Madame John’s Legacy, Newcomb Pottery Exhibit

The Madame John’s Legacy museum in New Orleans — in simplest terms — is an example of how homes were built in late 1700s New Orleans, as it is believed to have been built in 1788 and survived the 1794 New Orleans fire. The home is French West Indies Colonial Creole, and due to flooding concerns, the nicer living areas were designed for the second floor, where one enters even today:

This green color paint is true to the era in which the house was originally built, when such colors were limited — this is a mixture of white paint and earth pigment.

The home’s name was inspired by the George Washington Cable 1874 short story “The Poulette” which features a character who is bequeathed a home on this same Dumaine Street.

It was constructed brick-between-post

In 1820, the home was bought by Madame Marie Louis Patin Roman — her daughter had the plantation Le Petit Versailles which no longer exists (description), and her son had Oak Alley (all this from Plantations and Historic Homes of New Orleans). Another son became governor of the state.

In the mid-1920s, it was sold to Stella Hirsch Lemann who recognized its architectural importance, and she made the house something of an artists colony. Some of the artists paid Ms. Lemann’s generosity back by making their own likenesses of the home. She eventually gifted the home and it operates as a Louisiana State Museum.

A great Google virtual tour of the museum here.

An exhibit of Newcomb Pottery is on permanent exhibit
Madame John's Legacy, New Orleans LA//embedr.flickr.com/assets/client-code.js

Madame John's Legacy, New Orleans LA//embedr.flickr.com/assets/client-code.js

Madame John's Legacy, New Orleans LA//embedr.flickr.com/assets/client-code.js

Louisiana Old Capitol Museum, Baton Rouge — And Its Glass

Louisiana’s Old State Capitol Museum was a very short walk from the downtown Baton Rouge Hilton

Old Capitol Museum, Baton Rouge LA//embedr.flickr.com/assets/client-code.js

It was built when the capital was decided to be moved here from New Orleans, from 1847-49. The design, neo-Gothic castle, was both loved and hated. James H. Dakin, the architect, called it “castellated Gothic”.

From the Historic Register paperwork:
Like a cathedral, the Capitol has a cruciform plan. The east-west axis
is comparable to a nave and contains the House chamber on the west end
at the second floor and the Senate chamber in the apse, each with a giant
stained glass window behind the now vanished rostrum. The transepts
continue in use as office space. Each arm of the plan terminates in two
towers; those at the west are octagonal, the others square.

It suffered many destructive phases, including being used as a prison during the war. In the 1880s, the interior was redone, which is when the gorgeous interior rotunda was designed by architect William A. Freret.

It was used until the state government moved to the new capitol building in 1932.

One of the more unexpected aspects is the approximately 12-minute kitschy 4D film that explains its history.

There’s of course plenty about Huey P. Long,

One more intimate room plays ‘In Memoriam’, an original by Castro Carazo, composed for and played at Huey Long’s funeral. The room includes the pistol supposedly used to shoot Long, and this bullet mystery:
Old Capitol Museum, Baton Rouge LA//embedr.flickr.com/assets/client-code.js

It’s no wonder that the space is often rented out for weddings and other big celebrations

Old Capitol Museum, Baton Rouge LA//embedr.flickr.com/assets/client-code.js

What serve now as ballrooms were the spaces for the House and Senate
Old Capitol Museum, Baton Rouge LA//embedr.flickr.com/assets/client-code.js

Fall Pilgrimage Decatur, And The Jesse Owens Museum

The Alabama Historical Association had its fall pilgrimage last month in Decatur, and the first tour that many of us attended was that for Pond Spring, the General Joe Wheeler home in Hillsboro. Wheeler was commander of cavalry for the Confederate Army of Tennessee, served as a member of Congress, then returned to serve the US during the Spanish-American War. He was the only person known to hold the same position in the CSA and then later the US Army — in his sixties, he fought alongside Teddy Roosevelt in Cuba where he is quoted as saying, “Let’s go, boys! We’ve got the damn Yankees on the run again!” (which was included in Ken Burns’ excellent Roosevelts doc series) — and is one of only two former Confederate generals to be buried at Arlington.

Pond Spring is an 1870s Federal style that was recently restored. It sits on a 50-acre site that includes another circa-1830 Federal-style, some farm outbuildings, three cemeteries, a small Indian mound (which I’ll explore next time), gardens including a boxwood garden (they loooooved boxwoods — there’s an annual plant sale), and this ~1818 dogtrot log house, where the original settlers first lived:

As part of the pilgrimage, we also visited historic sites in Decatur including the Old State Bank,

downtown,

the circa 1829 Dancy-Polk House, which is a private home now

from its historic marker:
The oldest home in Decatur still standing, this Early Classical Revival mansion was built by Frank Dancy and was a private residence until 1872, when it became a boarding house and hotel. During the Civil War, the home belonged to Dancy’s daughter, Caroline Wood, and occupied the front center of Union fortifications during the October 1864 Battle for Decatur, and was used as Federal officer’ quarters. Tradition holds that a Confederate 6-pounder cannon ball, fired from the Confederate lines south of here, struck and dislodge one of the chestnut columns on the lower front porch. The column was subsequently repaired, and the patch can still be seen today. Local legend also maintains that the main staircase was damaged by Federal cavalrymen during its occupation. The house passed to Dancy’s granddaughter, Lavinia, in 1869, after she married Captain Thomas G. Polk, a nephew of late Confederate General Leonidas Polk and cousin of late U. S. President James Knox Polk. One of a handful of structures in Decatur to survive the Civil War, the Polk House, as it was later known, became a popular stopping point for train passengers. Joseph Wheeler, a Confederate General, later a U. S. Congressman and U. S. General, and a resident of Courtland west of Decatur, is known to have stayed at the Polk House. Noted outlaw Frank James allegedly stayed at the Polk House under an assumed name in 1883. James later said that he never committed any robberies in Decatur because “there was nothing worth carrying off.”

featuring a handrail damaged by a Federal soldier who apparently found out it was harder to destroy than he thought
Dancy-Polk House, Decatur AL//embedr.flickr.com/assets/client-code.js

the circa 1836 Burleson-Hinds-McEntire House which served as a military command post – more in the home’s National Register paperwork

from its historic marker
This Greek Revival mansion belonged to Dr. Aaron Adair Burleson and his wife, Janet, during the Civil War. Part of an original 778-acre land grant, the brick home covered by Flemish bond, features 18-inch thick walls and contains one of the significant Federal period interiors in North Alabama. The iron fence work surrounding the property is original and Union soldiers used it for drying blankets as seen in the accompanying photograph. The original gates, however, are missing and are thought to have been taken by soldiers for use as fire grates. Before the war, Burleson served as the first President of the Tennessee and Central Alabama Railroad which became part of the Nashville & Decatur Railroad – a vital north-south transportation link. Burleson served as a physician with the rank of Major in the Confederate army. Confederate General Albert Sidney Johnston is thought to have stayed in the home while reorganizing his army here in March, 1862, although his headquarters were actually located in the office of the nearby McCartney Hotel. During the occupation of Decatur the Burleson family was well treated, and “got along with their guests with minimum friction,” according to relatives. Janet Burleson received passes to travel between the lines until she was caught smuggling quinine to injured Confederate soldiers, which she accomplished by putting the medicine in holes bored into her surrey and sealing them with beeswax. When Union Major General Grenville M. Dodge ordered citizens to evacuate Decatur in early 1864, the Burleson family’s possessions were piled in the street and burned. Among those possessions were books from Dr. Burleson’s library. A volume of “Byron’s poetic works, “ stolen from the fire heap by a Federal soldier and then confiscated by Lieutenant L. N. Weeks of the Federal army, was returned to the family in 1900. The home was sold in 1869 to Jerome Hinds, a former Union soldier from Illinois. It was here that Hind’s niece, Grace Hinds, was born. She later married Lord Curzon, who at one time was England’s Viceroy of India. After the Hinds’ occupation, the home was used as a boarding house and hotel before standing vacant until its purchase in 1895 by R. P. McEntire for use as a private residence. The home remains a private residence, and the privacy of the family should be respected.

There were plenty of other sites to choose from, but especially for those of us who went out to Pond Spring, it would have been just another thirty minute drive to have visited the Jesse Owens Museum in Danville and the Oakman Indian Mounds. This isn’t a criticism — the pilgrimage was great — it’s just that these two other spots were so close that I made my own trip to visit them and hope they can be considered in some upcoming meeting when AHA again meets in that part of the state.


We’ve been to the park several years ago, but this week on my way to a meeting in Huntsville, I stopped and was able to go in the museum and the replica cabin where Jesse Owens lived until his family moved to Ohio when he was in elementary school. It’s there in Ohio, when the teacher misunderstood him saying that his name was ‘JC’ for James Cleveland that he started being known as ‘Jesse’.

The museum is well done, and includes a 40 minute movie
Jesse Owens Museum, Danville AL//embedr.flickr.com/assets/client-code.js

Many of the items featured are replicas, like his 1936 Olympic uniform featured here and his Congressional Gold Medal and Medal of Freedom, but the Owens family donated many other items of note, like a track time program from the games.

Adidas sponsored a display of track equipment then, and now.

Outside, the monument

and a very short walk away is the replica cabin where Jesse spent his earliest years, with the walkthru narrated by a recording of his brother
Jesse Owens Museum, Danville AL//embedr.flickr.com/assets/client-code.js

The parents’ room served as the main room of the house
Jesse Owens Museum, Danville AL//embedr.flickr.com/assets/client-code.js

The children — Jesse was the tenth child — slept on the floor in this fashion in another room. Jesse’s health was poor as an infant and toddler, and was unable to go to the doctor due to finances as the family were sharecroppers. Despite these conditions, the museum explains that he found tremendous freedom as his health improved and he was able to run. The school the children attended was nine miles away.

In high school, Jesse’s skills were discovered and he joins the track team, going on to break world records. At Ohio State, he proves himself as a track star, being undefeated in 42 events.

The museum tells the story of Jesse meeting Babe Ruth right before the Olympics:
Jesse meets Babe Ruth at a dinner honoring the Olympic athletes. When Babe Ruth asks Jesse if he is going to win at the Olympics, Jesse replies, “I will try.” Babe tells Jess, “Everybody tries, I succeed. Why? Because I know I’m going to hit a home run just about every time I swing the bat. I’m surprised when I don’t. Because I know it, the pitchers, they know it too. Know, Jesse, that you will win!”

Jesse wins four gold medals. His accomplishments after becoming the world’s most famous athlete go on and on.

Today, his granddaughter speaks on his legacy, recently at a college campus for an ‘Embracing Our Differences’ program.

Jesse Owens Museum, Danville AL

Whitney Plantation: The Only Plantation Museum in Louisiana With A Focus on Slavery

Last summer, we visited Whitney Plantation in Wallace, Louisiana. I think one of the best ways to make sense of the experience is from this CBS video
http://www.cbsnews.com/common/video/cbsnews_video.swf

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This isn’t another ‘big beautiful plantation house’ tour. John Cummings, a New Orleans lawyer, put $8M into what started as in investment and instead led him to develop the ‘Nation’s First Slavery Museum’. It’s a guided tour (admission: $22/adult, plus guide gratuity) — and there’s no going about the grounds on one’s own. First stop: Antioch Baptist, moved to this site.
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

The statues of children here and elsewhere on the tour are by Woodrow Nash (more about him in an upcoming post). Their presence and positioning here is striking.
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Here, the ‘big house’ — home to the Haydel family
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Very little of the tour is spent in the house — maybe ten minutes of the 1.5-2 hour tour.
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Yes to tester beds and the like, but the furnishings on display are not the resplendent luxe that one usually sees on River Road mansion tours. It’s just not the focus here.

The murals around the home are by Milan-born Dominico Canova, an important New Orleans-based painter who worked in homes, hotels, and churches. He and Antoine Mondelli painted the ceiling at Our Lady of the Lake; Canova also painted frescos at St. Alphonsus and is believed to have painted at St. Louis Cathedral, but there’s inconclusive evidence. He’s believed to have painted the murals at the San Francisco plantation (though probably not unaided) and here at the Whitney:
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

There are so many stories to tell here, but the museum is such that I really implore you if you ever have the opportunity (and it’s only about an hour from New Orleans) to visit and hear these first-hand. They can’t possibly be done justice here.

Whitney Plantation, Wallace LA

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Whitney Plantation, Wallace LA

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Whitney Plantation, Wallace LA

Carriage House
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Here, the types of cells that slaves would have been imprisoned in; these cells were manufactured in Philadelphia. These were brought here when the grounds were being set up for tours — they aren’t original to this plantation. Part of the narrative given to us here is that northern companies knew what was going on, profited and aided the south in this awful business.

Whitney Plantation, Wallace LA

Whitney Plantation, Wallace LA

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Whitney Plantation, Wallace LA

Rows of slave homes
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

There were 22 slave cabins on the site (downriver from the ‘Big House’) prior to the War, and most were destroyed in the 1970s when the road was made wider. Two of these houses are original to the plantation, and the others were brought here from Myrtle Grove Plantation in Terrebonne Parish.
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

This sculpture, The Longboat, is by Ed Williams of Houston. The longboat was used in situations in which the large slaveships couldn’t reach (shallow depths to land, up rivers, etc).

Whitney Plantation, Wallace LA

Here, the Allees Gwendolyn Midlo Hall, the names of 107k people held in bondage in Louisiana from 1719-1820, with the research on those names done by the aforementioned Ms Hall.
Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

When I asked our guide where the slaves here were buried, he laughed at me (seriously, he looked right at me and laughed). He said there was no such thing as a cemetery. I explained that while I wasn’t expecting some well-manicured lawn with impressive monuments, surely there was some plot/strip of land here or elsewhere close by that was used for the purpose, and where that might be. He thought it was a ridiculous notion that the slaveholders here at the plantation would designate any land for such a purpose for the disposal of dead slaves. I let it drop. But surely there is some place at Whitney or nearby which served as a cemetery in any definition. Perhaps an archaeological survey could take place if it can not be located. There’s one ongoing at Mount Vernon.

From April in the NYT: Why Slaves’ Graves Matter

Whitney Plantation, Wallace LA

The last stop is back inside the welcome center, where people are encouraged to leave their thoughts on post-its

Whitney Plantation, Wallace LA

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Whitney Plantation, Wallace LA//embedr.flickr.com/assets/client-code.js

Folk Couture: Fashion and Art Exhibit at the Huntsville Museum of Art

Only a bit before it closed this summer, I got to see at the Huntsville Museum of Art the Folk Couture: Fashion and Art Exhibit, which was organized by the American Folk Art Museum in New York. They had it on exhibit in NY during the early part of 2014, and since it left Huntsville, I have been unable to locate if the exhibit has been returned for some period, or will be on loan to another museum in the near future.

Folk Couture Exhibit at Huntsville Museum of Art//embedr.flickr.com/assets/client-code.js

From the exhibit’s site:
Fashion has always found inspiration in unpredictable sources: art, life, history—there are no boundaries. In this spirit, the American Folk Art Museum explores the relationship between inspiration and creation. Thirteen established and emerging designers have created original ensembles inspired by artwork in the museum’s collection.

Here, a Bibhu Mohapatra dress, inspired by the rare Tattoo Pattern Book.

Creatures of the Wind dress by Shane Gabier and Christopher Peters — Vogue has their Fall ’16 RTW show here.

Niiiice:
https://player.vimeo.com/video/179234512?color=ffffff&title=0&byline=0&portrait=0
Just One Eye and Creatures of the Wind from Shannon Bellanca on Vimeo.

Fall 2016 show:
https://player.vimeo.com/video/155698217?color=fa5616&title=0&byline=0&portrait=0
Creatures of the Wind Fall 2016 from Creatures of the Wind on Vimeo.
The outfit at 2:12 is just delicious in such a weird way. And 2:21, yesss.

John Bartlett wallhanding inspired by unidentified artist’s ‘man with green shirt and white suspenders’ that’s believed to be either Canadian or US.

Anniversary Tin: Man’s Top Hat and Eyeglasses, made sometime between 1880-1900 in Gobles, Michigan

Michael Bastian ensemble with Angel Gabriel weathervane circa 1840

Jean Yu dress with David Alvarez porcupine

Seated Jackalope by Alonzo Jiminez

Sam Doyle seated dog

Yeohlee Teng dress — she took snapshots of carved animals (the Sam Doyle dog, Jiminez jackalope) in the museum’s storage area and used these as print tiles on kraft paper

This is a Quaker friendship quilt by Elizabeth Hooten (Cresson) Savery and others made in 1844 Philadelphia

the quilt inspired this threeASFOUR laser-cut flower-print patent leather over Spandex power mesh dress

Spring-Summer ’16:
https://player.vimeo.com/video/143647429?color=ffffff&title=0&byline=0&portrait=0
INTERDIMENSIONAL Spring Summer 2016 from threeASFOUR on Vimeo.

left to rigth: Chadwick Bell, Fabio Costa, Catherine Malandrino dresses
Chadwick Bell, Fabio Costa, Catherine Malandrino dresses//embedr.flickr.com/assets/client-code.js

Gary Graham ensemble, with fabric woven from a loom at RISD

https://player.vimeo.com/video/83943939?color=ffffff&title=0&byline=0&portrait=0
Weaving the Jacquard Coat, 2013, Courtesy Gary Graham, New York from American Folk Art Museum on Vimeo.


From the NYT review:
“Though fashion may be the lure, the art shines. Even at their most outré, the outfits complement rather than distract from the many gems of the American Folk Art Museum’s collection.”

and

“Folk Couture” also proves that museums can explore fashion on a budget, without the need for celebrity designers, brand sponsorships and elaborate set pieces. Not every show has to be McQueen at the Met or Gaultier at the Brooklyn Museum.

Arkansas Arts Center, Heifer International, Clinton Presidential Center, And Chihuly

The Arkansas Arts Center in Little Rock — it’s a smaller museum with several enjoyable pieces. This Judy Onofrio: Just Pretending 1995 is placed prominently at the entrance

Her more recent works seem to take on a neutral palette with anatomical forms.

Bisa Butler, Basin Street Blues 2013. acquired by the museum in the last couple of years and is the museum’s first denim quilt.

The quilt is made up of denim and indigo-dyed cloth from Ghana and is an “homage to (the artist’s) favorite jazz musician, Louis Armstrong”. 

Also on display on this visit were works by Pissarro, Renoir, Monet, Cezanne…
Gallery, Arkansas Arts Center, Little Rock//embedr.flickr.com/assets/client-code.js

Here, Diego Rivera’s Dos Mujeres (Two Women) 1914

Particularly compelling is this piece by Gerry Williams, Rendering Lorraine
Gerry Williams, Rendering Lorraine, Arkansas Arts Center, Little Rock//embedr.flickr.com/assets/client-code.js

especially when viewed from behind, where the children are in view
Gerry Williams, Rendering Lorraine, Arkansas Arts Center, Little Rock//embedr.flickr.com/assets/client-code.js

Gerry Williams was the son of missionaries who ran a school in India. His father worked to improve sanitation there and built a septic tank, which was so novel that Gandhi made a point to see. Gandhi asked his father to build one for his house, which he did. Gerry says:
“I never met Gandhi myself because we were in school when he came. But I have been deeply influenced by Gandhi over the years. The idea of handicraft and low agricultural economies, living in mud-brick homes, growing things, making things for use by other people.

“[Gandhi] also influenced me in my ethics and moral life. I became a pacifist and spent time in jail as a conscientious objector. He allowed me to say ‘what am I going to do with my life that will be ethical and politically responsible?’ Being a potter is what I came to believe the answer to that question was.”

Civil Rights photography by Will Counts of the Little Rock Nine
Will Counts Photography, Arkansas Arts Center, Little Rock//embedr.flickr.com/assets/client-code.js

Will Counts Photography, Arkansas Arts Center, Little Rock//embedr.flickr.com/assets/client-code.js

This is the 5th Grade Gibbs Magnet School Project, Blancaflor (White Flower) which is based on a folk tale from Oaxaca, Mexico

5th Grade Gibbs Magnet School Project, Blancaflor (White Flower) based on a folk tale from Oaxaca, Mexico, at Arkansas Arts Center, Little Rock
A bit later, Av went to work while I visited Heifer International Village — Heifer’s mission is to help end hunger and poverty, and you may have seen their catalogs in which people may purchase livestock to be gifted to families in developing countries. Heifer’s work is more multi-faceted, but this area is the one in which I’m more familiar, as Av and I try to make certain that each Passover we purchase some animal(s) from the catalog for another family in honor of our seder guests. 
Inside the building, visitors are encouraged to view their displays, and it’s especially good for children. There’s also a gift shop which sells handmade goods from around the world.
One of the questions I was sure to ask was something that came up when I was reading reviews of the facility before my visit — there was some disagreement online as to whether the gifts are actually 100%. That is, if I purchase a goat, is someone in some other country actually getting a goat? I asked directly and was answered that yes, absolutely, purchase a goat, someone gets a goat. It’s not that I’ve purchased 70% of a goat and 30% goes to administrative costs. They said it’s just that easy. A purchase of a goat equals someone getting a goat.

Heifer International Village, Little Rock AR//embedr.flickr.com/assets/client-code.js


Heifer is behind the Clinton Presidential Center
Clinton Presidential Center, Little Rock AR//embedr.flickr.com/assets/client-code.js

Clinton Presidential Center, Little Rock AR//embedr.flickr.com/assets/client-code.js

Letter from Willie Morris (with mention of a Razorback game)
Letter to Bill Clinton from Willie Morris//embedr.flickr.com/assets/client-code.js

Letter from Mister Rogers
Letter to Bill Clinton from Mister Rogers//embedr.flickr.com/assets/client-code.js

Letter from Queen Noor to Hillary Clinton
Letter to Hillary Clinton from Queen Noor//embedr.flickr.com/assets/client-code.js

Replica Oval Office
Oval Office//embedr.flickr.com/assets/client-code.js

Makings of a formal White House dinner
White House China//embedr.flickr.com/assets/client-code.js

White House China//embedr.flickr.com/assets/client-code.js

Dale Chihuly Crystal Tree of Light

Dale Chihuly Crystal Tree of Light

The Globe and Mail even had to compare Chihuly’s work to a current political figure, speaking of the current Chihuly exhibit at the Royal Ontario Museum in Toronto:

It’s a sensational show – albeit in the pejorative sense of sensational. Meaning: Full of Teletubby colours and flash and bigness and strange shapes drawn from some Baudelairean fever dream or the remnants of an explosion on the set of Pee-wee’s Playhouse. Meaning: Almost always relentlessly immodest, forever straining to elicit a slack-jawed “Wow” from the spectator. Meaning: Visually noisy, superficial, bereft of genuine nuance and subtlety, provocative but not thought-provoking.