beadwork became a status symbol and a source of pride in their culture.
Bead-working techniques vary and show ethnic membership. Colors and motifs represent different things to different tribes. If symbols are changed, such as being inverted or assembled in incorrect colors, they may show a hidden negative message. For example, an inverted American flag could have expressed displeasure with governmental policies.
Expressions of cultural pride
The beadwork is this collection is beautiful but some pieces were made during a dark chapter in American history. The hardships native peoples endured are difficult to imagine. Beadwork allowed them to express pride in their culture when they were being forced to give up their traditional ways of life. We are fortunate that some of their remarkable work has been preserved.
To view more of this collection and learn about Native American’s many accomplishments and challenges, visit the High Desert Museum in Bend, Oregon
After living a life full of leaps and bounds, she settled down in her favorite aspen grove. The bunchgrass waved goodbye. The rabbitbrush shaded her in her final moments. The rosebush provided fruit in celebration of her life. And finally, the aspen covered her in leaves of gold.
The Mill A Loop is a short and easy hike that starts on the flag bridge in the Old Mill district of Bend. This 1.1 mile trail is paved and mostly flat. You walk along the Deschutes River for most of the hike. At certain times of the year, kayakers, stand up paddleboarders, and innertubers will float by you on the river.
Flag Bridge March 2018
Crossing the bridge over the Deschutes River to see the Art in the High Desert show in Bend, Oregon
The Flag Bridge is a well-known sight in Bend. The flags are changed to celebrate different holidays and events. I am always impressed by these flags of many colors fluttering in the breeze. They also fly over a smaller pond near the restaurants.
Les Schwab Amphitheater
Deschutes Brewery from the trail
You will walk past a few notable landmarks. Yes, you start out in a shopping center, but you’ll also go by the Les Schwab Amphitheater, Deschutes Brewery, and the Bend Whitewater Park (adjacent to McKay Park). The amphitheater is where many concerts and outdoor events take place here in Bend. Deschutes Brewery, founded in 1988, was one of the first craft brewers in the region. The brewery has a nice tasting room and guided tours. The Whitewater Park was completed in 2015 and it divides the river into three channels. One channel is for wildlife, one is for innertubers and rafters, and one is for whitewater surfers, kayakers, or paddleboarders. I have seen people out surfing in wetsuits in all kinds of weather. See my post Bend Whitewater Park for info about the park and a few videos.
“No Caulks Allowed” by Roger Fox
“River Geese” by Peter Helze
“Kingfisher Perch” by Andrew Wachs and Dylan Woocks
“Spring Birds and Flowers” by Sandy Klein
“Charlie” by Greg Congleton
There is a lot of artwork on display along this route. Look for a large metal sculpture of a horse outside Tumalo Art Company close to the Flag Bridge. Be sure to take a closer look at this piece. A tall sculpture that incorporates steel wheels from one of the old lumber mills is just outside of Anthony’s restaurant. The Colorado Avenue Bridge has artwork inside and outside of the pedestrian tunnel. The amphitheater has beautiful murals on both sides of the stage. On the east side of the Whitewater Park, there is a tall metal sculpture that was designed as a perch for kingfishers. There is a sculpture of a group of Canada geese on the west side of the river.
Flora and Fauna
I have to mention the beautiful flowers in the landscaping along this route. I really like the blooming border plants on the west side of the amphitheater. They are gorgeous in the spring and summer months. Watch for the occasional hummingbird when the flowers are in full bloom. There are also some delicious smelling hops plants near the amphitheater.
California Quail near prickly poppy and green rabbitbrush
I walk this trail regularly and the types of wildlife seen varies by season. Ospreys and bald eagles can be seen near the river. Common waterfowl include Canada geese, mallards, mergansers, and American coots. You may see songbirds such as red-winged blackbirds, scrub jays, robins, cedar waxwings, and goldfinches. Swallows drift over the river in pursuit of insects. There is a beaver dam a little ways south of Tumalo Creek Kayak & Canoe and you may get a glimpse of them in early morning hours. I have also seen river otter and muskrats. A small population of the Oregon spotted frog breeds in this vicinity.
There is also a one-of-a-kind 12-station fly fishing course here. You may notice circles on land and in a couple of the smaller ponds. Each station has a sign nearby and you can try your hand at various casting challenges.
Smokestacks from the Old Mill
A little history
This district was named Old Mill because there used to be two lumber mills located here, one on each side of the river. The three iconic smoke stacks you see were part of a powerhouse that ran 24/7. The stacks were preserved when REI took over the space. This spot was very important for the economy of Bend in the early 1900’s. Timber was hauled into Bend and floated in the river until processing at the Brooks-Scanlon or Shevlin-Hixon mills. The Oregon Trunk Railroad had a line that went to the mills to pick up lumber.
To see a map of this hike and others nearby, look at this brochure from Bend Parks and Recreation. The Mill A Loop is the yellow trail on the inset map. I think you will enjoy walking this easy trail, no matter what season it is.
To find out more about the Old Mill District, click here.
On January 20, visitors entered Classroom A at the High Desert Museum to find the room filled with lifelike mounts of raptors. One mount depicted a California quail being chased by a sharp-shinned hawk. Another was of a great horned owl perched on a branch. A golden eagle mount, with outstretched wings, dwarfed the other birds on display. Artist Ian Factor welcomed participants in the workshop and everyone got to work sketching the birds. Curator of Art and Community Engagement Andries Fourie also attended and offered help when needed.
My fancy drawing kit
Various art supplies were available for our use. Many attendees brought their own supplies neatly tucked into special cases. Others, like me, had the bare essentials, so we were grateful more were provided.
Drawing from reference materials
A variety of reference materials were displayed. There was a collection of bird wings, talons, and skulls. An articulated bird skeleton stood on a tabletop. We learned the basic form of our subjects by looking at mounts prepared by taxidermists. Though not available at this workshop, study skins, or museum mounts, are often utilized for research and artistic purposes. Photographs can help when you’re doing wildlife art and participants were snapping a lot of pictures. Reference materials are helpful in getting the details right and in understanding the underlying anatomy.
This workshop, like most hosted by the Museum, was open to people of all skill levels. Some attending the event were beginners, while others were more advanced. The artists drew the birds with a variety of media. Several sketched in black-and-white with pencils, graphite, or charcoal; other participants added color with pastels and colored pencils.
Drawing from life
Drawing from life can be much more challenging. When sketching in a natural setting, you have to work fast to capture the essence of the bird. In this workshop, we sketched a live red-tailed hawk and great horned owl from the Museum’s collection. The hawk was quiet and basically stayed in one position. The owl was vocal and active the whole time. It can frustrate you when your subject doesn’t cooperate, but you have to learn to be flexible.
Participants were told to draw large shapes first then “carve down” to the details. After getting the basics down, Ian Factor advised us to capture the character of the birds. Character in this case is related to their adaptations for a predatory lifestyle and their individual personality. Wildlife Specialist Laura McWhorter provided many interesting life history facts on both of the live bird models provided for this workshop.
Participants drawing great horned owl
Ian pointed out things each participant did well and areas that might need improvements. He was especially helpful to those new to drawing. Participants were enthusiastic about this workshop. In fact, one even asked if we could have this class every weekend.
Yesterday I went to the Festival of Cultures in Redmond, Oregon. I was impressed by a dance group called Titlakawan Aztec Danza. Hope you enjoy the video I shot of them dancing. Even the toddlers and babies participated.
Here’s a blurb about them that was in the program for the World Beat Festival in Salem earlier this year:
“This Aztec dance troupe is based in Salem/Dayton, Oregon. Titlakawan means “We all possess it” or “We all have potential to fully realize ourselves as human beings”. Our troupe promotes through Aztec dance discipline a healthy lifestyle and outlook. The Aztec dance has its roots in central Mexico and has been practiced and protected in the last 400 years. Through immigration, it has set root here in the Northwest for the enjoyment of all those who participate.”
Here are a few pictures of the dancers. I loved the ornate headpieces! They were colorful and dramatic.
This Festival of Cultures had representatives from several countries including Bolivia, China, the Punjab state in India, Japan, and Yemen. This event celebrates the many cultures that live in Oregon and the contributions they have made to our state. There were musical performances, dances, activities, handmade crafts, and foods from several of the cultures. There was also a play area for kids. It was a feast for the senses.
If you’re looking for things to do in Bend this weekend, go see the Art in the High Desert show. This juried arts and crafts show features works in a wide variety of media. Please help support the 115 North American artisans selected for this show by purchasing some of the things they have created. To see a gallery of the work featured this year, click here.
Woodwork by Jack West at Art in the High Desert 2017 in Bend, Oregon
Here is the woodwork of Jack West of Fort Jones, California. These works of art display fine craftsmanship and an eye for bringing out the best in the woods he works with. The carved curving lines on some of his works are unique and they enhance the wood’s natural beauty. You can see more of his work here .
Ceramics by Gerard Arrington at Art in the High Desert 2017 in Bend, Oregon
Here is the ceramic work of Gerald Arrington of Sebastopol, California. You may know that I have a thing about rocks and this artist creates realistic-looking rocks out of clay. His pieces are sculptural, stunning, and earthy. You can see more of his work here.
Sunny views of the show
Crossing the bridge over the Deschutes River to see the Art in the High Desert show in Bend, Oregon
This show is good every year but this year it’s great! If you go to the show, you will understand why it’s in the top ten shows in the nation. The show runs August 25-27 and it’s free to get in. It’s located on the banks of the Deschutes River in Bend at 730 SW Columbia Street.
Booths at Art in the High Desert 2017 in Bend, Oregon
I previously posted a picture of the artist at work on this bridge here but thought you might want an update. Here is the completed painting. A different artist painted the inside of the tunnel. Lots of beauty on the bridge, inside the tunnel, and all around.
Last summer I was out for an early morning walk and happened to see an artist at work painting a mural on a bridge. Sandy Klein was painting spring flowers and birds on this bridge of art in the Old Mill district of Bend, Oregon. The beautiful artwork sprinkled throughout Bend accentuates its natural beauty.
Can you guess where I was earlier this month? Yes! I was on a 2,754-mile road trip to see parks in Utah and Nevada. We visited five national parks and one state park in Utah and one national park in Nevada.
I love the artwork on these t-shirts. It’s nice to remember a place with a wearable piece of art.
I took a few pictures while on this trip. 1,420 to be exact. Lots of material for future blog posts!
An amazing example of petroglyphs can be seen on the road into the Needles section of Canyonlands National Park in Utah. Wow! I have seen petroglyphs before but never so many in one spot. There are more than 650 drawings on a rock wall at this state historical monument. The dark desert varnish provides a nice contrast to the messages carved into the stone.
The first carvings at this site have been determined to be 2,000 years old. People of the Archaic, Anasazi, Fremont, Navajo, Anglo, and Pueblo cultures have carved their messages into the rock over the years. Unfortunately, it looks like some more modern graffiti artists added to parts of the scene.
The meanings of the messages here have been difficult to figure out. Do they tell a story or are they merely scribbles? The Navajo refer to this site as Tse’ Hane – translated as “Rock that tells a story.” It does indeed appear to tell many stories. Only the people who made the carvings know exactly what those stories were.
Sometimes an artist’s greatest wish is that others will be able to see the emotion and spirit of a place in their work. I hope you can feel some of what I was trying to capture in this photo from Yellowstone National Park.
Art is about expressing the true nature of the human spirit in whatever way one wishes to express it. If it is honest, it is beautiful. If it is not honest, it is obvious. Corin Nemec
Here is another great outdoor metal sculpture by local artist Greg Congleton. This sculpture depicts a team of draft horses pulling a log. Thousands of draft horses were imported from Western Europe in the late 19th and early 20th century to help with logging, farming, and moving freight and passengers.
Here is the sign nearby that lists some of the parts used to make this sculpture. Can yo