Back on Track in Richmond with...Mocha Dick and Confederate Industrial Ruins

Ok, getting Museum at Work back on track from de facto summer hiatus. After about a million different plans for first week of August, I ended up visiting my charming brother in DC, who was accommodating and delighftul enough to drive me all the way to Richmond to see this fantastic, totally rad installation at the Virginia Museum of Fine Arts. Presenting...Tristan Lowe's Mocha Dick:

Tristin Lowe’s colossal sculpture Mocha Dick is a fifty-two-feet-long recreation of the real-life albino sperm whale that terrorized early 19th-century whaling vessels near Mocha Island in the South Pacific. Mocha Dick, described in appearance as “white as wool,” engaged in battle with numerous whaling expeditions and inspired Herman Melville’s epic Moby-Dick (1851). Lowe worked with the Fabric Workshop and Museum in Philadelphia to make the sculpture: a large-scale vinyl inflatable understructure sheathed in white industrial felt.


 Unbelievable. Naturally, I HAD TO GO. IT WAS SUPER WORTH IT.

I think this is a brilliant and effective museum touch:

Next up, the National Park Service Civil War Visitor Center at the site of the Tredegar Iron Works. In search of my National Park Passport stamp, I admit that I had no idea we were stumbling into the remains of the Confederacy's main iron works. Pretty creepy. I also admit that we skipped the private museum, had a lovely chat with an NPS volunteer, and then poked around the industrial remains. In addition to a partially intact waterpower system, most of the remaining infrastructure was post-Civil War era manufacturing equipment, and the Park Service has displayed a number of turbine pieces outside so visitors can explore the 19th century technology up close and personal, including:

• touching
• smelling
• peering
• taking stupid pictures
• climbing
• "whoa"-ing

All of which provided this loudmouth anti-Confederate Northerner an opportunity to make some interesting intellectual and emotional connections with this unusual site. And take a couple dumb pictures. 

My brother could have made some good connections too if he hadn't had to say, "Em, the park rangers are going to yell at us" every fifteen seconds. That no-touch stigma is hard to shake.

Back to Tennessee

I've never been to Tennessee. I should probably go though, because I now know two great songs about going back to Tennessee. Whoa, man. Boy do I love having a blog...yeah, this has something to do with industrial history.


Of course, the Grateful Dead: http://www.youtube.com/watch?v=t7oNS-bDZqc

And, from her really, really good and brand new album The Harrow and the Harvest, Gillian Welch: http://www.youtube.com/watch?v=PRA3sQoCluo

This made me wonder what's so great about Tennessee, and then I found this: http://www.bemishistory.org/ Click it! Bemis, Tennessee (Bemis also being, weirdly, the most annoying of my childhood parental nicknames): Where Industry and Friendliness Blend Into Progress. Early 20th century southern cotton mill ideology at its most succinct!

Anyway, after my snotty northern socialist self got over that old-timey corporate line, I got to thinking about the thousands of very local industrial history sites around the country. The website isn't the slickest, but its grassroots community focus, pride, and content is apparent -- an online exhibition, local events, ways to contribute memories, conduct family research, and get involved in preservation. And that's an immediate audience connection that bigger, shinier museums sometimes struggle to capture.

The Workers: MASS MoCA, I love you.

Dear MASS MoCA,

I have been trying to write this blog entry for two months, struggling to find the right words to say it. It's simple, really: I love you. We are like, totally soul mates. It's ok, I know you have lots of other visitor-soulmates; in fact, I think an open relationship is the best kind of relationship a museum and its visitors can have.

I've known it for a long time. But just when I thought you were practically perfect, this BLOWS MY MIND. And my little heart. A new exhibition: The Workers, May 29, 2011-March 25, 2012.

Ok, from MASS MoCA:

We all know what Rosie the Riveter looked like, and what she stood for. [Oh boy, do we!]

Ford-era production line labor -- and the rise of powerful unions -- left us indelible portraits of work in mid 20th century America. [Don't make me swoon!]...

But what does work look like today in a global economy marked by outsourcing, rapid migration, disruptive economies, and a state of labor that seems fractured, precarious, and almost invisible? With video, sculpture, photography, and performance art from 25 artists, this exhibition examines the way labor is represented today (and how some contemporary workers choose to represent themselves. [Emphasis mine.]

The timing, and the place, could not be more fitting: Once the site of a bustling factory itself -- whose closure in the face of intense international competition left nearly a third of it's community out of work -- MASS MoCA is perhaps uniquely positioned to present this timely show... [Yes! YES!]

And as if all that wasn't enough:

In conjunction with The Workers MASS MoCA curator Susan Cross has invited Bureau for Open Culture -- a nomadic contemporary arts program directed by curator and art historian James Voorhies -- to inhabit one of the museum's buildings for the first four months of the exhibition. Set within a previously unused industrial building on the grounds of MASS MoCA, Bureau for Open Culture presents I Am Searching for Field Character, an exhibition series of public conversations, performances, installations, and workshops with a slew of visiting artists, writers, designers, and thinkers, a well as a beer garden which operates every Thursday and Friday night between May 26 and September 30.

Let me get this straight: CONTEMPORARY ART AND LABOR, HISTORIC INDUSTRIAL SPACES, NOMADIC ARTS PROGRAMS, SUPER-RELEVANCE, AND A...BEER GARDEN??? And then there's the BOC project publication: Bureau for Open Culture: On Symptoms of Cultural Industry. [Preview: WHY is it we are so moved by decaying environments? What propels the creative and cultural, the spontaneous and unpredictable in response to the dilapidation, vacancy, poverty and hardship of crumbling capital? Oh. My.]

I could not possibly make up anything dreamier. Ok, so I'll try not to get too excited before I've experienced it all.

No, I think I'll just got with it.

WHEEEEEEEEEEEEEEEEEEEEEEEEEEE!

Un-Industrial

So yesterday I saw Jon Brooks: A Collaboration with Nature at the Currier Museum. Highly recommended...but it closed today. Psych!

It's ok, he has a great website where you can see a lot more of his work, and his unbelievable house!

But this is not (really) just another excuse to blog about art. His pieces range from functional furniture to whimsical new furniture(esque) forms. They interpret natural wood forms and furniture conventions to create something new, organic, and artistic. It struck me while I was in the exhibition that I was seeing, among many things, an antithesis of industrial processes and aesthetics.

It's art, so maybe that's not super surprising; but it's not just that this is handmade furniture, it's that it moves beyond deep conventions, it totally reimagines something -- furniture -- that we're used to seeing in factory-made and/or highly stylized form.

Industrially made utilitarian objects -- like, 99% of the stuff a lot of us interact with -- are standardized, designed to reflect convention, divorced from natural forms and properties, mass-produced. It's a pretty basic observation, but the contrast made an impression and led me to look again at the industrial 99%.

So, taking it one step forward: seeing things in a provocative new way? Bring it to more (industrial) history museums! How rad would it be to see Brooks' stuff in, like, the Grand Rapids Public Museum's Furniture City exhibit (Grand Rapids -- "the first center of mass-produced furniture in North America!") ? Or -- omg -- a historic house.

Compare Jon Brooks' Citron Altar...

Citron Altar, 2007. Jon Brooks.

...With, say, this:

One of my favs from the exhibition:

Tons more on Flikr!

Shorpy: Homestead Factory Town, 1910

Factory Town: 1910

Homestead, PA. Homestead Steel Works, Carnegie Steel Co., 1910.

The Memory Keeper

Yankee Magazine? Yankee Magazine! The Memory Keeper -- worth a read.

Joe Manning's Lewis Hine Project is an ongoing attempt to track the lives and descendants of hundreds of young mill workers photographed by Lewis Hine throughout Massachusetts as part of an early 20th century National Child Labor Committee investigation. Hine photographed kids at work in mills, mines, sweatshops, and farms around the country. As a snapshot of the history of work and exploitation, the photos are powerful; but what happened to these kids? Finding out how their stories played out is an incredibly compelling way to more deeply understand the history, meaning, and experience of work in people's lives.

Seems like this collection is ripe for such efforts around the country...anyone heard of other individuals, museums, or organizations attempting to track the lives and descendants of Hine's subjects?

From the article:

"These children returned to their spinning machines and their looms and went back to work. They grew up and lived their lives. Many of them likely forgot their brief encounters with Hine. Almost none of them ever saw their photographs or heard how they were used.

"For me, this is an enormous album of unfinished stories," Manning says, gesturing to his binder. Hine had taken only snapshots: two-dimensional renderings of a single moment in time. Manning needs more than that: "I look at one of these kids, and my reaction is: Whatever happened to this kid? Is that it? Is this all I know? Is this all I'll ever find out?" That's Manning's goal: He wants to find out what happened next."

Featured folks from the article:



Dana Smith for Yankee Magazine, 2011. Jenn Ford, great-granddaughter of Mamie Laberge, with her great-grandmother's photograph.



Lewis Hine, 1911. Library of Congress. Mamie La Barge at her machine. Under legal age. Location: Winchendon, Massachusetts.

Lewis Hine took many more pictures of Mamie Laberge and her family during his visit to Winchendon than are featured in the article. Check them out at the Library of Congress.

Trying Out

Is there any historic industry more dramatic, frightening, and fascinating than whaling?

No. Proof: Moby Dick. More proof: some amazing nighttime photos from the New Bedford Whaling Museum of "trying out." That's when, after taking a whale, the whaling ship becomes a fiery 24-hour factory dedicated to cutting it up and rendering the blubber. Allow Herman Melville to evoke the scene more elegantly, with my unnecessary emphasis added:

Here be it said that in a whaling voyage the first fire in the try-works has to be fed for a time with wood. After that no wood is used, except as a means of quick ignition to the staple fuel. In a word, after being tried out, the crisp, shriveled blubber, now called scraps or fritters, still contains considerable of its unctuous properties. These fritters feed the flames. Like a plethoric burning martyr, or a self-consuming misanthrope, once ignited, the whale supplies his own fuel and burns by his own body. Would that he consumed his own smoke! for his smoke is horrible to inhale, and inhale it you must, and not only that, but you must live in it for the time. It has an unspeakable, wild, Hindoo odor about it, such as may lurk in the vicinity of funereal pyres. It smells like the left wing of the day of judgment; it is an argument for the pit.

By midnight the works were in full operation. We were clear from the carcase; sail had been made; the wind was freshening; the wild ocean darkness was intense. But that darkness was licked up by the fierce flames, which at intervals forked forth from the sooty flues, and illuminated every lofty rope in the rigging, as with the famed Greek fire. The burning ship drove on, as if remorselessly commissioned to some vengeful deed. So the pitch and sulphur- freighted brigs of the bold Hydriote, Canaris, issuing from their midnight harbors, with broad sheets of flame for sails, bore down upon the turkish frigates, and folded them in conflagrations.

And now, some eerie photos of this incredible, seafaring factory work.

And one close-up:

Exhibit: Vertical Urban Factory

A new exhibit at the Skyscraper Museum in NYC takes a unique, relevant approach to industrial history with Vertical Urban Factory:


Vertical Urban Factory features the innovative architectural design, structural engineering, and processing methods of significant factory buildings from the turn of the 20th century to the present. Now, over a century after the first large factories began to dominate our cities, the exhibition poses the question: Can factories present sustainable solutions for future self-sufficient cities?


An interesting reminder that factories were once fundamental to the pre-sprawl urban experience, and a potentially powerful platform for considering current realities and future possibilities.


 New York Times review here.

Triangle Shirtwaist Factory Fire: March 25, 1911-2011

Today is the 100th anniversary of the Triangle Shirtwaist factory fire. On March 25, 1911, 146 garment workers in New York City were killed in a workplace fire. Infamously, management had locked the factory's exit doors. A wave of safety reform legislation and memorialization followed. For a moment, the dangerous realities that faced some of the nation's most marginalized industrial workers -- young, female, immigrants from Eastern and Southern Europe -- gripped the nation's attention.

Recently brought to my attention: the New York Times has assembled extraordinary coverage of the many facets of the fire: http://cityroom.blogs.nytimes.com/tag/triangle-shirtwaist-factory-fire/?ref=nyregion

Some particular highlights of museum-think interest:
Triangle Fire: Clinging to Scraps of Memories
Triangle Fire: A Frontier in Photojournalism (interactive)
Garment Work in New York 100 Years After the Triangle Fire (video)
In a Tragedy, a Mission to Remember
Remembering the Triangle Fire, 100 Years Later

And, last but not least, from President Obama's resolution marking today's 100th anniversary:
Despite the enormous progress made since the Triangle factory fire, we are still fighting to provide adequate working conditions for all women and men on the job, ensure no person within our borders is exploited for their labor, and uphold collective bargaining as a tool to give workers a seat at the tables of power...As we mark the anniversary of the Triangle Shirtwaist Factory Fire, let us resolve to renew the urgency that tragedy inspired and recommit to our shared responsibility to provide a safe environment for all American workers.

NYT: Grab a Brew While They Face Death

Grab a Brew While They Face Death
Today, the Times introduces us to "Coal," a new series a la "Deadliest Catch," "Ice Road Truckers," etc. on Spike TV. With less Arctic -- it's about coal. Mining. In West Virginia:


It’s an uneasy modern dynamic. The men on these “documentary-reality” shows sacrifice their bodies and risk their lives doing down and dangerous jobs to try to provide a good life for themselves and their families. But what the producers and viewers want is what they call “good TV” — in this case, working-class fantasies aimed at men craving televised booster shots of testosterone.

Then, mix a little capitalist-class fantasy into that sudsy all-American brew:

• "People have no idea how important the coal industry is to America," says Mike Crowder, CEO of Cobalt Coal, in a video on Spike's website.

Leave it to Times commenters to bring us back:

• "Egad! Must be backed by the coal and gas industry? Manly men want to leave the coal in the ground," says Times online commenter Jim S., of Illinois.

Ok, so what's so commercially successful about TV that celebrates/showcases/exploits traditional (read masculine) industry that industrial museum don't got? Besides being accessible from the comforts of one's couch. I don't know, I tragically do not get Spike TV. It feels weird to think about coal mining as escapist entertainment -- but really, is this so different from my own coal-fascination and horror? I've never even been near a coal mine, but I have some sort of idealized/romanticized/escapist/earnest/ironic love of mining songs.


So maybe it's about nostalgia, whether it's Spike nostalgia for a myth of all-American industry, manliness, manual labor, or left-wing New England lady-blogger nostalgia for a myth of old-time authenticity and class struggle. Museums shouldn't trade in nostalgic myths, but the feeling of personal connection contained in them is potentially valuable when harnessed more critically: it comes back to people, our different experiences, the stories we tell, and the values we attach to one another.


Also, TV: Undercover Boss and Secret Millionaire make me want to puke.

Welcome to Pine Point

Welcome to Pine Point

Go have a look at this incredible online interactive multimedia mind blowing documentary about the town of Pine Point way up in Canada's Northwest Territories. The mine built it, a community grew, the mine closed, the town was completely razed.

This site is a testament to people and memory and postindustrial spaces totally unlike anything else.

See also:
Museum 2.0: Welcome to Pine Point: A Multimedia Exploration of Nostalgia, History, and What it Means to be Human. Great anaylsis by Nina Simon at Museum 2.0 linking the techniques used and connections made here to the museum experience.

UPDATE: OK, so http://www.nfb.ca/ is my new favorite website. Enjoy documentaries, animations, alternative dramas and interactive productions on the web, on your personalized home page, or on your iPhone. Free for personal use and on a subscription basis for schools and institutions. Where have you been all my life, National Film Board of Canada??? Canadians are so nice!

NPR: Coal Reignites A Mighty Battle Of Labor History

From All Things Considered: Coal Reignites A Mighty Battle Of Labor History

Great story about the 1921 "battle of Blair Mountain," in West Virginia, and current controversy over adding it to the National Register of Historic Places. Preserve the space of a landmark event in US labor and mining history, or open the site to mountaintop removal mining? This story is an unusually direct glimpse into the tensions that often arise between preservation, economic realities, and memory in dealing with local labor heritage and industrial history.

A sign commemorating the battle of Blair Mountain in Logan County, W.Va. NPR.

Key points:

King believes this is hallowed ground, like Gettysburg or the Edmund Pettus Bridge in Selma, Ala., places where America's history was forever changed. But he's had a hard time making that case to the folks in Logan County — a place where every fourth person is out of work.

There are only about 16,000 miners in West Virginia today. Mountaintop removal doesn't require as much manpower as underground mining. These are coveted jobs; they pay well. So for the most part, miners are more interested in seeing the economy grow than preserving what they see as just another mountain.

"This is a political fight, this is a social fight, this is a fight about our history, our heritage, our culture," Simmons says. "It's a fight about what kind of society West Virginia is going to be going forward and what has been in its past."

Sounds to me like labor heritage interpretation at its best, and most relevant.

UPDATE (ish): The plot thickens?  http://www.sierraclub.org/environmentallaw/lawsuits/0312.aspx

Industrial Light & Magic: 1915

Shorpy does it again!

Steampunk + Industrial History Museums =...Duh?!

Ok, article from Boston.com like a week ago: Citywide steampunk festival pays homage to Waltham's history

Did you know that International Steampunk City is the "secret identity" of Waltham, MA? Me neither! Anyway, May 6-8 the Charles River Museum of Industry and Innovation -- and the entire city of Waltham, apparently -- will be hosting a huge steampunk event.

Talk about getting experimental with industrial history! Awesome opportunity to delve into the aethetics of Victorian-era industry in new and imaginative ways, or catering to a very specialized subculture? Either way it seems like a pretty natural match. I'm super curious to see how this plays out for the CRMII, and psyched to venture down there in May...

NYT: Art and the Triangle Shirtwaist Fire

Today in the New York Times: In Art, Recalling a Century Old-Tragedy

As the March 25 centennial of the Triangle Shirtwaist approaches, artist and film maker Anthony Giacchino is using art to visualize and commemorate the 146 victims of the 1911 factory fire in an unconventional, directly engaged way:

"I just kept thinking about the number 146,” he said. “I would put names in front of the buildings, but it still did not give me a sense of it. Why not send letters? They’d probably come back. Then I’d be able to see what 146 looks like.”

Helped by Scott Frawley, a student at Fordham University, he compiled a list of addresses and wrote them on envelopes; for six unknown victims, he simply wrote “Unidentified Fire Victim.” Inside each was a short message — in case the address still existed and the current occupant opened the envelope — asking people to reflect on the tragedy, as well as a poem written by Morris Rosenfeld days after the fire.

Mr. Giacchino warned his letter carrier to expect a deluge of returned letters. So far, 130 have come back.

More Sloss

WOW. More good stuff from Shorpy.

Sloss City Furnaces, 1906.

Reposted -- "Big Tipper: 1910"

Very cool image from Shorpy today: http://www.shorpy.com/node/9682?size=_original

"Toledo, Ohio, circa 1910. "Brown hoist, Ohio Central coal dock." 8x10 inch dry plate glass negative, Detroit Publishing Company."

Devastation from Above

Check it out: striking, gorgeous, horrifying aerial photographs from J. Henry Fair documenting contemporary industrial impact on the landscape. I could see these as a temporary exhibit in just about any good industrial history museum, looking at the ongoing environmental effects of industrialization in a unique way.

Worth looking through the whole set: Devastation from Above

UPDATE: The New York Times has more today. http://www.nytimes.com/2011/01/14/arts/design/14earth.html

Bauxite Waste, J. Henry Fair.

LABOR ARTS

How am I just learning about this website now? From the Rober Wagner Labor Archives at NYU (my own alma mater! Again, how did I not know about this...), and several other partners, LABOR ARTS is:

"a virtual museum; we gather, identify and display images of the cultural artifacts of working people and their organizations. Our mission is to present powerful images that help us understand the past and present lives of working people. AFL-CIO President John J. Sweeney has urged all international unions to cooperate in locating for display on Labor Arts 'the treasure trove of cultural objects that have moved workers into action from the very inception of our movement.'"

So far -- and have only scratched the surface of this resource -- loving the Scenes of American Labor exhibit:

Taos Diner, Jack R. Smith, 2005



Indians Fishing Cielilo Falls - Columbia River, Millard Sheets, 1950

It's a way cool site with an incredible variety of media. Check it out!

Women @ Work

More amazing color photos from the Library of Congress. From the Farm Security Administration/Office of War Information collection, photographs of women at work in war industries during WWII.

First of all, Mrs. Eloise Ellis here is awesome.

Mrs. Eloise J. Ellis has been appointed by civil service to be senior supervisor in the Assembly and Repairs Department at the Naval Air Base, Corpus Christi, Texas. She buoys up feminine morale in her department by arranging suitable living conditions for out-of-state employees and by helping them with their personal problems. Library of Congress.

Second, these photos are fascinating from both an aesthetic, historical, and sociological point of view. There's a strong sense of novelty here in the way that photographers depicted female factory workers. An admiring but distinctly ironic tone pervades the captions. The significant historical moment and the still-powerful visual novelty of seeing women in an industrial environment remains appealing; I, for one, am blown away by the above photo. But the collection is (fascinatingly) problematic. These are women, the viewer is constantly reminded, and their role as heavy industrial workers is a temporary, novel, even unnatural -- albeit patriotic -- state of affairs.

It's also about sex. These photos represent real-life "Rosie the Riveters." This vision of "Rosie the Riveter" on the left below (I know this isn't technically her) has become more iconic than Norman Rockwell's original "Rosie" character on the right. Both depict women transgressing gender norms -- work shirts, muscles, self-assured gazes -- but Rosie on the left retains the trappings of femininity. To rephrase it, she's the (conventionally) hot one. Shiny hair, shiny nails, shiny lips, strong without looking like Popeye. Left-side Rosie's power comes as much from her "traditionally" feminine, sexy physical presense as from her flexed muscle and determined look; Right-side's comes from her rivet gun, massive forearms, and meaty sandwich. Both play on a sense of novelty, even irony, but Rockwell's portrait remains more comfortable with the tough, transgressive realities of women in wartime production.

Here's a selection of some more photos in the collection that represent an amazing spectrum of visions, constructions, and realities of femininity. How do their subjects' appearance and interaction with their environments affect your perceptions?

[WHOA]

Lastly, the caption on this next one captures the enduring sense of novelty surrounding women factory workers in heavy industry: Girl inspector confers with a worker as she makes a a careful check of center wings for C-47 transport planes, Douglas Aircraft Company, Long Beach, Calif.

Plus, check out that body language.