The History of Old City Hall

Reaching into the sky with its four spires and clock tower, Old City Hall is one of Bellingham’s most iconic landmarks. Most have seen the building and many have been inside during a visit to the Whatcom Museum. But fewer people know the history behind it — and the many secrets it holds.

History of Old City Hall

Interior of Comptroller’s Office, c. 1913 Photographer Unknown: Whatcom Museum #1988.16.19

The story of Old City Hall starts more than 100 years ago. Prior to 1891, the New Whatcom City Council had been housed in the Oakland Block at the corner of Champion and Holly streets. The City Council shared space with a clothing store, a music dealer and a hotel.

However, as the government grew, it became evident that the City Council needed something bigger. They asked local architects to submit plans for a new city hall. In November, the council accepted a design from local architect Alfred Lee.

Lee, a self-taught architect, pulled the designs for the late-Victorian building from various catalogues and combined different plans together.

The beginning

The council purchased a plot of land on a bluff overlooking Bellingham Bluff for $5,000. Construction started in February 1892. Construction wrapped up quickly when an economic depression in 1893 caused funds for the project to disappear, leaving the second and third floor interiors unfinished.

One side effect caused by this abrupt stop was that the clock faces that had been installed didn’t actually work. Instead, the city moved the hands on the clock to permanently read seven o’clock. These didn’t last long, however, as strong winds eventually knocked out the clock faces. The city, not having the funds to replace them, simply left them as gaping holes.

The city did install a large, three-feet-in-diameter bell in the tower, which was rung to alert the volunteer fire department whenever there was a fire in the city. The height of the building made it easy to see any fires in the area.

City Hall is finished

As money slowly trickled in, construction continued on the building. The second and third floors’ interiors were finished in 1910. In total, the entire project costed $50,000 (about 1.3 million dollars today). City Council and other city employees slowly began to occupy the various rooms in the building. Today, visitors to Old City Hall can see where these officials worked by looking at the small black text panels that are next to select doors.

Charred tower, 1962: Photo by Galen Biery, Whatcom Museum #1996.10.2245

When New Whatcom and Fairhaven combined to form one town on Bellingham Bay in 1904, the New Whatcom City Hall on Prospect Street became the city hall for Bellingham. It continued to serve as city hall until the local departments physically outgrew the space. A newer, larger, and more modern city hall was built on Lottie Street in 1939, which still serves as Bellingham’s city hall.

Old City Hall sat empty for most of the 1939. There were calls from city councilmen to demolish the building. But the building was saved in November of that year when a group of volunteers led by John M. Edson established the Bellingham Public Museum Society and committed to occupy the building under a five-year lease. The museum officially opened on January 23, 1941.

The Museum

In 1962 a fire caused by faulty wiring ran through the top section of the building and left the main tower and much of the roof a charred frame of what it once was. Many thought that the building would be closed for good as it was no longer suitable for exhibition. A 12-year fundraising drive commenced.

Blueprints for the clock tower portion of the building no longer existed, so builders had to use photographs and sketches to recreate that section of the building. In 1974 the museum was finally reopened to the public. A bedsheet with the words “We Did It” was raised on the flag pole at the top of the tower.

Rebuilding tower, 1974: Photo by Galen Biery, Whatcom Museum #1985.70.8 b

Remnants of the history of Old City Hall can still be seen today. In the basement of the building, which used to serve as the city’s police station, the remains of jail bars over some doors and a padded jail cell can still be seen.

In the first floor photo gallery that is directly in front of the stairs, which used to be the city’s comptroller’s office, the outlines of what was once the comptroller’s vault can be faintly seen in the wall, covered by paint and a photograph. Behind the attendant’s desk, the remnants of the treasurer’s vault can be seen.

If you look up at the clock tower, there is a chance that the hands still read seven o’clock. The clock mechanism was never installed, so occasionally museum staff will climb up to the clock tower and move the hands.

Come discover the history of Old City Hall for yourself! Take a docent-led tour on Sunday afternoons at 12:30pm for more tales from the past.

–Written by Colton Redtfeldt, Marketing Assistant

Kids working with yarn

Supporting Our History and Mission

If you’ve been thinking about supporting the Whatcom Museum this year, Tuesday, November 28th is a great time to do it! Non-profit and charitable organizations around the world, including the Whatcom Museum, are taking part in #GivingTuesday.

#GivingTuesday is a global movement that celebrates generosity and kindness by giving financial support to nonprofit organizations across the world. After

Thanksgiving, many people are quick to descend upon Black Friday and Cyber Monday deals as a way to kick off the buying season, but philanthropy organizations across the world want to kick off the season by reminding people of the importance of giving to non-profits.

In this spirit, the Whatcom Museum encourages you to take part in this movement and support the important work we are doing in our community.

“While many people are aware that the Museum is a part of the City of Bellingham network, few know that a large portion of our budget is raised through the non-profit Whatcom Museum Foundation,” said Althea Harris, Whatcom Museum’s Development Manager. “Through contributions from our community, the Foundation provides the majority of funding for exhibits, programming, and the popular Family Interactive Gallery (FIG).”

Museums are one of the few places that brings people together to learn, and have fun, and the Whatcom Museum’s exhibits and programming are designed with the mission in mind—providing innovative and interactive educational programs and exhibitions about art, nature, and Northwest history to people of all ages.

Without the generous support of our patrons and community, we simply wouldn’t be able to realize this mission. Donations made on #GivingTuesday will provide our community with the unique experiences in history, nature, and art that we have been providing for more than 75 years.

Thank you for supporting the Whatcom Museum and the work that we do!

–Written by Colton Redtfeldt, Marketing Assistant

Decorated Christmas trees

5th Annual Deck the Old City Hall a Great Way to Get into the Holiday Spirit

 

Some of the many trees on display at the Old City Hall during Deck the Old City Hall

If you’re looking to get into the holiday spirit, look no further than Whatcom Museum’s Deck the Old City Hall. From Nov. 24 to Dec. 31 2017 Old City Hall will be decked out for the holidays for its fifth annual celebration.

More than 20 decorated trees will be on display, along with garlands, wreaths, and more. There will be a variety of events to participate in as well, such as a holiday cocktail party and visits with Santa.

Deck the Old City Hall

Admission to Deck the Old City Hall is by donation (regular admission applies to the Museum’s Lightcatcher building). The Museum offers admission by donation as a seasonal gift to the community, so there’s no need to worry if your wallet is a little slim from holiday shopping! Proceeds from donations benefit Museum programs and exhibitions.

Families interested in visiting with Santa can see him at Old City Hall on Saturday, Nov. 25, Sunday, Nov. 26 or Sunday, Dec. 3, 12:30-2:30pm in the Rotunda Room. Visitors can take photos with Santa and bring their wish lists to find out if they’ve been naughty or nice. This event is included with donation.

To kick off December, the Museum will host the Deck the Old City Hall Holiday Cocktail Party on Friday, Dec. 1, 5:30-8pm. Guests can dress up for the evening and enjoy wine and appetizers and dance to the beats from the DJ’s playlist. The event is 21 and over, and tickets are $50 per person, available online at: brownpapertickets.com/event/3139702.

“Many people come back (after the party) and bring their families the following week,” said Lori Clough, Museum Advocates co-chair and a co-sponsor of the cocktail party. “That makes me feel like we are doing our part by showing off this iconic historical masterpiece that keeps our history and artifacts safe.”

She adds this is her fourth year as a sponsor, and she feels she and her husband are “making a difference one party at a time.”

People gather during Deck the Old City Hall’s 2016 Cocktail party.

A few other family friendly activities include a children’s holiday tree for decorating and visits with Wally the Museum Mouse, the beloved mascot. Take photos with this big, friendly mouse in the Rotunda Room on Saturday, Dec. 2 or 9, 12:30-2:30pm.

Deck the Old City Hall is open Wednesday-Sunday, Nov. 24 – Dec. 31, noon – 5pm at Old City Hall, 121 Prospect St. Admission is by donation.

–Written by Colton Redtfeldt, Marketing Assistant

A Closer Look at Art of the American West

When you first walk into Art of the American West: Highlights of the Haub Family Collection from the Tacoma Art Museum at the Lightcatcher building, you’re met with a brilliant, colorful painting depicting a Native American man. Next, your gaze falls upon a portrait of another Native American man painted in 1851 by Paul Kane. If you look closer, something else may catch your gaze: two large medals affixed to the sash on the chief.

A patron looks at “Portrait of Maungwudaus,” c.1851 by Paul Kane (1810-1871). Oil on canvas, 30 x 25 in. Courtesy of the Tacoma Art Museum, Haub Family Collection, Gift of Erivan and Helga Haub.

Art of the American West

The man depicted in this painting is Maungwudaus, meaning great “hero” or “courageous,” (known by his English name, George Henry). He was born circa 1807 on the shore of Lake Ontario and was an Ojibwa interpreter, performer, and Methodist mission worker.

In 1844, he formed a traveling Native American dance troupe. The troupe included members of his family and several Walpole Island Ojibwa. They traveled to Britain, France and Eastern North America to perform. Maungwudaus had the chance to perform for royalty such as King Louis Philippe of France and the king and queen of Belgium.

During the troupe’s 1845 performance for King Louis Philippe I, Maungwudaus was given a gold medal. Five years later, he was awarded a silver medal from U.S. President Zachary Taylor.

More medals

But the portrait of Maungwudaus isn’t the only one of a Native American man with medals. A nearby portrait shows a Native American man in ceremonial dress. He is holding a feather-endowed pipe, with three peace medals hanging around his neck. The man in the portrait is Naw-Kaw, a Winnebago chief. The portrait is circa 1832 by artist Henry Inman.

Peace medals were awarded by the U.S. government throughout the early colonization of the Americas up until the late 1800s. The medals were awarded to Native American tribes or individuals after almost every formal interaction with the government. The medals served as a way of promising the prospects of peace and trade. For many tribes, being awarded a medal held great pride. These medals were sometimes passed down from generation to generation.

While the medals conveyed a sense of importance and respect, controversy surrounds their use in building relations between the U.S. and Native Americans. Some tribal leaders were critical of US peace medals and their effectiveness in negotiations.

The portraits are only one piece of Art of the American West exhibition. The exhibition gives you a vivid look into the diverse land of the American West.

–Written by Colton Redtfeldt, Marketing Assistant

Making Faces: Masks and Masquerading Around the World

Author Marty Rubin once said that “behind every mask there is a face, and behind that a story.” We invite you to join us as we explore making masks and the stories behind them.

Making Masks

Masks carved by Native American artists from the Northwest will be on display, presenting a modern take. At the event, you can learn how Pacific Northwest tribes used these facial coverings in their celebratory and religious ceremonies. Guests can try on several made in traditional Northwest Coast Native styles.

“Masks have played an important role in many tribal traditions throughout the world. They’re used for many things, from ceremonies to ensure a good harvest to curing illness. For some northernmost Native American tribes, masks hold sacred meaning and are used to convey ancient stories,” said Susanna Brooks, the Director of Learning Innovation at Whatcom Museum.

There will also be activities demonstrating traditional Japanese Noh Theater Masks. Japanese Noh Theater has been performed since the 14th century. Noh Theater Masks are used to enhance the emotions that a character is feeling.

“Masking your Feelings” will address mask-wearing as a coping mechanism for children experiencing anxiety in social situations. Children can explore and express a wide range of feelings in this activity.

Guests can learn how museums acquire their collections, what kinds of objects they accept (accessioned) into the collection, and more. If you’ve ever had any questions about how a museum operates, this is the presentation for you. With Halloween just around the corner, this is the perfect time to learn about the history and art form behind masks.

–Written by Colton Redtfeldt, Marketing Assistant

Program descriptions and schedule of events:

FIG

Noon-1pm: Children’s face painting inside the FIG Studio.

2-4pm: Masking your Feelings with Metaphorical Masks

LCB Art Studio

Noon-4pm: Ongoing mask demonstrations and workshops in the Lightcatcher Art Studio.

  • Noh Theater Masks of Japan
  • Transformation Masks

LCB Lobby

1:30-2pm: Interactive Theater for all ages

Noon-1pm and 2:30-3:30pm: Museum collections and exhibits 101—Get all these answers and more!  Experience handling a work of art, while you learn how a museum collection inspires its exhibitions.

Lightcatcher Galleries

1:30-2:30pm Docent-led gallery tour of Art of the American West: Highlights of the Haub Family Collection from the Tacoma Art Museum

2:30-3:30pm Docent-led gallery tour of People of the Sea and Cedar: A Journey Through the Tribal Cultures and History of the Northwest Coast

 

Helmi Juvonen Winter Dance Lithograph

Transcending Boundaries: Becoming Helmi

The Whatcom Museum recently uploaded a new virtual gallery that showcases a sampling of artwork by Helmi Juvonen (1903-1985). It can be viewed HERE. Scroll down to learn more about the life Helmi.

Helmi Juvonen, Vantage, circa 1975-1976; Gouache on rice paper. Gift of Dr. Ulrich & Stella Fritzsche.

Transcending Boundaries: Becoming Helmi

Helmi Dagmar Juvonen (1903-1985) was a Seattle-based artist who found success capturing the culture of Native American tribes across the Pacific Northwest.

She was a persistent artist who strived to create art in a time where being a female artist was tough. Even as she struggled with poverty and mental illness, Helmi continued to create art until her final days.

Finding Her Love and Audience

Born in Butte Montana in 1903, Helmi found her love of art at a young age from her father. A Finnish immigrant, her father made pencil sketches and watercolor paintings for her and her sister. When she was 15, her family moved to Seattle. During her time at Queen Anne High School, Helmi sold handmade rag dolls and greeting cards at a local department store.

After graduating, she worked as a seamstress and took on small side jobs to pay her way through Seattle Art School. Those side jobs helped her establish a line of connections that included affluent citizens and successful artists.

In 1929, through one of these connections, Helmi got a scholarship to attended Cornish School (now Cornish College of the Arts). It was there she studied puppetry and lithography. The next year, she was hospitalized with manic-depressive illness (now known as bipolar disorder). She spent three years at Northern State Hospital.

After being released, Helmi lived on the edge of poverty as she struggled to make a living. Helmi continued to take on art-related jobs and create drawings that she sold for 50 cents each. Her talents were well-recognized and her works were purchased by many important Seattle collectors. During this time, Helmi made connections with Chief Shelton of the Lummi Tribe, Chief Colowash of the Yakama tribe, and White Eagle of the Chippewa.

Capturing the Spirit of Native Americans

Over the course of two decades Helmi continued to build a rapport with tribes across the Pacific Northwest. She got the chance to participate in religious ceremonies across the state. Helmi later illustrated many of these ceremonies and captured the emotions that surrounded them. Examples of tribes she interacted with include the Lummi, Swinomish, Yakima, and Makah.

In 1953, she attended the “Treaty Day” ceremonial dances in La Conner. She also produced hundreds of drawings of Native American artifacts in the Washington State Museum.

Helmi Juvonen; Untitled (Eskimo Adam & Eve), Tempera; 13″ x 10″. Gift of Ron Kellen.

Trying Times

During the 1950s, a period of suppression and conformity, a woman living alone as an artist proved difficult. Helmi’s eccentricities, including living with dozens of cats, alarmed neighbors and family. For a time, the artist’s obsession with Mark Tobey, the most renowned of the Pacific Northwest mystic painters, embarrassed Tobey.

Helmi was mistakenly diagnosed with schizophrenia (now recognized as manic-depression). As a result, she was committed against her will to Oakhurst Convalescent Home in Elma, Washington. She lived there for the final 26 years of her life. While there, she continued to make art and welcome artists and supporters. These supporters organized exhibitions, including her 1985 retrospective at the Whatcom Museum.

The Whatcom Museum’s collection of her work, which numbers 250 objects, includes some of her finest pieces. Some of those include paintings of petroglyphs from Central Washington, watercolors of Lummi masked dancers, and more. This virtual gallery gives a small sampling of the complexity of Helmi’s vision.

Helmi’s life is one of great trials. Even in the face of mental illness and poverty, Helmi continued to produce art until her final days. Through her tireless work, she forged a unique style that merged aboriginal Northwest culture with modern art.

Sources:

http://archiveswest.orbiscascade.org/ark:/80444/xv25660

https://www.whatcommuseum.org/v/vex22/index.htm

Dow Walling and the Comic World Of Skeets

The Whatcom Museum recently uploaded new virtual galleries, which can be viewed HERE. Visit the virtual galleries to learn more about an exhibit featuring the comics of local talent Dow Walling.     

Dow Walling and the Comic World Of Skeets

Dow Walling (1902-1987) was a self-taught comic creator and illustrator. His full-page color strip “Skeets” ran on Sundays in the New York Herald Tribune and in national syndication from 1932-1951. Walling was born and raised on a farm outside of Bellingham. In a 1934 interview with the Literary Digest, he describes his comic’s spunky young protagonist as “growing up in Bellingham — my home town … an average-size town in America [that] typifies the home town of the average boy.”

In the comic strip, Skeets rambles through fields with his pals while avoiding his nemesis Cue-ball Benson. Walling drew from events and places of his childhood and features locales such as Whatcom Creek swimming holes in his illustrations.

Early Years

Walling was the youngest of four siblings. He describes his youth as always including a desire to draw. With the financial help of his sister, he completed the London School of Cartooning correspondence course at age 13. His first professional experience in illustration came when he was brought on as cub reporter by the Bellingham Herald. While there, he also created and submitted cartoons and illustrations for the paper.

In 1919, Walling enrolled at the University of Washington and quickly became an accomplished student and athlete while also working as staff artist for the Seattle Post Intelligencer. Working on a degree in economics, Walling created comic strips for the UW comics magazine, the Sun Dodger, and acted as their art editor. His work was well-received, and he was invited to become a member of national comic publication fraternity Hammer and Coffin.

Growth of a career

After college, Walling moved to New York to pursue his dream of becoming a professional cartoonist in the footsteps of his childhood idols George Herriman (“Krazy Kats”), Bud Fisher (“Mutt and Jeff”) and Billy DeBeck (“Barney Google”).

Walling’s first break was when he landed a position with Johnson Features, a comics syndication company. There, he created “Campus Cowboys,” an original series. For this strip, Walling borrowed heavily from his experiences as a college graduate and athlete. The strip was lauded for its youthful perspective. It was at this time that Walling acted as assistant to both Milt (“Gross Exaggerations”) Gross and H.T. (“The Timid Soul”) Webster.

After Johnson Features was sold, Walling moved to Hollywood in 1928 to try his hand at script writing. One year later he was back in New York starting to sell cartoons to Life, Judge and College Humor. In 1931, Walling signed up with King Features Syndicate to work on a variety of existing strips including “Nutty News” and “Room and Board.” Within the year, he was approached by the New York Herald Tribune about creating a new strip and “Skeets” was born.

Skeets comic strip

In 1937, Walling married Helen Pickrell, a teacher at Bellingham High School, and she joined him in New York. Though the couple never had children, Walling often referred to Skeets with paternalistic affection.

“Skeets” enjoyed a 20-year run, becoming one of the most beloved comic strips of the 1930s and 40s.

In 1946, Walling received the Freedom Foundation Prize for the “Jimmy’s Jobs” strip. He created the strip to help ease tensions in labor relations. That same year, Walling was offered his own variety television show on CBS called Here’s Dow. The run was short lived.

After retiring, Walling created drawings for businesses including the Union Carbide Corporation and the International Business Machines Corporation. Walling passed away in Pelham, New York, in 1987.

Walling’s work is now in numerous archives and museums including the San Francisco Academy of Comic Art Collection, Northwestern University Library Special Collections and the Ohio State University Billy Ireland Cartoon Library & Museum. The Museum holds the original artwork for about 60 complete “Skeets” and “Room and Board” strips, as well as some of Walling’s personal items.

Sources

http://www.reuben.org/members/in-memoriam/ (then select Dow Walling from directory)

https://www.lambiek.net/artists/w/walling_d.htm

http://www.nytimes.com/1987/01/28/obituaries/dow-o-walling.html

The Pelham Sun, Thursday, May 6, 1948, “Comic Strip Character Growing Up….”

Drawing Practice: Bellingham National Juried Art Exhibition and Awards

Kelly Bjork; Tiger Overhead, 2016; Gouache and pencil on paper, 19 x 15 in. Courtesy of the artist.

Bellingham National article reposted from June 20, 2017, Seattle Art Museum Blog

Bellingham National

Catharina Manchanda, the Seattle Art Museum’s (SAM) Jon and Mary Shirley Curator of Modern and Contemporary Art, juried this year’s Bellingham National Juried Art Exhibition and Awards, on view in the Lightcatcher building. Barbara Matilsky, Curator of Art at the Whatcom Museum, describes the biennial art exhibition and award as relatively new. “The Whatcom Museum’s first biennial was inaugurated in 2015.

Patricia Leach, the Museum’s director, envisioned Bellingham National as a way to bring the rich variety of art created around the country to our region. Although the Museum is committed to supporting Pacific Northwest art, it has increasingly embraced a wider, cultural scope,” says Matilsky. “Bellingham National has attracted the attention of Washington artists, which means that their work is well represented here.

Community reaction has been as varied as the works of art on display. One thing that I have noticed: The exhibition challenges people to think about art in new ways, which is ultimately a good thing. It also offers the invited curator a unique opportunity to explore ideas related to a particular theme or medium of her/his choice.”

A focus on drawing

This year’s call for submissions focused on drawing, an activity and mode of expression that seems overdue in light of our ever-increasing attachment to electronic devices. Catharina Manchanda’s interest in exploring how contemporary artists are approaching the medium is at once a reaction to new media art forms and an acceptance of drawing that utilizes new media.

“As we are clicking and tapping away, drawing and writing are becoming increasingly rare. Drawing has an immediacy and material quality that registers differently under these digital conditions. Its very ‘slowness’ becomes significant at a time when a flood of imagery and information keeps shortening our attention spans. From a more linguistic and conceptual vantage point, drawing connections, drawing on memory and history, and drawing understood as notation and trace, opens distinct possibilities for artists,” Manchanda states. “Not surprisingly, artists submitted work in a variety of mediums—from pencil drawings to annotated collages, videos, and sound recordings.”

Matilsky embraced what visitors may find a somewhat unorthodox perspective on drawing. “I share Catharina’s expansive view of drawing and was delighted that she was able to identify artworks that further pushed the boundaries of the medium. The sound and video pieces that she selected surprised me and added to the complexity of the exhibition.”

Featuring more than 60 works from 29 artists around the country, below Catharina Manchanda offers a glimpse into a selection of the works on view. Get yourself to the Museum and see this spectrum of artistic positions with, and about, drawing.

Margie Livingston, Seattle, WA; Dragged Blue Drawing, 2016; Watercolor and mixed media on paper, string. Courtesy of the artist.

Margie Livingston, Seattle, WA

The artist arrives at these lyrical compositions with controlled chance operations. Heavy sheets of paper are tinged with color and then dragged on the studio floor or the street where the movement creates a chance image. Embedded in the surfaces are dust and dirt, portions are rubbed and worn and yet the overall drawings have a quiet lyricism.

 

Kelly Bjork, Seattle, WA; Splayed Produce, 2016; Gouache and pencil. Courtesy of the artist.

Kelly Bjork, Seattle, WA

Kelly Bjork’s quiet interiors are beautifully rendered with an eye for crisp color and form. Embedded in her compositions and titles is a sparkling sense of humor—Tiger Overhead and Splayed Produce project an element of danger and adventure that’s there for you to discover.

 

Lou Watson, Portland, OR

The artist takes the most ordinary traffic patterns and movements as occasion for artistic intervention. For Bellingham National, she chose a spot along I-5 and ascribed a musical note to each of the lanes. Every time a car went past a traffic sign, it triggered a tone—a little car a short note, a long truck a longer one. With this, she composed a minimalist score from the monotonous back and forth of highway traffic. The movement of the cars along the road is linear like a drawing and her paper prints give insights into her process.

 

Masha Sha, Boulder, CO; New Now, 2017; Colored pencil on tracing paper. Courtesy of the artist.

Masha Sha, Boulder, CO

Sha’s vivid, large-scale pencil or crayon drawings spell out phrases that invite free association. Whether you see her bright red  “New Now” today, tomorrow, or in ten years, it will always be the now of the moment. Drawn with intensity, we may interpret that now in personal, communal, social, or political terms and it will mean different things to each of us.

 

Kirk Yamahira, Seattle, WA; Untitled (stretched); 2017. Acrylic, pencil, unweaved, deconstructed on canvas, 67 x 67 in. Courtesy of the artist.

Kirk Yamahira, Seattle, WA

Kirk Yamahira deconstructs the fabric of a canvas—he carefully lifts individual threads—to arrive at abstract lines and patterns that read like three-dimensional drawings. In some instances an additional tilt of the stretcher results in objects that are utterly transformed.

Alter with painted skulls for Día de Los Muertos

La Calavera Catrina: Mexico’s Eternal Feminine Muse

José Guadalupe Posada, (1852-1913), Mexico City, Mexico; La Calavera Catrina (The Grand Dame of Death), 1913. Etching on zinc. Courtesy of The Mexican Museum, San Francisco, CA.

A wide-eyed lady skeleton donning a large, lace brimmed hat festooned with flowers and feathers flashes a broad toothy grin. The smiling dandified dame is La Calavera Catrina, a corpse with a lively aristocratic air and fashionable dress to match. Oblivious to the current state of her demise, she clutches nonchalantly to her long lost human existence.

La Calavera Catrina

When artist, illustrator, and satirist José Guadalupe Posada (1852 – 1913) created this droll caricature, the Mexican revolution was in full swing. For Posada and his disenfranchised countrymen, the humorous image of La Calavera Catrina served as an epitaph for the wealthy privileged classes.

Her stylish appearance and amusing, naïve sensibility endeared her to the disgruntled masses. She quickly became a satirical emblem of the sins of vanity and greed and the folly of government corruption. La Calavera Catrina was among the first of many animated skeleton characters Posada created to populate his tongue-in-cheek, pro-revolutionary illustrations. She was also the most popular and enduring. The chic, chapeau-wearing lady skull became a kind of national folk icon.

While Posada’s skull figures cleverly and comically mocked the social and political venality of the time, La Calavera Catrina took center stage and led a nationalistic parade celebrating the tiny sliver of thread that holds sway over life and death. With La Calavera Catrina at the helm, Posada’s charming corpses danced and sang their way into the hearts of Mexico’s working classes. They also took a prominent place on altars during Dia de los Muertos (Day of the Dead) festivities.

These whimsical animated skeletons occupy a surreal space between life and death. Their message espouses that no matter how much wealth and power people achieve during life, it’s meaningless in the afterlife. Rich or poor, all people meet death equally and alone.

Her origin

When Posada conceived his elegant skull lady he named her La Calavera Garbancera. This was a derogatory term for Mexicans who rejected their indigenous roots and passed themselves off as hailing solely from European pedigree.

For poor, indigenous Mexicans repressed by President Porfirio Diaz’ regime, La Calavera Garbancera both eased and stirred their disdain. Under the prolonged presidency of Porfirio Diaz (1830 – 1915), the Mexican government basked in fields of wealth alongside privileged landowners. The vast social class divisions and unfair distribution of wealth collided head on, culminating in the 1910 revolution, around the time Posada renamed and published his skull La Calavera Catrina.

The origin of Posada’s skeletal dame is rooted in Aztec mythology. La Calavera Catrina draws inspiration from Mictecacihuatl, the goddess of death and guardian of human remains in the underworld. Centuries ago, this goddess presided over annual Aztec festivals honoring the dead. This was long before Mexico adopted the calaveras designed by Posada that are attached to Mexican Day of the Dead celebrations.

Learn more about the influence of Posada’s Calavera Catrina on Mexican and Mexican-American artists such as Diego Rivera and Alfredo Arreguín in our Images of Resilience: Chicana/o Art & its Mexican Roots gallery guide, available at the Lightcatcher.

–Written by Susanna Brooks, Director of Learning Innovation, for our exhibition, Images of Resilience: Chicana/o Art & its Mexican Roots

Whatcom Community College faculty photo

Focus on 50 Celebrates History of Whatcom Community College

The Whatcom Museum is pleased to present Focus on 50, an exhibition dedicated to the 50th anniversary of Whatcom Community College.

A stroll through the exhibit tells the story of how the country’s first “college without walls” grew to become a college without limits. Now, the school ranks among the top 150 community and technical colleges in the United States.

The exhibit features a photo archive of the college’s experimental roots: classes held in an abandoned supermarket on Marine Drive; a tin shed in Boulevard Park turned “crafts studio” (now Woods Coffee); the “Whatcom on Wheels” bookmobile that toured the county.

It also includes artifacts from the college’s past, from the first computers to early examples of the course catalogs. There’s also the original hand-carved wooden signs that identified Whatcom’s rented spaces from Blaine to Bellingham.

With its mission to provide access to a college education to everyone in Whatcom County, Whatcom Community College evolved from decentralized “satellite centers” to a beautiful 72-acre campus in Bellingham’s Cordata neighborhood.

Come see the stories of the educational pioneers whose vision guided the college from a radical concept to a nationally recognized center for innovation.

If you live in Whatcom County, the odds are strong that either you or someone you know has been touched by Whatcom Community College. The college has been transforming lives and building our communities for 50 years. Come share the story of the college’s remarkable journey and celebrate a half-century of turning dreams into reality.

The exhibition will remain at Old City Hall through May 31. It then moves to Whatcom Community College’s campus. Learn more about WCC’s year-long 50th anniversary celebration at whatcom.edu/50.

–Written by Bob Winters, Arts & Humanities Division Chair, Whatcom Community College

5 Women Artists in the Whatcom Museum’s Collection: 5. Sheila Klein

The Whatcom Museum is highlighting five female artists from our collection throughout the month of March (Women’s History Month). This is the last one of the series! Follow us on social media and share our post with your followers, or tell us your favorite women artists. Don’t forget to tag your posts #5WomenArtists.

Sheila Klein; Stand, 2000; Nylon, Lycra, spandex and steel, 13 x 13 x 9 ft. Whatcom Museum, gift of the artist.

Sheila Klein

Sheila Klein fearlessly defies prevailing styles and trends. Acclaimed nationally for her public art installations, including Underground Girl (2000, Hollywood-Highland Metro Station, Hollywood, CA) and Comfort Zone (2004, Harborview Medical Center, Seattle, WA), she has devoted her career to transcending the boundaries of art. Her smaller-scaled artworks deserve greater recognition, and the Whatcom Museum’s sculpture, Stand, highlights this other side of the artist’s practice.

Stand was the first artwork to be exhibited in the courtyard of the Whatcom Museum’s new Lightcatcher building as part of the exhibition, Show of Hands: Northwest Women Artists, 1800-2010. The interactive sculpture forms gigantic pairs of men’s stretch pants. It invites visitors to explore an unusual portal into the artist’s imagination.

Photo by Clara Senger.

Inspired by an experimental approach towards materials and ideas, the artist welcomes the unexpected. Recognizing her vision, Klein was awarded the 2017 Arts Innovator Award, funded by the Dale and Leslie Chihuly Foundation.

Klein has exhibited at a wide range of venues, including  PS 1/Institute for Art and Urban Resources, New York; Carnegie Museum of Art, Pittsburgh; and the Museum of Art and Design, New York.

A self-taught artist, Klein moved to the Skagit Valley in 1976. During the 1980s, she worked in Los Angeles as a member of A2Z, an award-winning, collaborative art and architecture firm. She returned to Washington in 1995 and now lives on a farm outside Edison with her artist-husband Ries Niemi. Her large studio is a melting pot of ideas for grand projects as well as more intimately-scaled objects.

5 Women Artists in the Whatcom Museum’s Collection: 4. Mary Henry

Mary Henry; Linear Series #5, 1966; Acrylic on canvas, 50 x 72 in. Gift of Suzanne and John Rahn, Whatcom Museum 2010.57.1.

The Whatcom Museum is highlighting five female artists featured in our collection throughout the month of March (Women’s History Month). Follow us on social media and share our posts with your followers, or tell us your favorite women artists. Don’t forget to tag your posts #5WomenArtists.

Mary Henry

After studying with the pioneering Bauhaus modernist Lazlo Maholy-Nagy (1895-1946) at Chicago’s Institute of Design in 1945, she was invited to join the faculty. She was the first women to be so recognized. Instead, she chose to follow her husband and relocate to Arkansas.

“I sometimes wonder about the kind of recognition the artist Mary Henry (1913-2009) might have received had she chosen a different path at a critical junction in her career,” says Museum Curator of Art Barbara Matilsky.

Mary Henry, after receiving the Twining Humber Award for Lifetime Artistic Achievement, 2006. Photo by Alice Wheeler.

After her divorce in 1964, Henry returned to her native Northern California. There, she painted bold, hard-edge, geometrically constructed compositions inspired by her mentor. She was among a small group of women who contributed to the movement known as Op (Optical) Art.

For Henry, geometry was not purely aesthetic. It was pursued to invoke the spiritual in art. She excelled in graphically conjuring distinctive patterns in black and white, as in Linear Series #5, as well as brightly colored shapes that often evoke landscape elements.

In 1968, Henry’s paintings at San Francisco’s Arleigh Gallery were nationally noted in Artforum magazine. She moved to Washington State in 1976 to be near her daughter and lived on Whidbey Island from 1981-2009.

The Whatcom Museum organized the first solo museum exhibition of Mary Henry’s artworks. The exhibition was curated by John Olbrantz in 1988. By the time Henry died at 95, other Pacific Northwest museums had introduced her work to an appreciative public. Her outstanding contribution to abstraction has yet to be nationally acknowledged.

5 Women Artists in the Whatcom Museum’s Collection: 3. Elizabeth Colborne

The Whatcom Museum is highlighting five female artists whose artwork is in our collection throughout the month of March (Women’s History Month). Artist number four is Elizabeth Colborne. Follow us on social media and share our posts with your followers, or tell us your favorite women artists. Don’t forget to tag your posts #5WomenArtists.

Elizabeth Colborne; Sunset Over the Bay, Bellingham, c.1930; Color woodcut, 9 x 6.75 in. Gift of the Bellingham Public Library, 1976.62.103.

Elizabeth Colborne

The Whatcom Museum holds the largest collection of work by Elizabeth Colborne (1885 – 1948). Colborne is one of the Pacific Northwest’s greatest print makers. Her piece “Sunset over the Bay, Bellingham” offers a birds-eye view of Bellingham Bay at its most seductive time of day. This directly confronts the duality of nature’s majesty with the economic realities of the logging industry. With smoke stacks rising up in the foreground, the abstract compositional influence of Japanese prints is apparent.

Living alone in a cabin, Colborne studied both man-made and natural landscapes in detailed drawings. She often portrays the intrusion of the human footprint by strategically focusing on old growth stumps in the forest. You can appreciate Colborne’s work for both its artistry and as a chronicle of the region’s history.

Elizabeth Colborne at 23 years old, featured in the article, “Women of Genius,” 1908.

Born in South Dakota and orphaned at a young age, she moved to Bellingham to live with her aunt. She lived alone in Whatcom County most of her life, except for attending Pratt Institute and spending part of the year in New York City. There, she developed a reputation for children’s book illustrations and landscape views that catered to New Yorkers’ interest in the Northwest’s beauty.

Whatcom Museum

Colborne’s work was rescued from oblivion by her sister, who donated a treasure trove of material to the Bellingham Public Library. In 1976, this work was transferred to the Whatcom Museum and supplemented by later Museum purchases and private donations.

It was not until 2011 that the Museum featured a retrospective exhibition, Evergreen Muse, The Art of Elizabeth Colborne, curated by David F. Martin, and accompanied by a publication that quickly sold out. National media coverage followed, assuring Colborne’s rightful place in art history.

The Whatcom Museum will be lending six fabulous Colborne drawings to the new Cascadia Art Museum in Edmunds for an upcoming exhibition, Botanical Exuberance: Trees and Flowers in Northwest Art.

5 Women Artists in the Whatcom Museum’s Collection: 2. Vanessa Helder

The Whatcom Museum is highlighting five female artists from our collection throughout the month of March (Women’s History Month). Next up is Z. Vanessa Helder. Follow us on social media and tell us your favorite women artists. Don’t forget to tag your posts #5WomenArtists.

Z. Vanessa Helder (1904-1968) Eastern Washington Landscape, 1936-40; Watercolor on paper, 19 x 23 in. Gift of the Washington Art Consortium through gift of Safeco Insurance, a member of the Liberty Mutual Group.

Z. Vanessa Helder

The Whatcom Museum recently acquired a watercolor by Z. Vanessa Helder (1904-1968). This enigmatic work, featuring abandoned buildings with no signs of life, suggests the economic hardships of depression-era America.

Helder was born in Lyndon to one of the earliest pioneer families in Whatcom County and attended Bellingham High School.

Z. Vanessa Helder (1904-1968), ca. 1940. Courtesy Northwest Museum of Arts & Culture/Eastern Washington State Historical Society, Spokane, WA.

Nationally recognized in the 1930s and 1940s for her magic realist drawings, she was selected to participate in the Museum of Modern Art’s seminal exhibition, American Realists and Magic Realists (1943), alongside luminaries such as Edward Hopper and Andrew Wyeth. However, once Abstract Expressionism seized the limelight, her work was largely forgotten. In 2013, the Tacoma Art Museum organized an exhibition of Helder’s work, reintroducing it to the public.

Helder is best known for a series of watercolors (at Northwest Museum of Arts & Culture, Spokane) that interpret the building of the Grand Coulee Dam. She also painted several murals for public buildings that have not survived.

The Whatcom Museum owns one of her watercolors, which are quite rare. Unfortunately, the art in her estate was privately sold. There is no trace of the buyers’ identities.

To date, the majority of her works have not been found. The Museum’s drawing is especially significant to its collection because Helder probably studied with Bellingham-based artist Elizabeth Colborne (1885-1948).

5 Women Artists in the Whatcom Museum’s Collection: 1. Anne Eisner

Inspired by the National Museum of Women in the Arts’ challenge, “Can you name five women artists?”, the Whatcom Museum is highlighting five female artists whose artwork is featured in our collection throughout the month of March (Women’s History Month). Follow us on social media and share our posts with your followers, or tell us your favorite women artists. Don’t forget to tag your posts #5WomenArtists. We start this challenge on March 8, International Women’s Day, to celebrate the contributions of women in the arts.

Anne Eisner; Two Mbuti Pygmies, 1956; Oil on canvas, 40 x 25 in. Gift of the Estate of William J. Eisner, 1975.110.12.

Artist #1: Anne Eisner

The Whatcom Museum houses several paintings by Anne Eisner (1911-1967), an under-recognized artist who made an important contribution to both art and anthropology.

Anne Eisner Putnam painting in the Congo.

In 1946, Anne Eisner journeyed from New York City to the former Belgian Congo (now the Democratic Republic of Congo), where she painted, transcribed more than 200 legends, and maintained ethnographic notes on the Mbuti Pygmies. The first white woman to live in Pygmy camps, Eisner introduced  the anthropologist Colin Turnbull to the people portrayed in his widely-read book, The Forest People (1961). Although he used Eisner’s notes (with her permission), Turnbull rarely mentioned her in his writings. Lost to history, the artist finally came to light in 2006, when Harvard University’s Houghton Library featured 9 years of her work in an exhibition, Images of Congo: The Art and Ethnography of Anne Eisner Putnam, 1946-1958, which was accompanied by a publication.

It is a mystery how the Whatcom Museum received Eisner’s work, which was donated by her father, also an artist. William Eisner was one of the first manufacturers of wax paper and director of New York City’s Art Students League. The Whatcom Museum owns work by Eisner’s father as well as her sister, Dorothy, an accomplished painter in her own right. An added bonus in this bequest was a drawing by Diego Rivera of Two Workers, which was inscribed to Anne Eisner by the artist in 1938. This drawing is featured in the Whatcom Museum’s current exhibition, Images of Resilience: Chicana/o Art and its Mexican Roots.

Affirming Culture and Resisting Oppression: Selected Works of Chicana/o Art

The exhibition Images of Resilience: Chicana/o Art and its Mexican Roots has its foundation in the Chicano Art Movement known as “El Movimiento.”  From the 1960s on, the Chicana/o Movement of both political and cultural development galvanized a generation of Mexican-American youth committed to civil rights. The Chicana/o Movement was at its deepest level a movement of social justice and cultural identity, where the right to land, language, education, and working wages was marked by an overriding theme of cultural reclamation.  Many of these issues surrounding immigration, border politics, and cultural citizenship have arisen again today in a new era of immigrant concern.

Diego Rivera; Two Workers, 1938; Ink on paper, Collection of the Whatcom Museum, gift of the estate of William J. Eisner, 1975.110.39.

Within the context of the Chicana/o Movement for social justice, artists took their places in creating images and forms of art that would help enlist others in this movement for human rights. The work of individual artists and collectives was often anchored in community-based organizations such as the Galeria de la Raza, The Mexican Museum of San Francisco, Self-Help Graphics, the Social and Public Art Center, Plaza de la Raza in Los Angeles, and Centro Cultural de la Raza in San Diego. Across the country, the Guadalupe Center in San Antonio, the Mi Raza Center in Illinois, and later the Mexican Fine Arts Museum in Chicago, as well as El Centro de la Raza in Seattle, provided a base for individual artists and collectives. The seminal exhibition, Chicano Art: Resistance and Affirmation of the early 1990s, brought many of the artworks, centros, and collectives to a broader national awareness. Read more