Here are several old corners that have stood the test of time.
Weekly Photo Challenge – Corner
Here are photos of signs in the town of Coalmont, British Columbia, Canada from my archives. The signs are right next to each other but I split the photo in two to make it easier to read. They do have a unique sense of humor there. 🙂
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.
It’s hard to imagine that the big flat area pictured above was once filled with water that all disappeared. Developer William A. Laidlaw was in this area in the early 1900’s and he promised settlers a project that would irrigate nearly 30,000 acres. Local businesses and settlers put up some of their hard earned dollars for the project but then figured out they were being taken advantage of. Laidlaw was burned in effigy in 1907 and 1912. New plans were made by the state for a reservoir.
In 1914, the huge earthen Tumalo Dam on the edge of 1,100 acre Bull Flat was constructed. It took 18 months to complete. The reservoir was filled with thousands of gallons of water. A couple of school kids were passing by the reservoir one day and heard a roaring noise like a tub draining. A giant whirlpool was sucking down the water at the rate of 220 cfs – as fast as it was being filled. Yikes!
They tried plugging the hole with bales of hay and detonating dynamite on floating barges. Nothing worked. It turned out the engineer that designed the project had not done much work on the soil at the site. It is extremely porous and modern day engineers liken it to a sponge. There are also lava tubes underneath the surface. Continue reading
Driving along U.S. Route 97 north of Redmond, Oregon, a bridge dramatically spanning a deep canyon grabs your attention. The Crooked River Railroad Bridge was built in 1911. It passes over the Crooked River, 320 feet below.
There is a nice rest area here with picnic tables, restrooms, and scenic viewpoints. You can get a bird’s eye views of birds of prey, swallows, and other cliff dwellers from here. We had a bald eagle glide over our heads while a turkey vulture drifted by nearby.
The Crooked River, true to its name, meanders in a twisting course through the canyon below the bridge. You get great views of the lichen covered cliffs from this viewpoint. This area was formed about 350,000 years ago as lava flows from the Newberry Volcano, 40 miles to the south, moved northwards.
This viewpoint is named after Peter Skene Ogden, who first entered central Oregon in 1825 when working as a trapper for the Hudson’s Bay Company. For more about the park, click here.
If you are a thrill seeker, you can bungee jump from the bridge in the summer. After a pilot program in 2016, the state gave final approval for bungee jumping businesses here.
Note the signs about leaving your dogs in the car. Unfortunately, some have perished when they accidentally ran off the cliffs.
The Crooked River Railroad Bridge has an interesting history. Two competing railroad companies were building rail lines on both sides of the Deschutes River in an attempt to be the first to reach the timber-rich country near Bend. There were also plans to connect this line to railroad lines from other parts of the state.
Jim Hill, owner of The Oregon Trunk Railway (a subsidiary of Great Northern Railway), worked on the west side of the river and Edward H. Harriman, owner of the Union Pacific Railway and other railroads, worked on the east side. Workers in the two competing companies got in fights and raided each other’s camps stealing food, alcohol, and supplies. When they reached Crooked River there was only one area where the geography allowed for bridge construction.
Since Jim Hill had bought that property two years before, Harriman’s company was forced to negotiate with him. Harriman had passed away in September of 1909. The terms of the settlement allowed other railroad companies to use the rail lines from the Columbia River to Bend. The two lines were eventually merged into one with the best grades adopted for use and the rest abandoned.
Construction of the bridge, designed by architect Ralph Modjeski, started on May 18, 1911 and it was completed on September 17 of that year. The fast pace was due to a rush to complete the line to Bend, 25.5 miles to the south. Jim Hill drove the golden spike in Bend on October 5, 1911.
If you visit the viewpoint, you will see three bridges. The Crooked River Railroad Bridge is located farthest west. The Crooked River High Bridge was completed in 1926 and it served as the main north-south highway until 2000. In 2000, the higher-capacity Rex T. Barber Veterans Memorial Bridge replaced that bridge. Formerly known as the Crooked River Bridge, its name was changed in 2003 to honor local World War II fighter pilot, Rex T. Barber. On one of his missions Lt. Barber, in his Lockheed P-38 Lightning, shot down a plane carrying Admiral Isoroku Yamamoto over Bougainville Island, northeast of Australia. Admiral Yamamoto planned and led the attack on Pearl Harbor. There is a lot of history, and beauty, associated with the Crooked River bridges.
A sky streaked with clouds frames Fort Rock, rising from the sagebrush sea in central Oregon. This is the view from Fort Rock Cave, where ancient sandals made from sagebrush were found. Sandals and other artifacts found there were determined to be 9,300-10,250 years old. Walking from the cave back towards Fort Rock, you can almost imagine some of the sights ancient people may have seen.
Weekly Photo Challenge – The road taken
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 you find any of them?
Note that this sculpture was donated by Penny and Phil Knight. Phil is the co-founder and chairman emeritus of a company named Nike. Perhaps you have heard of it.
Here is a video of Belgian draft horses at work dragging logs. They are pretty impressive.
Weekly Photo Challenge – A Good Match
Is this a post about the burgeoning marijuana business in Bend? No! I’m impressed by the local materials used in some of the buildings here and The Herb Center is an interesting example. It’s a small building covered in rocks including lots of obsidian. It was known as the Stone House. Perhaps now it could be called the Stoner House (?)
The Downing Building used to house the Downing Hotel and Cafe. It was built in 1920. It was made from local tuff and pumice blocks, bricks, yellow pine, and Douglas’ fir. When doing restoration work on the building in the 1980’s, a secret door was located and it may have connected to the brothel next door.
The Des Chutes Historical Museum is currently housed in the Reid School building. It is an impressive building made from pink volcanic tuff blocks. This was the first modern school in the area and it contained ten classrooms, an auditorium, indoor toilets, and central heating. It opened in 1914 and 241 pupils were enrolled there.
The New Taggart Hotel was built in 1911 by J.B. Goodrich. The front has rectangular blocks lined up perfectly with partial arches around the doors and windows. I thought the back of the building was interesting because the stonework is less concise. It’s wonderfully imperfect.
These are just a few examples of interesting architecture using local materials. Be sure to take a closer look when you are in Bend.
On a warm night at the Sunriver Nature Center last summer, visitors packed the room and stood outside the door for a chance to listen to the guest speaker. Who were they waiting so eagerly for? Fifth-generation Oregonian and author, William L. Sullivan. There are many people that write about the wonders of Oregon, but few are as prolific. His 18 books cover a variety of topics but he is best known for his travel guides that cover different regions of the state.
As he was introduced to the crowd that night, we were reminded that he had trekked across Oregon many years ago. Sullivan’s account of the 1,000-mile journey from the southwest corner of the state to the northeast corner can be found in his book, Listening for Coyote.
He also wrote a book about how he and his wife constructed a log cabin using only hand tools. They lived there for several years and still do so during summer months. Their account of that ongoing adventure can be read in Cabin Fever: Notes from a Part-Time Pioneer.
His lecture last summer focused on hikes and destinations in eastern Oregon. His book, 100 Hikes/Travel Guide – Eastern Oregon, was published in its third edition in 2015. Sullivan tries to visit the places he writes about once every seven years to see if any updates are needed. He stated that half of the hikes he covers are located in eastern Oregon.
William L. Sullivan was a great speaker with a good sense of humor. Here are a few tidbits from his talk that might inspire you in your explorations of eastern Oregon:
What is chaos to some is orderliness to another.
Weekly Photo Challenge – Chaos
Looking out of the mouth of the Fort Rock cave at the Sagebrush Sea, one can only imagine the thoughts of those that lived there thousands of years ago. Sagebrush sandals, determined to be 9,300-10,250 years old, were found in the cave. These sandals are the oldest ever found in the world.
Luther S. Cressman, an archaeologist and founder of the Department of Anthropology at the University of Oregon, found the sandals in 1938. He knew they were old but some of his colleagues doubted their age. The radiocarbon dating process had not been developed yet. In 1951, he was vindicated when the sandals were radiocarbon dated using the new process.
A small hearth was found in the cave and it was radiocarbon dated to be 15,000 years old. Several stone tools were found nearby. Though that date was questioned by some, in 2009 human coprolites (fossilized poop) determined to be from 14,300 years ago were found in nearby Paisley Cave. In 2009 a multiple function tool made from agate was discovered in Rimrock Draw Rock Shelter, near Riley, Oregon. It may have been made as long ago as 16,000 years ago.
Other ancient sandals have been found but never in the quantity found at Fort Rock. Nearly 100 sandals were found ranging from child-sized to adult. They are all the same style with a flat bottom and flap covering the toe area. The sagebrush bark is woven in a distinctive twining style. Sandals of this type were found at various locations in southeast Oregon and northern Nevada. In more recent times, ethnographers found that members of the Klamath and Paiute tribes, who lived in the Fort Rock area, wore footwear woven from sagebrush and tule.
The location where the sandals were found was likely a lake shore 10,000 years ago. Native peoples may have lived there because of the easy access to game, fish, and edible plants. At the present time, the cave borders a huge expanse of dry sagebrush steppe habitat. The climate changed after Mount Mazama blew 7,600 years ago. A thick layer of ash from that eruption blanketed an area covering 500,000 square miles in western North America.
If you want to see this site, you will need to go with a guide since access is regulated by Oregon Parks and Recreation Department in partnership with the University of Oregon. Go here for more information – Fort Rock Cave.
If you want to see the sandals in person, there are some on display at the University of Oregon Museum of Natural and Cultural History. Click here for a good photo of them – sandals. The Museum also has a collection of stone tools and other fiber artifacts excavated from the cave. You can see a small display about the sandals at the Fort Rock Valley Homestead Museum. See my post on that Museum and information about the Fort Rock formation here.
Did you know that a princess is buried at Lake View Cemetery in Seattle? I bet many people don’t even know who she was. The woman known as “Princess Angeline” was the daughter of Chief Sealth, aka Chief Seattle or Chief Si’ahl. Born in the early 1800’s, she passed away on May 31, 1896.
I posted a nine-part essay on photographer Edward S. Curtis last year and in Part 3, recalled the importance of Princess Angeline to Curtis’ future career. She was the first Native American that he photographed. He entered several pictures of tribal members in a National Photographic Society contest. One won the grand prize and a gold medal.
I recently attended the funeral of a close relative at Lake View Cemetery and found Princess Angeline’s gravestone nearby. Her rough granite gravestone is next to the much grander towering tombstone of Seattle pioneer, Henry L. Yesler. Princess Angeline requested that she be buried close to Yesler since she considered him to be a friend and protector.
There was a magnificent funeral for her in 1896 at Seattle’s Church of Our Lady of Good Help. She was buried in a canoe-shaped coffin. I learned that school children in Seattle had raised the money to purchase her gravestone many years after her funeral.
The inscription on her gravestone piqued my curiosity. It said that she “was a life long supporter of the white settlers” and that she had been converted to Christianity and was named by Mrs. D. S. Maynard. The inscription also stated she had befriended pioneers “during the Indian attack upon Seattle on January 26, 1856.”
Chief Sealth’s first wife, Lalaida, gave birth to daughters Princess Angeline and Mary. Sealth fathered five additional children. Princess Angeline’s Lushootseed name at birth was Kikisoblu.
Her father, who would grow up to become Chief Sealth, was a young child when Captain George Vancouver anchored his ship in Puget Sound in 1792. The captain was not impressed with what he saw of the indigenous people. He described their village as the “most lowly and meanest of its kind.”
Sealth grew up to be respected among his people for his skills as a warrior, orator, and diplomat. He encouraged the construction of a trading post by the Denny-Boren party, who arrived in the area in 1851. Though that post failed, it set the stage for a trading post later established by Doc Maynard. In 1852, Maynard arrived in a canoe paddled by Chief Sealth and other Duwamish tribal members. Chief Sealth befriended many settlers and the city was named “Seattle” in his honor.
As more settlers moved into the area, conflicts grew between them and the native peoples. In 1854, Washington Territorial Governor Isaac Stevens (who thought the only good Indian was a dead Indian) visited Seattle. Chief Sealth made an eloquent speech in which he despaired that the day of the Indian had passed and that the future belonged to white man. This oft-quoted speech was likely embellished by journalists of the time. It has undergone several revisions but its underlying message still rings true. The chief signed the Treaty of Point Elliot in 1855. The Suquamish people were forced to relocate to a reservation across Puget Sound from their tribal lands. Princess Angeline chose to stay in the Seattle area. Princess Angeline, her father, and Curly or Curly Jim are attributed (depending upon the source) with warning the settlers about the approach of hostile natives in the Battle of Seattle. The battle took place on January 26, 1856.
Native Americans were not supposed to live within the city limits but Princess Angeline, then in her mid-30’s, lived in a small shack on Western Avenue between Pike and Pine streets. Her friend Catherine Maynard, wife of Doc Maynard, thought she deserved a name that would help people recognize her importance as the daughter of the city’s namesake. She named her Princess Angeline– a name she thought was “prettier” than her native name.
As Angeline entered old age, she had offers of help but preferred to continue living on her own in the waterfront shack. She often collected shellfish along the shores of Puget Sound. Angeline did laundry for settlers, made baskets and native handicrafts, and posed for pictures to supplement her income. In her elder years her visage, dressed in a red bandanna, shawl, and several layers of clothes, became iconic of Native Americans of the time.
She was often hounded by young boys who followed her and harassed her. She would throw rocks at them to keep them away. Perhaps that’s why there is a collection of stones in front of her gravestone today.
As reported on the Weird U.S. site, some believe they still see her ghost at the Pike Place Market in Seattle. It is close to where her shack once stood. According to the author, people have seen an old Native American woman quietly sitting on the ground surrounded by several baskets. Others claimed to have seen her near the flower market. Still others report seeing an old woman hobbling into a seat on ferry boats crossing Puget Sound only to vanish before the ship docks. I will leave it up to you to decide if these apparitions exist but Princess Angeline did make a lasting impression on those who came into contact with her.
Interesting fact: My relative, who was recently laid to rest at Lake View Cemetery, happened to have lived in the house that was built for the granddaughter of Seattle founder, Arthur Denny. Her father, Rolland Denny, had a house close by. Princess Angeline’s father, Chief Sealth, had helped Arthur Denny settle in the Seattle area.
Oasis moments sometimes happen in the desert. While hiking to Chimney Rock near Prineville, Oregon, we came across a patch of bitterroot flowers. The small flowers burst forth from cracks in the sandy soil in shades of pink and white. The flowers are only about an inch and a half across. The plant is delicate yet hardy at the same time.
I had never seen so many blossoms in one place. Bitterroot has always been a plant that amazes me. It was hard for me to keep walking with our group when a part of me just wanted to crouch down to their level and marvel at their perfection.
Beneath the soil, a taproot gives this plant its name. Meriwether Lewis, of the Lewis and Clark Expedition, first saw the bitterroot plant in Lemhi County, Montana on August 22, 1805. Lewis tasted the root and described it in his journal:
this the Indians with me informed were always boiled for use. I made the exprement, found that they became perfectly soft by boiling, but had a very bitter taste, which was naucious to my pallate, and I transfered them to the Indians who had eat them heartily.
Bitterroot can be found in much of western North America in drier areas with well-drained gravelly soils and several tribes made use of the plant. Shoshoni, Flathead, Nez Perce, Paiute, Kutenai, and other tribes used digging sticks to collect the roots in the spring. The roots were dried and were often mixed with berries and meat.
The roots were traded and bartered and were considered to be of great value. A bagful was worth as much as a horse. They were used as food but also had medicinal uses. Bitterroot was used for several ailments including heart problems and sore throats. They were also used to treat wounds and to increase milk flow in nursing mothers.
President Thomas Jefferson had asked Lewis to collect plant specimens on their expedition. Bitterroot plants were collected on the return trip in June of 1806. The area in Montana where the plants were collected is now known as the Bitterroot Valley. Specimens were given to the botanist Frederick Pursh in Philadelphia. Pursh named the plant Lewsii redviva in honor of Lewis.
Fun fact: The species name redviva means “reviving from a dry state.” The specimens presented to Pursh came back to life even though they had been dug up many months before.
Here’s a picture of bison in Yellowstone National Park. Happy 4th of July from our new national mammal in the U.S., the bison. Their scientific name is Bison bison bison. If only all scientific names were that easy!
Bison are a conservation success story. Due to over-hunting in the late 1800’s, their population was down to a few hundred animals. As a result of the conservation strategies employed by President Theodore Roosevelt and like-minded individuals, the bison were able to make a dramatic comeback.
Here’s a link to a U.S. Department of the Interior page that has 15 interesting facts about them – Bison
Tucked away in Oregon’s Outback, you will find a unique place that hearkens back to an earlier time. The Cowboy Dinner Tree is a small restaurant located in Silver Lake Oregon, about an hour and a half southeast of Bend. The restaurant is only open from 4:00-8:30 pm four days per week and reservations are required. They give you ample portions of food here and you are advised to bring a cooler for leftovers. They do not take credit cards or debit cards so have cash on hand.
You have your choice of a 26-30 oz. top sirloin steak or a whole roasted chicken. Both are accompanied by several tasty side dishes. There is green salad, hearty soup, old fashioned sweet yeast rolls, baked potato, and a dessert. You can have coffee, iced tea, or pink lemonade with your meal. On the day we were there, they served bean soup and a small shortcake with fresh berries. Everything is homemade and made daily.
Many years ago, ranchers pushed their cattle through this area on the way to the lush meadows of Sycan Marsh. The Dinner Tree, a big old juniper tree, was at the halfway-point. There was a small shack where the restaurant now sits and hungry ranchers stopped here for some grub from the chuck wagon. The food they had then was probably buckaroo beans and biscuits – not the large meal now served at the Cowboy Dinner Tree. The site was a homestead back in the late 1800’s and it was converted into a restaurant in 1992.
Today the Cowboy Dinner Tree is a popular destination. They have a restaurant, gift store, and a couple of cabins for lodging. The lodging has been so popular that they are in the process of adding five additional cabins. The gift store features items crafted by local artisans and craftspeople.
We arrived at about 4:30 pm and the place was filling up fast. We had a large group so we shared a long table but there are also smaller tables available. The place is decorated with cowboy print curtains and lots of related items such as horse bits, ropes, stirrups, and saddles. Dollar bills scrawled with notes from customers adorn the walls and ceiling.
The food was great and the server, Cowboy Dinner Tree owner Angel Roscoe, was very attentive. She and her husband, John, took over the restaurant from her mom in 2012. You will not leave feeling hungry that’s for sure! As their website says – Join us for a taste of the real Old West.
Looks like an old homestead, right?
Look a little bit closer.
Go on…zoom in.
If we learn to focus in on things we sometimes find the unexpected.
In this case, it’s a double-crested cormorant and great blue heron rookery. These birds look and act so differently yet they manage to get along.
This rookery is located at the Sod House Ranch at Malheur NWR. It was built by cattle-baron Peter French in the late 1800’s. The ranch was the headquarters of the French-Glenn Livestock Company that at one time covered 140,000 acres.
Hmmm…a predominantly pink woodpecker named after a famous early American explorer and a wily relative of the crow named after his partner. That might make for an interesting bit of writing. I started to research the topic.
Little did I know there was controversy linked to the plants and animals “discovered” on the Lewis and Clark expedition. The expedition supposedly discovered 178 plants and 122+ animals previously unknown to science. Or did they?
Other sources say they “encountered” or “reported” certain wildlife and plants. Due to discussions as to the accuracy of previously published lists, one recent list is divided into two sections: Discovered (for the first time by European Americans) and Described. Some of the flora and fauna species had been discovered in other parts of North America (or the world) prior to the time of the expedition while others had been a part of native people’s life for many years.
I am lucky to have seen many of the wildlife species that Lewis and Clark discovered and described. Here is a quiz that includes pictures of wildlife encountered on the expedition.
Did the Lewis & Clark expedition Discover them or Describe them? The answers are at the end of the quiz.
Oregon WinterFest celebrates the winter season here in Central Oregon. This is the 17th year of the event. Here are few more photos from the recent event. You can see pictures of some of the ice sculptures above. The bird sculpture was still in the process of being carved.
The Fire King and Ice Queen made their entry on horseback. The queen called herself “Princess Ariel Anna Belle Elsa Cinderella Rapunzel.”
There were booths to get food, beverages, and handmade crafts inside the large tents. There were also quite a few food carts outside.
The Central Oregon Metal Arts Guild had demonstrations and workshops scheduled throughout the event. You could make your own large wall hook for $20.
There were several bands playing at the event. A couple of my favorites were The Company Grand and the B Side Brass Band. The Company Grand is a 10-member band that harkens back to the big band era while throwing in some modern sounds. B Side Brass Band is a New Orleans inspired band with a great sound and a lot of enthusiasm. Both bands are local.
There were many other activities at the event including a high-flying dirt bike show, a flying dog show, a Children’s Area, a Star Wars themed run, and a wine walk. I previously posted pictures of the Fire Pit Competition.
This year the proceeds from admission fees went to Saving Grace, a local organization that provides support services to victims of domestic violence and sexual assault. If you are thinking about going next year, keep in mind that the money raised goes towards local causes.
Did that get your attention? I went to the Oregon WinterFest event here in Bend this weekend and took some pictures of the Fire Pit Competition that I wanted to share with you. This is the 17th year of the festival so it has a long history in the area. This is the fourth year for the fire pit competition and there are more entries every year.
The dragon and a fire pit with the flag bridge and Deschutes River in the background.
The fire pits came in many shapes and sizes.
This one had an enclosure with mirrors.
This one was like a huge globe.
Flowers of flame and a burning stump.
This one tied everything together into a nice package.
Some were tall and others were closer to the ground.
Visitors were glad to have many places to warm up.
Some of the pieces were very intricate.
Would you prefer steaming hot espresso or a roasted garlic?
This one provided shelter from the breezy conditions on Saturday night.
You could tell that the artists put a lot of heart into their work.
Hope you have a nice Valentines’s Day!
What does the Owhyee River in southeastern Oregon and Kanaka Flat near Jacksonville, Oregon have in common? Both place names refer to the Hawaiians that lived in Oregon in the 1800’s.
In 1811, Jacob Astor hired the first Owyhees, an older spelling of Hawaii, to work in the fur trade. A post was established in Astoria, Oregon and was later turned over to the Montreal-based North West Company. The fort was eventually renamed Fort George and it was moved to another location.
How did Hawaiians get to the mainland? Captain James Cook discovered the Hawaiian islands in 1778 and named them the Sandwich Islands after the Earl of Sandwich. Ships stopped in Hawaii for provisions and since the native people were well known for their maritime expertise, they were hired as replacement workers. They were also known to excel in swimming, fishing, hunting, and in the construction of posts and forts.
His twittering voice kept leading me on through the wilderness. It seemed like every time I raised my binoculars to my eyes, he would make a quick getaway.
I followed him on winding trails bordered by bubbling and spouting geysers. He flitted through pine forests doused by thunderstorms. Gusts of wind kept pushing him just out of my reach.
Finally, finally, I came eye to eye with the mysterious beast. A Yellow-rumped warbler, Setophaga coronata auduboni. This pint-sized songbird perched in the tree and stared at me as if he was shouting, “Ollie, Ollie in come free!” Our game of hide and seek was over and he stayed in plain sight on his home base.
The tree clung to the side of a cliff overlooking Tower Fall. The little bird had lead me to an important spot in Yellowstone National Park.
In 1871 the U.S. Geological Survey sent an exploratory expedition to the Yellowstone area. Artist Thomas Moran was a member of the team and he painted a picture of the falls that showed the public one of the area’s natural wonders. William Henry Jackson was also part of the expedition and he took black and white photographs of the area. Due to the Moran paintings, Jackson photographs, and the observations of early explorers, the area was designated as the world’s first national park in 1872. Moran’s colorful paintings were instrumental in convincing Congress to preserve the region.
So you might say that this twittering bird had lead me to the place where a short message – in the form of an image of the falls – saved the land for generations to come. It was like a “tweet” in its time that was seen by thousands.
When you go outside into parts of the 135-acre property, you will be able to visit various exhibits. The Autzen Otter area is being renovated and won’t be open again until sometime in the spring of 2016. Be sure to stop by to see the entertaining otters once the exhibit reopens.
Keep going around the trail and make a brief stop at the wildlife viewing area. Here you might get a glimpse of woodpeckers, nuthatches, chickadees, squirrels, and chipmunks. You might get lucky and spot a hawk or owl waiting to get a snack.
The Wind, Earth, and Fire Trail is nearby and it shows how fire plays an important role in forest development. Keep following the trail and stop into the Changing Forests exhibit to learn about forests in the area.
Next you will see the Miller Family Ranch. The buildings there are built to show what a farm in 1904 would have looked like. Peek inside the cabin to see how a family lived and watch interpreters demonstrate life in those times. There’s also a barn, corral, chicken coop, saw mill, and even an outhouse. The woven wood corral is practical but also a work of art. You may see horses, donkeys, and chickens at the ranch.
Continue on the trail and you will come to an overlook at a small pond. You’ll get a great look at the native Redband trout from there.
Keep walking on the trail and you’ll get to the Donald M. Kerr Birds of Prey Center. See the porcupines in their enclosure just outside the door? The Museum has bald and golden eagles, a turkey vulture, a barn owl, a great horned owl, and other birds in their collection. Most of the animals at the Museum were injured or kept as pets so they would not be able to make it in the wild.
Head back to the main building and be sure to stop at the Silver Sage Trading store. There are books, artwork, clothing, toys, and many other items related to the high desert and current exhibits at the Museum. You might be able to find a piece of unique jewelry or something kind of quirky like dog treats containing beer byproducts.
Near the store, there’s a Whose Home? area for young children to climb and play in. They can pretend they are a baby bird in a huge nest. There is also an outside play area called Dig, Crawl, Climb! Kids can pretend like they are a giant spider or some kind of burrowing creature hiding in a hole.
As you leave the building through the main entrance, be sure to look up. There is a metal sculpture of a sagebrush plant that shows just how big their root system really is. This icon of the Wild West has adapted to the harsh environment of the high desert. A visit to the High Desert Museum will teach you how plants and animals have adapted to the environment and how people, past and present, have learned to thrive there.
For more information go to High Desert Museum
Tucked away in the pines south of Bend, you will find a magical place. The High Desert Museum may not be what you expect when you see the word “Museum” in its name. Yes, it does have artifacts in permanent and rotating exhibits but they are beautifully displayed in buildings that blend into the environment. There is much more to this place than traditional exhibits.
The rotating exhibits cover many facets of the high desert. In December of 2015, these included one on weather, one on sage grouse, and another on women of the American West. There are daily talks and demonstrations about nature and history related to exhibits at the Museum. The Museum also has people dressed in period clothing interpreting history and a small collection of desert wildlife.
One of the first things you see as you drive up the long driveway is the small High Desert Ranger Station. This was an actual station and it was built in 1933 and moved here in the 1980’s. It’s only open during the summer months.
Inside the main building in the Spirit of the West section, you’ll see a typical encampment of Native Americans, part of a Hudson’s Bay Company fort, and then walk past a wagon travelling on the Oregon Trail. You will wind your way through a mine and then come out into a re-created town. You may see one of the miners trying to strike it rich. You might see one of the shopkeepers or a banker going about their business.
The By Hand Through Memory exhibit focuses on local tribes including the Nez Perce, Umatilla, Warm Springs, Yakama, Spokane, and Colville. The exhibit includes modern conveniences in some of the displays to show how tribal members adjusted to change. The path through this exhibit winds past displays showing native people collecting food, a large collection of beaded bags and other items, a tepee, a small house representing life in the mid-1900’s, and a display of fishing in a river. Outside the exhibit, a volunteer may explain some of the older and modern artifacts from local tribes.
The Desertarium exhibit lets you get up close and personal with some desert wildlife. No, these are not stuffed specimens – they are live animals. This part of the Museum has insects, fish, amphibians, reptiles, and birds. Check out some of the wildlife of the high desert such as the burrowing owl. There’s also a bobcat in an enclosure in a nearby hallway.
Images by Curtis are still being pushed out into the world. There are many inexpensive prints available. In the last presentation of the Curtis Fever series, Dr. Julia Dolan wondered what Edward S. Curtis would have thought of that. She wondered what the tribes thought about it as well. Though Curtis photographed native peoples because he thought they were vanishing, that idea was wrong since they still exist. An advertisement for a TV show showing a portrait of Curtis on a bed stand was shown. It was from a program called, “The New Normal”. Ironically, it has become the new normal to see pictures of Curtis and the photos he took all over the world thanks to the Internet.
His work has proven a useful record of North American tribal culture, language, and song that many have put to good use. Newer technologies, such as smartphones, have been used by modern day Native Americans to help them learn their language. Photographs by Curtis and his brother have been used by the tribes to identify ancestors and recreate ancient customs.
Dr. Dolan commented about the work of Edward S. Curtis as being “rich and wonderful, but also painful.” We cannot begin to imagine the pain the Native Americans were going through at the time of Curtis’ work. However, we are thankful that his art lives on and that so many of us are able to learn more about him and the people he portrayed.
The events around Bend related to Curtis were well attended. It was difficult to find a parking space nearby! Many people seem to have a deep fascination with his work but also in learning more about him as a person. Author Timothy Egan admitted that when he first considered writing about Curtis that he thought of him as “Indiana Jones with a camera”. He found out that Edward S. Curtis was so much more. Though Curtis had a life of dramatic ups and downs, Egan thought he was able to achieve the goal of helping Native Americans “live forever”.
Photos by Edward S. Curtis in this article are from the following source: http://curtis.library.northwestern.edu/index.html
Curtis, E. (Director). (1998). “In the land of the head hunters” film set, 1914 [Motion picture]. University of Manitoba.
Edward S. Curtis: A detailed chronological biography. (n.d.). Retrieved November 1, 2015, from http://www.soulcatcherstudio.com/artists/curtis_cron.html
Edward Curtis Shadow Catcher. (2015). Bend, Oregon: Atelier6000.org.
Edward S. Curtis’s: The North American Indian. (n.d.). Retrieved November 1, 2015, from http://curtis.library.northwestern.edu/index.html
Egan, T. (2012). Short nights of the Shadow Catcher: The epic life and immortal photographs of Edward Curtis. Boston: Houghton Mifflin Harcourt.
Heilbrunn Timeline of Art History. (n.d.). Retrieved November 1, 2015, from http://www.metmuseum.org/toah/hd/pict/hd_pict.htm
History, Travel, Arts, Science, People, Places | Smithsonian. (n.d.). Retrieved November 1, 2015, from http://www.smithsonianmag.com/history/edward-curtis-epic-project-to-photograph-native-americans-162523282/
Makepeace, A. (Director). (2000). Coming to light [Motion picture]. Anne Makepeace Prod. Orig.-Prod.
Photograph Collector’s Guide – Edward Curtis Photography, Life & Work. (2012, January 5). Retrieved November 1, 2015, from http://www.edwardcurtis.com/collectors-guide/
It was assumed that all of the Edward S. Curtis photogravure copper plates were lost or destroyed. It is a common practice to destroy the plates after the initial printing so no more prints can be made. However, many had been sold to the Charles E. Lauriat Company in Boston. In 1972, decades after Curtis had passed away; they were rediscovered in the Lauriat basement by photographer Karl Kernberger. Nineteen complete bound sets of The North American Indian, thousands of paper prints, the copper plates, unbound pages, and the original glass plate negatives were found. Once this collection was discovered, it passed through several hands. In 2005 the copper plates were purchased by Kenneth Zerbe. New prints have been made from the plates but they are not printed on the high quality Van Gelder paper favored by Curtis.
In recent times, Christopher Cardozo has launched a repatriation project to return some of Curtis’ works to Native American people. Of the people featured in Curtis’ works, we now know the names of 3,500 of them.
Three contemporary Native American photographers, and their responses to Edward S. Curtis’ work, will be the subject of an upcoming exhibit. The exhibit runs from February 6, 2016 to May 8, 2016 at the Portland Art Museum. Photographs from Zig Jackson, Wendy Red Star, and Will Wilson will be featured in the exhibit. Each artist responded in different ways to the Curtis photographs. Zig Jackson noted that people still “take” a photograph of Native Americans. He even pokes a little fun at this concept in one of his pictures entitled Indian Photographing Tourist Photographing Indian. Several volumes of The North American Indian will also be displayed in the upcoming exhibit. Digitized versions of Curtis’ original audio recordings of native language and song will be a part of the exhibit. The Museum is also trying to crowdsource a way for descendants of people featured in The North American Indian to be able to input information about themselves and their ancestors.
Photo by Edward S. Curtis in this article are from the following source: http://curtis.library.northwestern.edu/index.html
In the 2000 film, Coming to Light: Edward S. Curtis and the North American Indian, many present-day Native Americans were interviewed in regards to Curtis and his work. It has deeply affected modern day tribal members. Some treasure the images and recordings as reminders of their ancestors while others want references to that time to be over. One of the people interviewed about the images remarked that “the world came alive again when viewing them.” During that period in history Native Americans could be thrown in jail for wearing their traditional clothing, speaking their language, and practicing their rituals.
The film points out that the audio recordings that survive preserve the language and songs of the tribes. When Curtis played the recordings back to tribal members right after he recorded them, they were awestruck at hearing the sounds coming out of “the magic box”. Native Americans were forced into giving up their language and assimilating. As one tribal member said in the film, “if you don’t speak, you are lost.”
At first Curtis felt the Native Americans had to assimilate or they would be economically destroyed. As he continued to work on the project, he changed his way of thinking. He became more aware of the fragility of the native people and their way of life. Living in California in his later years, he heard how the Native Americans in that state in particular were mistreated. Some thought that he should have shown the struggle for life many Native Americans were going through but that was not the purpose of his project.
There is controversy surrounding the work of Curtis. Some think the photos were staged and that they degraded and dehumanized the people into mere caricatures. Some think he dressed the people portrayed in a certain way; others say they actually dressed in the clothing they wished to be photographed in. Oftentimes they are portrayed wearing traditional clothing that had been outlawed for them to wear. In Geronimo’s case, he is pictured wrapped in an Army blanket because that is all the white man gave him.
There are inaccuracies in some of his films and still photos. Coming to Light points out that Curtis wanted to film the Navajos doing the Yébîchai ritual – a nine-day ceremony that combines religious and medical observances. It was not the time of year they normally did the dance but they made the masks as Curtis had requested. When they did the dance, they actually performed it backwards. Another instance of inaccuracies is in a photo of Crow warriors. There were no Crow warriors after 1876 and even when they were present, they did not ride horses or go out when there was snow on the ground as the photograph shows.
Curtis is accused of cutting out parts of pictures, such as a small alarm clock between the two people pictured in In a Piegan Lodge, but professional photographers commonly crop parts of their pictures out. An analysis of the photos showed that there was something in the photo that did not seem to belong only 4% of the time. In contrast, 40% of famed anthropologist Franz Boas’ photos contained things inconsistent with the subject matter.
Critics have pointed out the lack of the person’s name in many of the titles on the photographs. Some tribal members were very protective of their names and did not want to disclose them. The absence of names was done out of respect for the people photographed. Other tribes Curtis photographed, such as the Apsaroke, were less sensitive about their name being in the title. Curtis paid all of his subjects and offered them a cyanotype print of the photos. It was a collaborative, creative effort.
Some have questioned why he did not focus on how poorly the tribes were being treated. He maintained that that was not the goal of this project but he did seem to take up their cause very late in his career. In 1923 he helped found the Indian Welfare League. This group of artists, museum curators, and lawyers formed to help find work and legal services for the tribes. They also became involved in getting citizenship for Native Americans. Curtis, however, was of two minds on this topic – he scorned Washington experts but also scolded the native people about not pitying themselves too much.
Photos by Edward S. Curtis in this article are from the following source: http://curtis.library.northwestern.edu/index.html
In 1914, Curtis’ film In the Land of the Head-Hunters, featuring the Kwakiutl tribe, was shown to theater audiences. He worked on the film with George Hunt who had been adopted by the tribe. Hunt had been indispensable when he had worked for anthropologist Franz Boaz. The Kwakiutl tribe is from Vancouver Island and they rely on salmon fishing for their way of life. However, Curtis had them pretend to hunt whale in the film. Creating the film had its hardships including an incident when Curtis was dropped off on an “island” that flooded with the incoming tides and left him waist-deep in water through the night.
The film shows a potlatch ceremony because Curtis thought filming it would be very dramatic. The Kwakiutl culture carved elaborate totem poles, canoes, and longhouse buildings. Tribal members wore full-body ceremonial garb made from wood, feathers, and skins that represented animals.
In the Land of the Head-Hunters is said to be the first ethnographic film. Nanook of the North came out later and the creator of that film analyzed Curtis’ work frame by frame before he started filming. Edward S. Curtis’ film consisted of 8,000 feet of film. It was the first film to feature a cast of Native Americans – instead of Italians dressed up in makeup and costumes. It was shot entirely on location and was the first film created in British Columbia. The musical score was composed by John J. Braham, who also did the score for Hiawatha. The film flew in the face of stereotypes people had at the time about Native Americans. Unlike other films that included Native Americans in the plot, this film did not focus on conflicts with whites.
The Kwakiutl tribe enjoyed being a part of the Curtis film. They made everything for the film – including buildings, canoes, and costumes. The tribe gave input into what should be included in the final film and what should be excluded. The story was meant to be a mythic tale about Native Americans before they came in contact with Europeans. It was almost like something out of Greek mythology. The potlatch and other ceremonies were banned in Canada in 1913 and enforcing those laws was at its peak when filming took place.
One of the reasons Curtis created the film was to help pay for the book project. At the time he was working on the film, he was compiling Volume 10. Edward S. Curtis had been interested in filmmaking as early as 1906. In the Land of the Head-Hunters cost $75,000 to $100,000 to make but it was a complete bust financially. It came out right as World War I was starting. There was a dispute with the distributor and it went to court but was never resolved. Curtis ended up selling the film for only $1,500.
The finished film consisted of six reels of film and Curtis said that he had given a copy to the Museum of Natural History. The Museum had no record of the film being donated. Three badly damaged reels were found in a dumpster in 1947. UCLA had another partial copy. The film was painstakingly recreated but approximately one third of the original film was lost. The Getty Research Institute had incorrectly linked the musical score with another film but it was eventually reunited with the Curtis film.
Milestone Films produced a deluxe edition of the restored film in 2014, 100 years after the original film was created. It can be purchased from their website. This movie can be rented or purchased through Amazon Video and iTunes.
Photos by Edward S. Curtis in this article are from the following source: http://curtis.library.northwestern.edu/index.html
Edward S. Curtis had married Clara S. Phillips in 1892 and they had four children together. He was gone for long periods of time working on the book project. Due to his long absences and the financial drain on the business, Clara divorced him in 1916 and gained full custody of their children. He moved into the Rainier Club in Seattle and paid for room and board by taking portraits of its wealthy members. At the time of the divorce many negatives were lost because both Clara and Edward S. Curtis destroyed them rather than see the other person own them.
In the 1920’s Curtis worked briefly in the motion picture business. He worked on Tarzan movies and in 1923 worked on The Ten Commandments with director Cecil B. DeMille. After a few years in the business he went back to working on The North American Indian project, though on a much smaller scale. He took his daughter, Florence, with him into the field.
Though J.P. Morgan and his son, J.P. Morgan, Jr., financed half of the $1.5 million eventual publication costs, Curtis lost money to the point that he borrowed against his own copyrights. He ended up giving the remaining copies to Morgan. The copyrights were sold to the Charles E. Lauriat Company in 1935 for $1,000, plus a percentage of future royalties. A complete set was donated to the University of Oregon and this was Curtis’ own set that he had kept hidden from Morgan.
Curtis ended up living the last 30 years of his life near his daughter, Beth Magnuson, in California. She financed a trip for her father so that he could document the Eskimo people. She also paid for an assistant named Stuart Eastwood. Beth went with him on this trip. They hit a bad storm almost immediately and ended up being stuck high and dry on a sandbar for two days. There is film footage showing them stuck on the sandbar. They went on to Nunivak Island and Curtis was impressed by the people there saying “he never knew a happier and more thoroughly honest and self-reliant people”. He said that he had “found a place where no missionary has worked.” Sadly, about ten years after his arrival, Swedish missionaries established themselves and destroyed much of the culture.
When he returned from his trip to the North, he was arrested for failure to pay alimony to his wife. He had to point out to the judge that he had no money since he had not been paid for the project. Curtis actually wept in front of the court upon disclosing his financial situation. The judge threw the case out.
When the Great Depression hit, there was little interest in an expensive publication such as his. In 1932 Curtis moved to Colorado and had a complete physical breakdown. He spent time with his son doing gold mining. He invented a device to extract gold dust, the Curtis Counter Current Concentrator. Curtis started to write about gold mining.
In 1948 Curtis was contacted by a retired librarian in Seattle named Harriet Leitch. The Seattle Historical Society wanted to know more about a partial set of The North American Indian that had been donated to them. Though there seemed to be little interest from the public about him in his last years, Harriet was able to record much of his life story from their correspondence.
Edward S. Curtis passed away in 1952 and is survived by his grandchild, Gary Curtis, and three great-grandchildren. Gary, age 88, lives on the Olympic Peninsula in Washington State. He plans to be around for at least three more years so that he can celebrate the 150th anniversary of Edward S. Curtis’ birth in 2018. Representatives from several institutions owning some of Curtis’ work recently met to discuss what they would like to show at the sesquicentennial event.
Curtis decided to make it his life mission to document the tribes of North America. He thought they were on the point of vanishing. At one point he went to the Smithsonian to ask for financing but they told him, “We have experts here; some have even been to Indian country”. They preferred to work with researchers with credentials from academia. The Smithsonian also told Curtis that the Native Americans had no religion and it is interesting to note that Curtis documented that everything done by the people featured in the books is done to a sacred and spiritual point.
Curtis approached financier and banker J.P Morgan about financing the project but was turned down at first. He pulled out some of his photos and Morgan was so impressed by them that he offered to finance him with an initial investment of $75,000. Morgan was particularly impressed by the photo of a girl entitled Mosa-Mohave.
Curtis had an eye for excellent composition and he put a lot of time into understanding his subjects. He would wait patiently for facial features to settle and then photograph the “essence of soul”. President Theodore Roosevelt admired Curtis’ work and even hired him to photograph his daughter’s wedding. He also photographed Theodore Roosevelt and one of his friends said of the photograph, “It is more than a picture. It is the man himself.” Roosevelt, who thought of Curtis almost as if he were a member of his family, wrote the foreword for the Curtis books. He encouraged Curtis to pursue The North American Indian project.
Curtis and J. P. Morgan agreed on a plan to produce 20 volumes that would be sold on a subscription basis. Subscribers were forced to buy the entire set at a very high cost so the number of subscribers was limited. The cost was equivalent to the price of a large mansion. Though plans were originally made to print 500 copies, only 272 copies of Edward S. Curtis’s: The North American Indian were printed. In the early years of the project there were many subscribers but those numbers dwindled. The first volume was completed in 1907 and the last was published in 1930. When the stock market crashed in 1929, printing of the volumes was pretty much over.
Curtis felt trapped in a way. He had promised that he would complete the 20-volume set and felt duty-bound to deliver on that promise. Though there were slight changes in the techniques and prints over time, he wanted to be consistent with the appearance of the finished product. People had paid in advance for the volumes and they expected a certain level of quality. Work by other photographers of the times, such as Lewis Hine, focused on harsh realities but Curtis’ kept his original intent, composition, and production techniques. Though aesthetics had changed, The North American Indian did not reflect those changes.
Curtis’ quest to document the tribes severely impacted his personal life. He worked 15-17 hour days and had two mental breakdowns requiring hospitalization. The “short nights” featured in the title of Timothy Egan’s book refers to the fact the Curtis slept so little. He wrote six to eight letters per night asking for additional funding. Curtis even created a first-of-its-kind multimedia show, The Indian Picture Opera, in order to promote the books. The opera included hand-tinted lantern slides and an original score. Curtis crisscrossed the continent 130 times. At one point in time he worked with his brother, photographer Asahel Curtis, but Asahel was not credited for much of his work. They likely became estranged due to this and other incidents and never spoke to each other again.
Edward S. Curtis was born in Wisconsin in 1868. Two years before he was born, the Indian Wars were taking place. There were 200 battles in an eleven-year period. His father, Reverend Asahel “Johnson” Curtis, served in the military but was injured in the Civil War. He worked as a traveling pastor for a while until his health deteriorated. The Curtis family lived in abject poverty on a farm. Edward and his father moved to the Seattle area in Washington State and built a cabin near Port Orchard. Sadly, the reverend passed away on the day his wife moved there in 1887. These early life experiences affected the work of Edward S. Curtis.
Though Edward only completed sixth grade, his intelligence and drive helped him go on to become famous for documenting Native Americans at a time when many thought they should be eliminated. In the process, he used techniques in photography development and printing that brought his subjects to life. Of the 50,000 negatives that he made, only around 1,000 are known to still exist. He also made 10,000 sound recordings on wax cylinders documenting the language and songs of many of the tribes he encountered. About 800 of the cylinders still exist. His film on the Kwakiutl (now known as Kwakwaka’wakw) was the first to use actual tribal members.
Edward had an early interest in photography and built his own camera from salvaged parts at age 12. Curtis apprenticed with a photographer in Wisconsin when he was 17. When the family moved to Washington State, Curtis came up with $150 to pay for half of a photographic studio business owned by Rasmus Rothi. Six months later, he left that studio and began working with Thomas Guptill in a much larger space. His skill as a photographer, coupled with good looks and a charming personality, helped to make him very well-known and he was often sought out by the rich and famous.
In 1896 he decided to photograph the daughter of Chief Sealth, known as Princess Angeline, who lived in a small shore side hut on the outskirts of Seattle. She made her living digging clams. Though the city was named after a Native American chief, Native Americans were not allowed within the city limits. Curtis offered to pay her a dollar for each photograph he took of her. This was the equivalent of a week’s wages. He entered three of the photos in a photography contest sponsored by the National Photographic Society. One of the photographs, Homeward, won the exhibition’s grand prize and a gold medal.
Curtis enjoyed mountain climbing and in 1898 happened to be on Mt. Rainier when six people were trapped there by a storm. The group included several influential members of society including George Bird Grinnell, National Audubon Society founder, and Clinton Hart Merriam, head of the U. S. Biological Survey and co-founder of the National Geographic Society. Curtis rescued the lost “tenderfoots.”
George Bird Grinnell had Curtis appointed as the official photographer of the 1899 E.H. Harriman Expedition to Alaska. The ship had so many experts representing various fields of study that it was essentially a floating university. John Muir, John Burroughs, and Gifford Pinchot were among the passengers.
One of the turning points in Curtis’ life came in 1900 when Grinnell asked Curtis to photograph Blackfoot tribal members in Montana. Grinnell was known as being one of the most knowledgeable authorities on Native Americans in North America at the time. Curtis worked at photographing the Piegan people as they performed the Sundance ceremony. After that trip, he pulled money from the studio in Seattle to finance a trip to see the Hopi tribe. He ended up visiting the Hopi year after year and was eventually adopted by them and allowed to see parts of their snake dance.
The North American Indian books include many photographs and the larger size portfolios contain additional images. The images are never referred to in the text. Curtis would sometimes wait weeks to capture the right image. He was aware of the effect photographing from different angles would have on the subject matter. In some of the pictures he photographed subjects from low camera angles with the camera pointing upwards while in others he focused just below the axis of the eyes. The Old Klamath Woman portrait shows the eyes in sharp focus but the image softens out by the time you get to the cheekbones. As Dawn Boone of A6 observed, the woman pictured is “softening back into the earth right before our eyes.” There is a certain determination expressed in the faces of some of the people even though they had been living against a background of loss.
Curtis’ work was influenced by the Emersonian transcendentalist’s movement. In transcendentalism, the role of nature was considered to be very important. This is evident in the Chief-Klamath image that shows a figure looking out at Crater Lake. He is standing with his back to the camera next to a small stand of trees. His form echoes the shapes of the forest. Another photo, Quiet Waters- Yurock, shows a fisherman on a cliff side blending into the environment and nearly disappearing in the reflection in the water below.
The prints contained in the books are an intersection of photography and engraving. Curtis would frame the shot using a wooden box camera and he would view it through the lens upside down and backwards. The equipment Curtis used was large and heavy. At one point a mule carrying his equipment tumbled off the trail in the Grand Canyon. He spent 12 hours reconstructing his camera. He would usually make a quick cyanotype print to see if he was satisfied with the shot. If satisfied with the initial image, Curtis would then use the photogravure process to make the final print. A glass plate negative was used in the camera. An image would be photographically transferred to a copper plate through the use of a gelatin-coated light-sensitive tissue. The image would be etched into the plate with acid and then prints would be made from that plate. Curtis made some of the prints with a gold tone process in which gold was worked into the glass plates. That was his favorite method but the plates were very fragile. He, like Albert Stieglitz and other Pictorialists, preferred the more artistic photogravure process over other methods available. The influence of the Pictorialists can clearly be seen in Edward S. Curtis’ work.
Albert Stieglitz, a contemporary of Curtis’, was originally from New Jersey but did much of his work in New York City. He married artist Georgia O’Keefe in 1924. His office was close to an office Curtis sometimes used so they likely at least knew of each other.
As handheld cameras for amateurs became widely available, Stieglitz became determined to prove that photography was as much an art form as painting and sculpture. In 1902 Stieglitz and several other photographers broke away from the Camera Club of New York, where he worked as editor of their Camera Notes publication, to form the Photo-Secession group. Stieglitz often made platinum prints because of the overall feel this process gave to the image. The pictures often included elements from nature seen through a soft haze. Subject matter was often posed in an idealized way as if in a painting. Deep sepia ink tones unified the images. Stieglitz selected specific papers for printing that showed “toothiness.” The lack of reality in the photographs may have been partly in response to current events such as the world war looming on the horizon. Stieglitz could be very opinionated and overbearing so other Pictorialists started their own groups in pursuit of more artistic freedom. Like Curtis and his work, Stieglitz ran out of money to produce Camera Notes as interest waned and he ended up with an overstock of the publication. By 1917, artists began moving away from the Pictorial movement towards more abstract forms.
Events and exhibits related to photographer Edward S. Curtis were located all over Bend in the months of September and October. Curtis documented Native American tribes living in many parts of North America in the late 1800’s and early 1900’s. Part of his work was featured in a 20-volume set of books and 20 separate large-format portfolios entitled Edward S. Curtis’s: The North American Indian. An estimated 10,000 people were featured in his work.
The idea for this citywide program began when a number of prints were offered to Atelier 6000 (A6) Studio & Gallery in Bend, OR to exhibit and sell on a commission basis. Three volumes of The North American Indian were donated by former gallery owners Steve and Sandra Miller.
This long article will cover most of the events and exhibits and will help you learn more about Edward S. Curtis. This is Part I and it sets the scene.
Here is what was included in the citywide program:
What makes Curtis so special that so many events and exhibits related to him took place in Bend? With the advent of the Internet, the images he created seem to appear fairly often but not everyone knows him by name. If you have looked at some of his portraits they have probably brought emotions to the surface that you weren’t expecting. The photos go beyond the usual portraits and capture a time and spirit lost to us now. His use of light, shadow, and composition brings his subjects to life. The expressions in the portraits range from bold and noble to young and vulnerable. Some of the pictures are of a more serious anthropological nature while others are pure art. While he was best known for his portraits, his scenic pictures and still lifes were also remarkable. His work later influenced well-known artists such as filmmaker, John Ford, and photographer, Ansel Adams.
Curtis may be best known as a photographer but he also was an accomplished printer, bookmaker, writer, ethnographer, and cinematographer. He hired writers, editors, anthropologists, translators, and other personnel along the way but always oversaw the work to ensure its quality. In order to cover the many facets of his work, A6 Studio & Gallery enlisted the help of several venues to showcase his work.