From the Copper Country to the Color Country

The field school students are all on the road!  

Two vehicles left from Michigan Technological University this week, carrying people and gear for the dig.  Our incoming graduate students have left from their home states in order to rendezvous in Parowan, Utah, this Sunday.  We also have some people arriving by plane at the Las Vegas airport.  We'll start work on Monday morning, bright and early.  The experience will be interesting for the MTU students, who are traveling from Michigan's Copper Country to Utah's Color Country.

Michigan Tech is on Michigan's Upper Peninsula, on the south shore of Lake Superior. The Keweenaw Peninsula juts out into the lake and includes the former grandeur of the copper mine and mill towns like Calumet, Houghton, and Hancock.  The copper deposits of the Keweenaw Peninsula were famous all over the world, as were the mines and immigrants came from all over the world to work in the mines, mills, and logging camps.  After decline during the twentieth century, the copper country is rural today and the economy relies upon tourism. 'Downstaters' visit during the winter for our 350 inches of annual snow and our Winter Carnival celebration.  People also visit during the summer and fall, when the big lake keeps us cool during the hot Midwestern July and August and when our leaves start to turn in the fall.

Of course, Iron County is part of Utah's Color Country.  The history of Iron County is similar in many ways to Michigan's Keweenaw.  The draw of iron mining and other related industries drew immigrants, in the context of the Latter-day Saint settlement.  The iron mines and furnaces cycled through boom and bust, leading to a decline in the mid-twentieth century.  Iron County is rural today, between larger cities and communities on the Wasatch Front to the north and St. George and Las Vegas to the south.  The economy is diversified, but tourism plays an important part.  Visitors come for the skiing in the winter and camping and hiking in the summer, enjoying the communities proximity to Cedar Breaks National Monument, Zion National Park, Bryce Canyon National Park, and many other eco- and heritage tourism attractions amid southern Utah's stunning polychrome geology.  Cedar City's Utah Shakespeare Festival runs from summer into the fall, and like MTU's Winter Carnival, it attracts guests and encourages families to come year after year.

Another similarity is that both communities are small, with 10,000 to 15,000 people in the cities and good universities (Michigan Tech and Southern Utah University).  Despite the small size, the former industrial booms mean that lots and lots of people have family history tied to the area.  I am constantly meeting people when I travel who tell me, "Oh, Houghton!  My Grandfather worked there." or "I have an ancestor from Parowan who then moved to northern Arizona."  Houghton and Hancock share some of Parowan's famous claim to be a Mother Town from which individuals and groups of immigrants struck out to other places in the United States.  

As an afterthought, both regions also have great traditions of local music. Check out these musicians:
Houghton's Hanna Bethel just posted a video on YouTube:
http://www.youtube.com/watch?v=u8S5dSaz6cA&feature=player_embedded
and our own Eric Koskinen, although he now lives in Minneapolis:
http://www.erikkoskinen.com/

You can find great music in Cedar City at Groovacious Records:
http://www.groovacious.com/
and live at The Grind:
http://groovinatthegrind.com/

Exhibit Opening

We opened Potters of the Gathering: Clay Work in Early Utah on Saturday, May 2.  I am very grateful for all the help and support of everyone on the team at the Iron Mission State Park. We finished the last bits of exhibit preparation that morning, and my wife Sarah even joined the work team, despite the fact that she was on vacation from her job at the Chipstone Foundation and Milwaukee Art Museum. Sarah helped polish the acrylic boxes that cover the vitrines and then helped Ryan aim lights in the gallery.  

I will post more quality photos of the exhibit as I get them.  I was pretty busy Saturday night talking with visitors, so I didn't take any pictures myself.  

We designed three main areas for the exhibit. The first area has the feel of a natural history museum.  This area includes wall panels with text, photos and a touch-screen DVD, as well as cases of archaeological artifacts and an ambient audio program.  This section of the exhibit explains the process of pottery manufacture, with emphasis on the English factory experience.  It also presents the archaeological research into Utah's clay industries.

This case, as one example, is full of mold fragments from the Deseret Pottery site in Salt Lake City.  Utah State Parks staff and groups of student volunteers did archaeological salvage at the site in 1977.
We built the second area of the exhibit in the style of an art museum.  This section includes several cases that gather together examples of pottery that the maker stamped or signed.  This is the largest collection of signed and identified pieces ever exhibited.  In addition, this area also includes a large table display, pictured below, where a number of unsigned objects sit together.  We hope that this display will encourage people to consider the aesthetic and technical variety in these objects and the similar diversity in the artisanal community that manufactured them.

The picture below shows the Eardley vitrine, which contains many of the Bedson Eardley and Deseret Pottery pieces in the show. In the background are panels that explore the push forces that encouraged potters to leave England for Utah.

Our third area is in the style of a history museum.  We explain the potters' quality of life in this area, including health issues, business practices, and the social construction of identity.  The displays, which include two pioneer period rooms, a peddling wagon, and a black-box theater, interpret objects using text panels and photographs and two separate audio programs.

Some local media covered our opening:

TheSpectrum.com from St. George, Utah.

I do hope lots of visitors will come to see the show while it is open at the Iron Mission State Park Museum.  We have had some inquiries about hosting the show in other cities around Utah, but there is no guarantee the show will travel.  The exhibit includes about 300 objects, most of which have never been exhibited before.  It is certainly the largest collection of nineteenth century pottery ever gathered together.  Besides all the objects, there are two audio programs, an ambient audio atmosphere, a touch-screen DVD with video segments, and dozens of historic and modern photographs.

After our opening, my wife and I took the remaining two days of her vacation time to do some camping and hiking in the desert's spring beauty.  The wild plants are in bloom here, the days are warm, and the Coal Creek has swollen with snow melt runoff.  My thoughts are increasingly turning to the fieldwork at the Davenport Pottery site.  I'll post more exhibit pictures as soon as I get them, but will be write more soon about the field school and excavations!  The students are on the road from MTU and should arrive in a day or two.

Downhill to the Opening

We finished some major tasks this week, and I feel tired and satisfied. The exhibit panels, images, and video/audio elements were the biggest push, and Ryan and I got them all into production. Darrin and Benjamin at Mishap Studios finished the first set with us and the panels went to the print shop to be printed and mounted on foam core. Ryan and I picked up the first set of panels today, and we'll hang them tomorrow. In the photo below, Ryan and Rick Cleveland of Rainbow Sign and Banner are holding the exhibit's welcome sign.



I also spent time with Benjamin today, as we selected video and audio clips for different parts of the exhibit. I was again impressed by Mishap Studio's computer set up. They are working this weekend on the exhibit's touch-screen video.

Ryan will also work with Mishap to record the audio for our "black box theater." I am using this theater to allow people to hear the voice of Heber C. Kimball, a potter and pioneer Latter-day Saint.  The narrator will read some of Kimball's sermons, while museum visitors sit in a darkened box with dramatically lit pottery.


I've finally finished painting vitrine bases. Just a few morning touch ups and then the paint can cure until we put ceramics on the bases and seal the acrylic boxes over top.  It feels great to be done painting!


This week we also finished the exhibit booklet. I wrote an essay I think is unlike most exhibit catalogs. I didn't inventory the stuff in the show, but wrote instead about the Utah Pottery Project and the potters. I suppose the essay is a bit passionate, but I think most people who come to the show will understand. I hope the entire endeavor encourages people to think about Historical and Industrial Archaeology in Utah as well as cultural heritage generally.

Kudos to Stefanie Michaelson and Karen Krieger at Utah State Parks for their herculean efforts to edit the booklet and finish the beautiful design!

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