I have become a fan of attending small local (usually free) concerts around town. There is so much talent and passion out there – more than I can ever take in.
At the second Set List on the Green (a lot of fun, I can’t wait until spring and the re-start of the series) down at Klyde Warren Park these three women were sitting near me. They were big fans, but not big enough to stop looking at their phones all the time. That’s cool – as far as I’m concerned, they can do whatever they want.
Welder outside the Plaza of the Americas, Dallas, Texas
Always overlooked is the beauty of work. Every day we walk, move, and live on, under, and around steel welded by unknown men wearing heavy dark masks to protect them from the rays of the arc.
He wields the power that melts steel, joins the strong, flickering and cracking in blinding plasma, high voltage, matter reduced to its most elemental stage.
And all he wants is his paycheck and to go home. And high above, the skyscraper grows higher and higher.
Despite the fact that (in additional to the least-cool) I am the least fashionable person on the planet I am interested in the idea of bicycling style, or chic, or whatever you want to call it. Not the old spandex, carbon, and logo style, but the more relaxed, European, style of riding a bike in the urban environs.
Looking through the library I discovered a book by David Byrne, where he relates some of his experiences riding a folding bike through some of the more interesting cities of the world.
Most US cities are not very bike-friendly. They’re not very pedestrian-friendly either. They’re car-friendly – or at least they try very hard to be. In most of the cities one could say that the machines have won. Lives, city planning, budgets, and time are all focused around the automobile. It’s long-term unsustainable and short-term lousy living. How did it get this way? Maybe we can blame Le Corbusier for his “visionary” Radiant City proposals in the early part of the last century:
His utopian proposals — cities (or just towers really) enmeshed in a net of multilane roads — were perfectly in sync with what the car and oil companies wanted. Given that four of the five biggest corporations in the world still are oil and gas companies, it’s not surprising how these weird and car-friendly visions have lingered. In the postwar period general Motors was the largest company in the whole world. Its president, Charlie Wilson said, “What’s good for GM is good for the country.” Does anyone still believe that GM ever had the country’s best interests at heart?
Maybe we can also blame Robert Moses, who was so successful at slicing up New York City with elevated expressways and concrete canyons. His force of will and proselytizing had wide ranging effects. Other cities copied his example. Or maybe we can blame Hitler, who built the autobahns in order to allow German troops and supplies fast, efficient, and reliable access to all points along the fronts during World War II.
I try to explore some of these towns — Dallas, Detroit, Phoenix, Atlanta — by bike, and it’s frustrating. The various parts of town are often “connected” — if one can call it that — mainly by freeways, massive awe-inspiring concrete ribbons that usually kill the neighborhoods they pass through, and often the ones they are supposed to connect as well. The areas bordering expressways inevitably become dead zones. There may be, near the edges of town, an exit ramp leading to a KFC or a Red Lobster, but that’s not a neighborhood. What remains of the severed communities is eventually replaced by shopping malls and big-box stores isolated in vast deserts of parking. These are strung along the highways that have killed the towns that the highways were meant to connect. The roads, housing developments with no focus, and shopping centers eventually sprawl as far as the eye can see as the highways inched farther and farther out. Monotonous, tedious, exhausting… and soon to be gone, I suspect.
He’s right of course… but not completely right. There is hope. Dallas (and every big modern city) does have its notorious web of high speed freeways, concrete ribbons of death.
But they don’t cover the whole city. In between these barriers are real neighborhoods with real people living in them. The challenge is to get off the freeway and find what’s there – and a bicycle is the best way to do it.
The freeways become a barrier to pierce. The city is working on creating routes and I’m working on finding them.
The textures of art, nature, and architecture juxtaposed in the downtown urban setting.
GATEWAY STELE
1994
by Jesus Bautista Moroles
Rockport, Texas
Recalling the ancient post-and-lintel portal form, “Gateway Stele” is made of Fredricksberg granite in a universal statement of civilizations coming together. It is functional, both as a passageway to be walked through, and as a place to remain, sitting on the surrounding natural bench.
Jesus Moroles:
“In my work, I don’t intentionally follow the history of civilization, because I think it is the history of the stone that comes out in forms. The stone has a much longer history than civilization, and it is natural for stone to be used in this way.
The idea for ‘Gateway Stele’ comes from the traditional stele form, which is a monolithic stone with hieroglyphic writing. The posts of this portal have my writing in the patterns of squares cut into the stone. Just as we can’t translate the cryptic messages in the ancient stele, my ‘writing’ has no real translation, but it is meant to be interpreted on a visual basis.”
Gateway Stele
The impact of the portal is somewhat diminished by the fact that it guides the viewer into a parking lot – complete with a little cluster of valet parking attendants standing around smoking.
In Lubben Park, next to “Harrow” is the two-part sculpture “Journey to Sirius.” I thought it looked like early video game characters – specifically giant Space Invaders – but the artists’ plaque says it was inspired by Dogon Art and Architecture.
“Journey to Sirius” by George Smith, Lubben Park, Dallas, Texas
JOURNEY TO SIRIUS
1992
by George Smith
Houston, Texas
Inspired by the art and architecture of the traditional African society known as The Dogon in the West African Republic of Mali, “Journey to Sirius” incorporates two monumental structures formed of welded steel plates addressing one another diagonally across a bed of black rock.
George Smith:
“For more than ten years I have been producing sculptures inspired by The Dogon. This fascinating African society resides in a spectacular rocky region of the Republic of Mali called the Bandiagara Escarpment. The Bandiagara cliffs stretch for 125 miles parallel to the Niger River with many sections reaching a height of 2,000 feet. It is these steep, rocky cliffs that brought about the ideas used in the creation of ‘Journey to Sirius’.
On the face of the cliffs, The Dogon create their art and architecture, which consists of carvings and drawings representing mythical ancestors that are part of their elaborate cosmology, including the mythical star, Sirius.
The geometrical surfaces of the two super structures in ‘Journey to Sirius’ are an interpretation of the natural geometry found on the face of the Bandiagara cliffs and represent matter; while the sculptural forms that cantilever from the structures represent spirit and were inspired by the cliff paintings and high relief carvings found on the cliff dwellings of the Dogon.”