Sellwood Riverfront Park

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Today's adventure takes us down to Sellwood Riverfront Park, just north of the Sellwood Bridge, in -- unsurprisingly -- the Sellwood neighborhood of SE Portland. These photos were taken a few years ago, and I think this area's all torn up with Sellwood Bridge construction right now. I'd gone there to take photos of the (soon-to-be-replaced) current bridge, and managed to also take a few decent ones of the surrounding area. So I figured I could get a post about the park out of the deal. Unfortunately I had a bit of a lens dust issue that day, and many of the photos included an obvious hair or piece of lint. So I dropped some photos in a folder and procrastinated about them, because trying to repair dust errors in photos is really annoying and tedious. After mumble-mumble years of ignoring them, and also not going back for dust-free photos, I decided to just go ahead and post them, apologize for the ugly specks, and try to make up for it with scintillating historical research and a sea of fascinating facts.

That strategy would work better if I had more history to work with. But I don't. The park is surprisingly recent in origin, and I've only got a handful of items to share, none of them particularly earthshattering:

• The city recorded the park as "Undeveloped" in 1983, and applied for a $150k National Park Service grant to help develop it. The Wikipedia article for the park says this was previously a mill site before becoming a park, but that statement isn't sourced and I'm having trouble chasing down info about this previous incarnation.
• The park was dedicated July 1986, as the very first public river access for SE Portland. (There's river access at Oaks Park too, but it may have still been a private for-profit concern at the time.)
• Failed renaming attempt in September '86, would have been named for a (then-)living man. Would have become "Dent Thomas Neighborhood Park" if the proposal had gone through. Neighborhood activist, advocated by local neighborhood association. Would have also renamed Alberta Park as "Mumford Park" after a recently deceased local minister, and Irving Park would have become "Stevenson Park" after a recently deceased security guard. Reactions were mixed to the idea.

Molecule

It's taken me a while, but here's the third part of the Constellation trio in Holladay Park, along with A Neighborhood Gardener and Vase of Flowers. RACC calls it Constellation (Molecule):

This project attempts to illustrate the connection between the personal front yard garden and the civic park/garden. This is explored through three distinct elements. A vase of cut flowers, an abstract molecule containing elements of a good neighborhood, and the figure of a gardener/homeowner, shears in hand. The objects in the molecule were selected by the Sullivan Gulch Neighborhood Association and the person who was cast was Carolyn Marks Backs - A longtime neighborhood activist - Also selected by the Neighborhood Association.

The Smithsonian arts database calls it "Constellation: Isolated Molecule for a Good Neighborhood" (Which is way too precious to use in a blog title here). Their description:

An enlarged structure of a molecule featuring atoms in the shape of a garden tool, a milk carton, a coffee mug, a bagel, a house, a school, a family, and trees --all the things that make a good neighborhood.

...or at least that make a good cozy Portland white bourgeois lifestyle, circa 1999. Most parts of the country would have included a church too, and fought all the way to the Supreme Court to keep it; here it probably didn't even occur to anyone.

If we had to revamp the molecule in 2014, it would obviously include bikes and a more diverse notion of family. Someone would probably complain about all the dairy and gluten imagery, and they'd be replaced with kale or quinoa or something. Volunteers would come forward and install a working WiFi router inside, insisting that's just as essential as the other stuff.

Thomas Square, Honolulu

While I was wandering around Honolulu a few months ago, I happened to walk past Thomas Square, a city park with a circle of enormous intertwined banyan trees, or possibly it's all one banyan tree. That seemed kind of remarkable so I snapped a few quick photos before continuing on my way. Going by other photos I've seen of the park, apparently there's also a large fountain somewhere in there, hiding under the trees, but I didn't even notice it at the time.

At a street corner on one side of the park, a couple of guys were running a table offering left-wing and (De)Occupy Honolulu literature. It seems the park had hosted an Occupy encampment during the movement's heyday, similar to the one in Portland's downtown Plaza Blocks, and their choice of this particular park was anything but random.

Throughout the 19th Century, the US and various European powers jostled and schemed over control of the Hawaiian Islands, while the kingdom tried to fend them all off and remain independent. In 1843, the commander of a British naval vessel announced he was annexing the islands for the Crown due to various perceived slights against British subjects, and he declared a provisional government with himself in charge. King Kamehameha III filed a formal protest with the captain's boss, Admiral Richard Darton Thomas, at the British Navy's Pacific Station in far-away Valparaiso, Chile. Several months later, another British vessel arrived, with Thomas aboard. Thomas, of course, outranked the first vessel's captain and thus control of the new "colony" passed to him. Thomas, in turn, quickly handed power back over to Kamehameha III, in a ceremony at this spot. This is not at all how colonial empires of the 19th century usually operated, and I've yet to see a good explanation of why the islands were handed back, when so many other places around the globe weren't.

Shortly after the handover, the king proclaimed the area a public park and named it in honor of Admiral Thomas. Over subsequent decades the park design evolved into today's square.

For what it's worth, Thomas also has a swanky condo tower named in his honor, a few blocks away.

Piedra Negra

Today's object from outside the Portland Art Museum is Piedra Negra by Manuel Neri. Neri also created Ventana al Pacifico at the Gus Solomon Courthouse, to which Piedra Negra bears a certain resemblance. A passage from Neri's Wikipedia bio seems applicable here:

He is noted for his life-size sculptures, which though clearly figurative in nature, are abstracted figures rather than realist representations. His sculptures primarily focus on the gesture, and the surfaces of his sculptures are often, sanded, chipped, or painted to emphasize textures.

Piedra Negra previously exhibited in The Essential Gesture a 1994 show at the Newport Harbor Art Museum in Newport Beach, CA. The show was curated by Bruce Guenther, who in 2000 went on to become Chief Curator at the Portland Art Museum. Piedra Negra followed him in 2002 when it was donated for the museum's 110th birthday. Because arranging that sort of thing is what curators do.

Feathers

At Portland's Gateway Transit Center, three giant blue feathers twist in the wind atop 20' poles. Feathers was added as part of the MAX Red Line project, and TriMet's Red Line art guide has this to say about it:

The Gateway "Feathers" by Frank Boyden consist of three 14-18' long painted aluminum feathers that track the wind atop 20' poles. The feathers, which are visible from the I-205 freeway, the bike path and the train, create a landmark for the transit center and signify the start of the airport line with a bright and colorful allusion to flight.

Boyden also co-created the Interactivators along the WES line.

The main problem with Feathers is that it only makes sense if you realize it arrived with the aviation-themed Red Line, and you'll only know that if you Google it. Gateway is really busy most of the day and the feathers are in a fenced-off area, and (typically for TriMet) there doesn't seem to be a sign for it. So it's just going to be a mystery for almost everyone who notices it. Although I often wonder whether anyone other than me bothers noticing this stuff. (I just might be, if Google results are any indication.) Still, transit art is something to look when if your bus is late, I guess, or when the train's out of order again.

Kenton Park

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Photo of N. Portland's Kenton Park, a few blocks west of the Kenton MAX station. This was sort of an afterthought when I went to take photos of the (locally) famous Paul Bunyan statue; it's the usual neighborhood park, big grassy area with sports fields. I imagine many fond childhood memories have been created here, but Google hasn't figured out how to index those yet, which I'm sure is for the best.

I figured I'd check the Oregonian database for interesting items, in case there was anything to make up for the park's lack of visual uniqueness. Nothing earthshaking here either, but I did put together a short list of miscellaneous news items:

• The North Portland Commercial Club Women's Auxillary decided to work in favor of a park in 1913. The story reports that they usually focused on rose shows and "eugenic contests" whatever those were. I'm fairly sure I would be horrified if I knew what those were.
• It was only designated an official city park in 1954; the article notes unofficial names had been in use for quite some time.
• The Oregon Centennial Wagon Train made a stop here in 1959. The trip began far away in Independence, MO, retraced the Oregon Trail west from there, and ended at the Expo Center, home of the centennial exposition. The leg from Independence OR to Kenton was made with the wagons on the backs of trucks, but at Kenton Park they saddled back up and made the final leg of the journey the traditional way. The story notes that of the 26 people who set out on the journey, only 19 stuck with it to the end. It doesn't explain what happened to the others, so I'm just going to assume they died of dysentery, like in the game.
• In July 1977, the park was home to an honest-to-goodness organized Hacky Sack tournament. Feel free to roll your eyes at the 70s if you want. I know I am.
• As I've noted in previous posts about the Kenton area, the 1980s were not a kind decade to the neighborhood. The real estate ads tail off, replaced with stories about petty crime and transients. A December 1985 story chronicled local anxiety about an influx of strip clubs to the neighborhood, with one person saying it wasn't safe for kids to go to the park anymore.
• A January 2008 story about gentrification mentions the park in passing; the neighborhood had been trying to attract a new Multnomah County Library branch, and a couple of proposals would have sited new library buildings near the park, in a mixed use development with condos on top, similar to libraries in the Sellwood and Hollywood neighborhoods. Then the global economy crashed later that year, and the condo market with it. Kenton ultimately did get a new library, but it opened in an existing storefront on Denver Avenue instead.

Engine

Portland's Fire Station #1, at Naito & Ash, is a cool midcentury building dating back to 1951. At one point during the late-2000s real estate bubble, the city decided the building was obsolete and seismically unsafe, and the only solution was to tear it out, move the fire station away from the Skidmore Fountain area, and put in a super-upscale condo tower in its place. I suppose because being protected from fires and so forth isn't upscale enough. Saturday Market was booted from under the Burnside Bridge to make room for the UO Architecture School, but replacing the fire station fell through and they reluctantly made seismic upgrades on the existing building instead. As with all public buildings, 1% of the construction costs went to public art, which in this case was a stained glass window to brighten up the main entrance to the fire station. This is Engine:

Engine by Jack Archibald is inspired in part by the poem ‘The Great Figure’ by William Carlos Williams, and by two paintings also based on the poem by Charles Demuth and Robert Indiana. Archibald approached this piece wanting to create a totemic image for the headquarters. “Color, flash, and kinetics all held fast in the confines of the station’s entryway. The glasswork is intended to evoke explosive movement held in check, heroic energies at the ready, dramatic moments about to unfold... My intent was to modernize the imagery in the medium of glass, which is, I think, a kind of frozen energy itself, ready to explode when light hits it.”

The page continues with the aforementioned poem, which I'm leaving out just to be on the safe side, copyright-wise. Instead, here's a page at Emory University with the poem and the Demuth painting it inspired; and one at UIUC with three critics discussing it. The TL;DR here is that the window has a properly serious and highbrow inspiration, and one that relates directly to fire engines, which is no small feat. (And it's more eye-catching than the older piece with the stylized fire ladders out back of the fire station.)

On the other hand, the users of PoemHunter.com (which exists) only give it a 5.5 out of 10, and everyone knows it's the 21st Century and crowdsourced wisdom is superior to the stodgy old-fashioned kind. Although they currently have a Kipling in their top 10, which is just silly. Still, we defy the mob at our peril, and the next time someone wants stained glass inspired by a poem, we should probably stick to the one about the guy from Nantucket.

Forest, McDowell Creek

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Here's a slideshow from Linn County's McDowell Creek Falls County Park, near Sweet Home, OR. The park's waterfalls have appeared here already:

• Majestic Falls
• Royal Terrace Falls
• Crystal Pool Falls
• Lower McDowell Creek Falls

I'm not sure if this area is technically part of the Cascades or not, but the moss-covered trees tell us the park gets a lot of precipitation. It's not quite as rainforesty as the Olympic Peninsula, say, but it still makes for some interesting photos. Or at least I thought they were interesting.

Beverly Cleary Fountain & Sculpture Garden

In NE Portland's Grant Park, there's a small plaza with trio of statues of characters from Beverly Cleary's Ramona books, which were set in the surrounding neighborhood. In the summer months there's also a small fountain here, I guess for kids to play in; it wasn't running when I stopped by, but someone posted a YouTube video of it taken last summer. The whole assemblage was created by Lee Hunt, who also created the Human Comedy terra-cotta faces on a building at 3rd & Yamhill downtown.

I admit I never read any of the Ramona books as a kid, and it's a bit late to do so now, but I understand they're a fond childhood memory for a lot of people. So I can't speak to what scene from which book this is, or whether the characters look the way the books describe them.

The problem here (which is one I've discussed before) is that statues of kids are always creepy. Or at least they always look creepy in photos. I think it might be the facial expressions; Statues of presidents, generals, prominent local businessmen, etc., can pose their subjects gazing nobly into the middle distance, boldly leading us into the future or something. With kids you can't really do that, so they're often pictured laughing and smiling, and that doesn't translate into bronze as well. Whatever the cause, statues of kids always seem to evoke the "uncanny valley" effect, the same reason creepy clowns and ventriloquist dummies are so unsettling. I swear they didn't look this creepy in person, maybe because you can see they're child-sized and nonthreatening and not at all Chucky-like. Or at least not Chucky-like during daytime. At night it's anyone's guess.

Sapporo Friendship Bell

Here are a few photos of the Sapporo Friendship Bell in front of the Oregon Convention Center. The bell marks the longstanding sister city relationship between Portland and Sapporo (the big city on Japan's northern island of Hokkaido, host city for the 1972 Winter Olympics, and namesake of a beer you may have heard of). There's a second bell that marks the sister city relationship between Portland and Ulsan, South Korea. I didn't realize the two bells had different origins at the time, so right now I only have photos of the Sapporo bell and I guess I'll need to go back for the other one at some point. Although I may hold off on that until my Drafts folder is a bit smaller.

The two bells were the focus of a brief controversy in 1990, when a local evangelical Christian group objected on First Amendment grounds, claiming the bells were a Buddhist religious symbol and should either be removed, or joined by a nativity scene. Convention center management didn't buy the argument; the bells stayed, and there's still no nativity scene. The ACLU was reported to be "looking at the case" but they don't seem to have ever filed suit over it. I can only imagine how Bill O'Reilly would have demagogued this if Fox News had existed back in 1990.

Garden Gate

Here's another object from outside the art museum: Garden Gate by longtime Portland sculptor Mel Katz. His work has appeared here a couple of times before, namely Daddy Long Legs on the transit mall, and Red, Yellow, Blue at the 200 Market building. The museum doesn't have an online collection page for Garden Gate for some reason. It might be because it's a relatively recent acquisition; it was at Portland's Laura Russo Gallery as recently as 2002. This newness means I also can't find much of anything to share about it; many search results are actually for an entirely different Katz Garden Gate located in Bend. (I was just complaining about reused titles the other day and already here's another example How annoying.)

Based on a sample size of 3 I've seen, and a few others I've seen photos of, I think I generally like his work. This clean, colorful style was apparently uncommon in Portland's mid-20th-Century art world, which generally preferred lumpy bronzes and rusty cor-ten steel whatzits. (Alhough as far as I've been able to tell, said art world consisted of at most a dozen people at any given time, so having a niche to oneself isn't really that surprising.) The Portland Public Art blog liked Garden Gate too, and that blog's anonymous author was hard to please. I suppose the takeaway here is that while I may have uninformed opinions about art, they aren't always unusual opinions. Take that however you will.

If I ever wanted to sound more informed and insider-ish, I suppose I could start adapting text from the Arty Bollocks artist's statement generator. I'm also tempted to adapt the Git manpage generator for documentation in my day job. In both cases I'm not sure anyone would notice. I'm occasionally tempted to throw together a Markov chain generator that consumes the last 8+ years of this humble blog, and see what it spits out. I'm kind of afraid to see the results of that, to be honest. An auto-generated blog post would probably start with "Here are some photos of..." and ramble on for 2-to-5 unmemorable paragraphs before ending rather abruptly. And now that I've mentioned Markov chains, I'm kind of afraid of the generator becoming self-aware, or at least of it simulating self-awareness as well as I do. Heck, as far as you know this may have happened already.

American Hop Museum

Here are a few Instagram photos from the American Hop Museum in Toppenish, WA. The town is in the middle of the Yakima Valley hop-growing region, which produces much of the world's hop supply, and the museum claims to be the only one in America dedicated to the industry. I can believe that, since Oregon's Willamette Valley is the only other big hop-growing area in the country, and I'm fairly sure we don't have a museum.

It's your basic agricultural museum, with exhibits on growing, harvesting, drying, packaging, and brewing. Lots of vintage farm equipment to look at, old displays from the state fair, vintage brewery signs and beer taps, etcetera. Oh, and there's a gift shop at the end, which sells just about every hops item you could imagine, except beer. This sort of place may bore a lot of people, but I love a good small-town museum. I'm sure it also helps if you're a fan of the end product, which I am.

I'm not sure they could legally sell beer in the gift shop even if they wanted to. It seems the town of Toppenish is also home to the Yakama Nation tribal offices, the headquarters for a reservation nearly the size of Delaware, and the Yakama tribe has had an alcohol ban in place for about the last 150 years. In 2000, citing problems with alcohol abuse, the tribe attempted to enforce the ban across the reservation, which soon led to conflict with the state attorney general. The problem here is that the reservation is a patchwork of tribal and non-tribal lands, and a majority of residents within the legal boundary are not tribal members. In 2001, the local US Attorney threw cold water on the idea, stating the ban would probably not be enforceable against non-tribal members, and apparently that was the end of the proposal, although the ban remains on the books. In any event, I suppose having a hop museum on a (legally) dry reservation is no more strange than having the Jack Daniels distillery in a dry county in Tennessee.

More recently, the tribe has also refused to recognize Initiative 502, Washington's 2012 ballot measure legalizing recreational marijuana, due to substance-abuse concerns. In January 2014, the tribe announced it would try to enforce this ban on all lands covered by the 1855 treaty with the US Government, covering about a fifth of the entire state. I'm not a lawyer, and I'm generally very sympathetic to tribal sovereignty claims, but I can't really see this idea going anywhere..

Enchanting Garden

Today's adventure takes us back to downtown Honolulu again, once again to the intersection of Bishop & King Streets. This is the heart of Honolulu's financial district, and on each corner of the intersection a big bank or insurance company has installed some prestige art. It always seems kind of silly when CEOs compete over who's got the biggest, uh, sculpture, but all things considered I'd rather have them compete over art than over how many jobs they can offshore to Bangladesh or something. In any case, I've already covered Sun Disc, Upright Motive #9, and Na Manu Nu Oli, and today's post completes the set. Enchanting Garden is yet another sculpture-fountain combo, this time outside the First Hawaiian Center office block. It's by local sculptor Satoru Abe and -- surprisingly -- only dates to 1997, same as the building itself. They really fit in with the 1960s modernist look the rest of the area has. I don't know if this was deliberate, or whether the Jet Age International Style is the local vernacular and creating more of it is just automatic at this point.

I unfortunately don't have a lot of material to share about Enchanting Garden. It seems there's an entirely different Enchanting Garden at Honolulu's McKinley High School, also by Abe but dating to 1983. They don't even look all that similar. Pretty much all the search results I can find are for the 1983 one and not the one pictured here. So artists, a plea from a humble blogger: Could you try not reusing titles? Or if you really have to, could you at least maybe number them or something? That would be great.

Thea Foss Waterway Bridges

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So here's a photo of a couple of bridges in Tacoma, neither of which is the Tacoma Narrows Bridge, for once. Instead, here are the two bridges over the Thea Foss Waterway: The SR 509 bridge (1996), the cable-stayed one in the background; and the older Murray Morgan Bridge (1913), a lift-span bridge that you can't really get a good look at in this photo, unfortunately.

In most cities (i.e. those without a famous suspension bridge across town) the SR 509 bridge would be a major local landmark. At the very least it would have a proper name to it, maybe a retired mayor or influential congressman or something, but as far as I can tell this isn't officially called anything except the SR 509 cable-stayed bridge. Not long ago I rashly said something about Eastern Washington's Cable Bridge being the only cable-stayed bridge in the Northwest, other than the pedestrian one at OHSU. So yeah, I was kind of wrong about that, it turns out. It wouldn't surprise me if there are others besides the Tacoma one. I don't know of any others, but it wouldn't surprise me.

The Bridgehunter page for the Murray Morgan Bridge is livelier than usual, with reader-contributed anecdotes about it and the contentious politics of bridges versus ships in Tacoma. The Port of Tacoma occupies the low-lying tideflats where the Puyallup River flows into Commencement Bay, which is inconveniently right in the middle of the city of Tacoma. The fastest way between downtown and the Dash Point area would be on elevated bridges over the port, but that creates a height and width limit for container ships, which the port finds intolerable. In 1997 they arranged to have the outdated Blair Bridge demolished and not replaced (unless you count SR-509, which detours around the south end of the port), cutting what used to be a significant road link in the area. The nearby Hylebos Bridge reopened in 2012 after being closed for eleven years. Its drawbridge became stuck in the open position, and there was talk of demolishing it as well. Eventually the port realized the bridge was a critical evacuation route (in case of tsunamis, earthquakes, or lahars from Mt. Rainier erupting), and repairs were belatedly made.

Savannah Rapids Park, Augusta GA

Here are a few old photos of Savannah Rapids Park on the Savannah River, in suburban Augusta, GA. This is the point where the river crosses the Fall Line, and the headgates for the historic Augusta Canal are here. These photos were taken around the headgates area, although it's a fairly large park and there's more to it than this. The website mentions something about a waterfall, although I don't recall ever seeing it. If I had, I'm fairly certain I would have taken a photo or two.

The main thing I do remember is looking around for alligators. I'd heard they showed up here now and then, and there were signs warning people to please leave the alligators alone, dammit. Ok, the signs didn't say "dammit", this being the South and all, but the point was conveyed. I didn't see any gators, though, and I was both relieved and disappointed. I'd seen alligators before, during a family vacation to Florida in the mid-80s. They were swimming around in a canal at Cape Canaveral, in fact. Somehow that didn't really count because it happened in Florida, though. Anyway, I finally saw a wild non-Floridian alligator at Hunting Island, on the South Carolina coast, and somehow managed not to get any photos of it. I told coworkers about it later and they weren't that impressed. I think the best analogy is with bears in the western US: Not something you see every day, and a real nuisance when they do show up.

Going back through these old photos, I'm struck by how few photos I have of the Augusta area, despite having lived there for several years. I'm not sure why not; the old historic downtown was quite photogenic, at least if you ignored all the empty storefronts. The Augusta Canal took a very scenic route from the headgates into downtown, past historic cotton mills and under historic bridges, before petering out in weeds and neglect in a bad part of town. I haven't been back in the last decade and maybe it's changed since then, but it wasn't exactly the most economically vibrant city, other than the one week every year when it became the center of the golf universe, and the locals all left town for the duration. Savannah and Charleston had it beat in the tourism department, it was too close to Atlanta to be much of a business hub on its own, and any business that didn't gravitate to Atlanta likely ended up in Columbia or Greenville-Spartanburg, SC instead. Locals seemed to regard this with a mix of puzzlement and resignation. Grand development schemes came and went without rousing the city from its economic doldrums -- a riverfront condo tower in a city that shunned condos and avoided downtown after dark; big new history and science museums the local government couldn't afford to actually operate or maintain; minor league baseball and even hockey(!) teams that came and went; even a riverfront "Georgia Golf Hall of Fame" full of cheesy (and often vandalized) statues of famous golfers. Nothing ever seemed to pan out, and nobody could figure out why. Augusta would make a lot more sense if there was some sort of centuries-old curse on the place, a curse where nothing really terrible ever happens, but the city's forever doomed to watch enviously as nearby cities get all the goodies and it doesn't. But, as usual, Savannah and Charleston ended up with all the cool ghost stories.

Untitled, Macleay Park

NW Portland's Macleay Park is one of my favorite places in town, and I've never really done it justice here. An early blog post only covered one obscure corner of the park. I've also posted a boring video of a creek in the park, and a photo of a local slug. I've also done a post about the Thurman St. Bridge, which stretches over the park's lower entrance in dramatic fashion. Unfortunately this isn't a proper post about the place either; you might have noticed I've been doing a sort of public art thing lately, and Macleay Park is home to today's stop on this ongoing tour. The lower entrance to the park includes a meadow and group picnic area stretching out beneath the Thurman St. Bridge, and the popular hiking trail along Balch Creek begins at the far end of the meadow. In the middle of the meadow is an incongruous trio of bright red abstract sculptures, collectively known as Untitled. Their RACC page gives the rest of the story:

Three geometric abstract steel sculptures are placed in a raised landscaped area in and located directly south of the Thurman Street Bridge. In siting the work, the artist wanted the sculptures to respond both to the surrounding greenspace (thus, the bright red color) and to the broad horizontal expanse of the Thurman Street bridge (thus, the vertical nature of the sculptures). At the time the pieces were installed, Vern Luce lived near Lower MacLeay Park and selected the site both for its visual beauty and its proximity to his home.

The date on it says 1983, but the design was originally selected in 1979, and funded with a chunk of federal CETA money, along with Silver Dawn in Wallace Park, and the untitled ring whatzit in Couch Park. I've actually added a blog tag for CETA-funded art; other than Silver Dawn most of it isn't that great or memorable, and it's by people you've never heard of, and it's all in the same groovy chunky 70s style. It's not trying to communicate an environmental message, or define a neighborhood identity, or serve as a local landmark, or harmonize with its surroundings or anything like that. It just sort of exists, period, plunked down wherever the movers thought was easiest and left to confuse future generations. Or, more likely, be ignored by future generations, and marked as territory by their dogs.

Fremont Rocket

So here's a photo of Seattle's "Fremont Rocket", in the Fremont neighborhood not far from the Troll, the Lenin Statue, and Seattle's little Fremont Bridge (which is positively puny compared to ours). Fremont as a whole kind of grabs you by the lapel and demands you acknowledge its infinite quirkiness. There are even signs from the neighborhood chamber of commerce, explaining just how awesomely quirky and alternative everyone and everything is:

I will allow that Fremont (and Seattle as a whole) has an excellent marketing operation, way more slick than anything Portland could ever dream of. It's enough to make you forget this is the same city that gave the world Clippy and Kenny G.

As the story goes, this is supposedly a real, live government-surplus rocket, rescued from the facade of a defunct government surplus store. That's not quite true; it's actually a tail boom from a Fairchild C-119 Flying Boxcar, a twin-tailed USAF cargo plane of the 1950s, which the old surplus store had fashioned into a sort of cartoon rocketship. It would obviously be cooler if it was a real rocket, but it's not. If you want to see an actual real rocket, there are various places around the country with rockets on display. I think Seattle's Museum of Flight may have a few, but I haven't been there in many years. Rocket launches are fun too, if you ever get a chance to watch one in person.

In any case, there is sort of a space connection here. The C-119 aircraft was used for many years for midair recovery of film capsules ejected by Corona spy satellites. Seriously, that's what they used to do. Electronic camera sensors weren't advanced enough at the time, so a spy satellite would take a batch of film photos, and return them by dropping a recovery capsule with the film inside. A plane would snag the capsule's parachute in midair and reel it in, instead of having it land or splashdown somewhere where the Rooskies might find it first. The early spy satellites were publicly called "Discoverer", which was supposedly just an Air Force engineering test and research program. "Discoverer 14" was the first successful recovery, which resulted in some fun vintage newsreel footage:

white rhododendron

red tulips

new leaves

Naga Stand

Here's today's item from outside the Portland art museum, Naga Stand by James Lee Hansen, which is part of a larger series titled Guardian. If Naga Stand looks oddly familiar, you might be thinking of Hansen's Talos No. 2 and Winter Rider No. 2, both on Portland's downtown transit mall. Hansen's website includes a 1970 article about his work up to that point, with a brief and opaque description of the Guardian series:

Here we find that the first “Guardian” image--in which evolved organic masses create a cohesive environment around a vertical axis, the whole suggesting a ceremonial watchfulness recalling mythological soldiery. Craft-object and organic relationships fuse to create a language of form.

Transcending the visual aesthetic, the ‘Guardian” series exhibits the “intensity of feeling compressed into rigid form” that Herbert Read labels “iconographic.” Behind the polished surface of sculptural technique is an indicator pointing to the archetypal realm.

In any case, I imagine Talos No. 2 is part of this series too, since frankly I can't tell it and Naga Stand apart. Call me an uncultured philistine if you like.

As for the name, "Naga" could mean any number of things; the Wikipedia disambiguation page is one of the larger ones I've seen. The 1970-1971 date means it's too early to be inspired by the Dungeons & Dragons monster (which is in turn inspired by a Sanskrit deity). Apparently there's a circa-1969 comic book villain named "Naga" though, and that's exactly the right time period. So in lieu of any further information or research, I'm going to assume this thing's named after the evil merman-turned-serpent-god king of the Lemurians. The true story is almost certainly far less interesting.

Untitled, Pettygrove St.

So here's a fun lost & found story. I was rummaging through the Smithsonian's art inventory database and saw a mention of an Untitled sculpture by the prominent Portland artist Michele Russo, dated 1957, at an apartment complex at 2745 NW Pettygrove. That was the only mention I could find of it, but I made a note to see if it still existed the next time I was in the area. So here it is, slightly worse for almost 60 years of wear. Ok, a bit more than slightly worse. It needs serious help. I wonder if the building's management even knows what it is?

A May 1957 Oregonian story mentions Russo winning a design contest for this piece:

Sculptors have the spotlight this week with Frederic Littman elected as president of the Northwest Institute of Sculpture and Michele Russo named as winner of Portland's first competition for an architectural sculpture.

Serving as vice president will be Portland sculptor Manuel Izquierdo. Institute membership draws from Oregon, Washington, and British Columbia, with Oregon having 14 members. At the exhibition arranged to coincide with the recent annual meeting of the group in Seattle 14 members had entries. At the meeting Littman spoke on architectural sculpture and related problems and James Hansen, Vancouver sculptor, demonstrated his lost wax method of bronze casting. Plans are under way for a meeting in Portland next year and an all-sculpture show.

Portland's first competition for architectural sculpture was offered by Mr. and Mrs. Daniel W. Creary who were searching for a suitable accent for their modern apartment house going up at 27th and Pettygrove. The problem was submitted to William Fletcher, architect in charge, and to Don Blair and John Reese, associated with Fletcher on the project. It was decided by the architects to open the competition to members of Artists Equity of Oregon. Six entered the competition and Russo won with an abstract design of metal tubes and highly colored metal plates fashioned in open arrangement which will allow for a play of shadows on the surface of the building, enriching the pattern provided by the sculpture. The design as a whole suggests a pattern of giant leaves and stems intertwined.

Picador

Here's a slideshow about Picador, the second Manuel Izquierdo sculpture outside the Portland Art Museum, on the Jefferson St. side of the building near Split Ring. Unlike Eye of Orion (the other Izquierdo), it doesn't appear that anyone's started a Doomsday cult about Picador yet, but then it's a relatively new acquisition and doesn't show up in a lot of Portland art guides, so it's possible any prospective cultists simply haven't found it yet. I had a bit of trouble figuring out what this was, actually. There doesn't seem to be a museum sign for it anywhere nearby. I ended up just guessing it was one of his and rifling through the museum's online collection to see if they had any photos that looked right.

Once I knew the title I still couldn't dig up a lot of info to share about this one. The search results are swamped with Spanish-language bullfighting links. Apparently there's another unrelated Manuel Izquierdo out there who has something to do with bullfights, though I'm not sure whether he's an actual picador or not. And no, I'm not going to link to any bullfighting websites, because this is a civilized blog, for the most part.

You might recall I did a "Hey, I know who did that" with the museum's Mistral No. 2 as well; this sounds like an impressive skill until you realize that Portland's official arts world (i.e. people who made a living creating "serious" art, whatever that is) was about twelve people (nearly 100% of them old white men) from WWII through 1990 or so. Their work is found all over Portland and around the Northwest, so in a way they're important in the "Who created that?" sense. But if they were really so amazing and talented, what were they doing in a podunk Republican timber town like 1950s Portland, instead of Manhattan where all the serious action was? (Or at least where all the serious money was?) That's a question I can never seem to get a straight answer to.

Jekyll Island, GA

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Here are a few old photos from Jekyll Island, Georgia, a barrier island on the Atlantic coast near the town of Brunswick. The island was developed in the late 1880s as a resort for northern robber barons -- J.P Morgan, various Rockefellers, Vanderbilts, Goulds, and their ilk. The island's fortunes waned (so to speak) after the stock market crash of 1929, and the state of Georgia has owned and operated it since 1947. A number of the original "cottages" (i.e. vacation mansions) still survive, as does the central clubhouse building, now a hotel.

You may have gathered this is not a comprehensive photoset about the place; I took these in the late 90s, and I had no idea at the time that I might need a bunch of photos for the internet someday. In any case, I could never muster a lot of enthusiasm for the extravagant lifestyles of ultra-rich oligarchs, so if I did have a bunch of interior photos I'd probably just snark about them anyway. The island's beaches were beautiful, though. It's worth a visit just for the beaches.

Madrina

The next item on our random walk outside the art museum is Mark Calderon's Madrina. Like his smaller Floribunda on Portland's transit mall, it takes inspiration from elaborate hairstyles. Madrina appears to be a full human figure, and seen from any angle it looks like you're seeing the statue from behind. Until you realize it's an identical hairstyle all the way around, and the joke's on you. I don't know if that makes it great art for the ages or not, but it has entertainment value, I guess.

A Seattle gallery website mentions that this is one of a series of five (another is at the art museum in Bellevue, WA), and the page offers a brief description:

Each work in this edition will be hand finished with a unique patina. A rich reddish brown appears in the crevices of this work.

The image is a reflection on the female figure. Her mystery is evident in the realization that, as the viewer moves around her, a face never appears. Instead, she is shrouded in 360 degrees with long tendrils of curled hair and a gown that is fluted with a scalloped bottom edge. She can be viewed as an abstraction of a Madonna figure but her curls also suggest the Buddhas of the Far East with their pin curls or topknots, and Grecian caryatids with their plaited hair.

"Madrina" is the Spanish word for godmother.

Lions

Our wander around the outdoor part of the Portland Art Museum (i.e the free part) continues with Alexander Phimister Proctor's Lions, a large bronze plaque mounted on an exterior wall. Proctor also created the Theodore Roosevelt equestrian statue in the South Park Blocks nearby.

A 2003 paper in the Oregon Historical Quarterly about Proctor's work in Oregon explains the winding history of Lions. It was originally commissioned for the home of Wilson B. Ayer, a museum trustee, circa 1911, where it hung over a fireplace for many years. Ayers willed Lions to the museum in 1935. Aesthetic tastes changed, and the museum eventually lost interest in Lions, and loaned it to the Oregon Zoo in May 1962 (the same week the zoo train opened for business, as it turns out). The zoo mounted it on a wall in the big cat section, in an awkward location where it was hard to see; sometimes it even had bushes growing in front of it. It eventually fell into neglect and disrepair. I remember seeing it there as a kid and thinking it was a strange thing to find lurking behind a stand of bamboo. The museum finally took it back in 1998, restored it, and put it on display in its current location.

Proctor's 1950 obit in the Oregonian referred to him as a "famed western sculptor" and continued with a rather disturbing bit: "An enthusiastic hunter as well as an artist, he often boasted he had killed every species of wildlife in North America 'except a buffalo and an Indian.'" If you ever want to know what 1950 America was like, it was a place where it was ok to say that as a boast, and ok to print it in the newspaper as a heartwarming anecdote. Yeesh.

Mistral No. 2

Here's another object from the Portland Art Museum's free outdoor section, Frederic Littman's Mistral No. 2 (1961). Littman was a prolific local artist of the mid-20th Century, so his work shows up all over town. I've covered three other creations of his: Joy (Pioneer Woman) on Council Crest; Farewell to Orpheus in the South Park Blocks at PSU; and The Flogger at ESCO in industrial NW Portland. As I've said before, his style is generally not my cup of tea (though it works in The Flogger). Still, it was kind of fun to look around the museum's sculpture garden, see Mistral No. 2 and immediately know who had created it, even before I looked at the sign. I'm starting to feel as if I've actually learned something in this little project. It's not exactly a marketable job skill, but hey.

Meanwhile Mistral No. 3 is somewhere at Keller Auditorium, apparently. The interwebs don't seem to know where Mistral No. 1 is, or how many Mistrals there were in the series.

Hunting Island, SC

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Here are a couple of beach photos from South Carolina's Hunting Island State Park, a barrier island on the coast about 15 miles from the town of Beaufort. The island's dense palmetto-filled forest comes right up to the beach, like something you'd see in a movie about remote South Pacific islands. I would have liked to have better photos of the forest, and the rest of the park, but I only have these two photos. I think I may have run out of film after this pair of photos, come to think of it. I also had a crappy camera at the time, and (more importantly) I had no idea what I was doing. I realize I keep trotting that out as an excuse when I post old photos, but it's true. I ran across a forum thread with some great photos, if you want a better look at the area.

I wish I'd still had some film left when we ran across an alligator, asleep and sunning itself at an inland pond. Not an enclosure, not an exhibit, just a pond with a wild alligator. At the time, we lived a couple of hours north and inland, and while alligators were known to exist in our area, there were far more rumors than sightings. And of course coming from the Northwest we weren't used to even that degree of alligator-ness. So stumbling across one here, out of the blue, was kind of a big deal. Any locals who saw us gawking and pointing must have found it hilarious. It probably wasn't even that big of an alligator, thinking back. Still, I could have walked over and touched it if I'd wanted to, which I didn't. Nobody else seemed to want to pet the gator either.

Vanport Wetlands

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Here's a slideshow from the Vanport Wetlands natural area, just south of the Portland Expo Center. I'd ridden MAX to the end of the line to get some photos of the Oregon Slough Railroad Bridge (as one does) and I had some time to burn while waiting for the train back. So I figured I'd go take a look at the nearby lake. At first glance it looks like your standard run-of-the-mill wetland area near the Columbia, like Smith & Bybee Lakes, Whitaker Ponds, and many others. While that's basically true, there's an interesting story behind this place and how it got this way.

The first thing to know is that this isn't a regular city park, or even a Metro natural area. Instead, the Port of Portland owns and maintains it. Which is strange because their main business is running the Portland Airport and various shipping terminals, not creating duck habitat. It seems they needed to fill in about 14 acres of wetlands at the airport, so they had to create wetlands elsewhere as mitigation, and thus Vanport Wetlands was born. This is how the US Army Corps of Engineers wetland process works, more or less: They'll generally give you a permit to fill and build on wetlands, so long as you create or maintain some other wetlands elsewhere. The theory is that the new wetlands are supposed to be at least as good as the old ones. I suspect that's often not the reality; certainly the little fenced mitigation areas next to suburban minimalls don't look anything like real wetlands, for instance. I'm not a wetland biologist and I can't speak to how good of a job the Port did here, but at 90 acres the Vanport Wetlands are at least larger than the filled area they're supposed to replace.

Back in 2002, toward the end of the Port's restoration effort, they decided to embrace modern technology and they put up a website about the area, its history, and its future, rather than installing the usual interpretive signs at the lake itself. That website has unfortunately been defunct for several years now, but it turns out that the (usually) trusty Wayback Machine has a copy. So I can fill in a few details about the place's unusual history.

Prior to the wetland restoration project, this site had been home to KGW radio towers since the mid-1920s. A pair of 625' towers stood near the center of today's lake. A nearby creepy-looking multistory transmitter building apparently dated to before the 1948 Vanport Flood, which devastated the once-populated surrounding area. The rest of the tower site was a forest of guywires supporting the two antennas. Less visibly, the towers were connected to a grid of buried copper grounding wires, I suppose in case of thunderstorms or something. All of this had to be removed as part of the restoration project, so it wasn't just a matter of taking down the towers and flooding the place. The towers were toppled in December 2000. It's a shame the one online video clip of the toppling is a pre-YouTube, postage-stamp-sized Windows Media file, but that was the state of the art back then. Frankly, I have no idea how we got by in those days.

I couldn't get very far during my brief visit because the Vanport Wetlands are surrounded by a chain link fence topped with barbed wire, and the only gate is closed and locked. The old website explains that this is intentional:

Until 2001, access to the site was restricted to a gate on the eastern boundary of the property off N. Expo Road. Following mitigation construction, a second gate, along the northern boundary of the property, was installed. Due to the conservation restrictions placed on the property, there is presently no public access to the site.

A chain-link fence now surrounds the site, with the only vehicle entrance being a gate at the northern end of North Expo Road. Visitors must receive Port of Portland permission to enter the property due to the sensitivity of the wetlands restoration effort underway there. Once native wetland vegetation is firmly established, the Port anticipates some public use of the property for passive recreation and educational activities.

To my untrained eye the wetlands certainly look established at this point, but clearly this maybe-someday public access hasn't come to pass yet. I can see it not being a high priority for the Port; It's not exactly their core business, after all. They do operate a couple of other public parks, though, although none of them are nature areas: McCarthy Park on Swan Island, and the Stanley Park Blocks and much of the Marine Drive Trail near the airport.

The closure may not be that big of a deal, though, since (as far as the general public goes) the Vanport Wetlands are mostly of interest to birdwatchers. If you're serious about birding, you presumably already have gear for observing from a distance -- binoculars, monster telephoto lenses, etc., and I suppose the fence isn't that big of a deal in that case, so long as you can get an unobstructed view over it from somewhere.

The water comes right up to the property line (at least on the east side of the lake), so it's not like they could put in an extensive trail system here, and I think the lake's too shallow for canoes most of the year, but I imagine a boardwalk or observation deck would be doable at some point.

For what it's worth, there seems to be a minor geographic dispute about just what the lake is called. The Port's old website says it's called "Force Lake", but Google and the Friends of Force Lake say the real Force Lake is just northwest of here, on the other side of Force Avenue. Which I think would make this lake Not The Lake You're Looking For. I'm sorry, that was lame and I apologize.

Pics: Beaufort, SC

Here are a few old scanned photos from Beaufort, SC. These few photos don't really give a full picture of the place; taking photos was expensive back in the 90s, and remember 36 shots per roll? Oh, the good old days, or not. The city, or town really, is like a tiny copy of Charleston, SC. You'll be able to see this better once I get around to scanning my Charleston photos. Or you could just Google Charleston; that will work too. Or Bing, I guess. Anyway, we lived in Augusta at the time, about a 2 hour drive inland, and Beaufort was a bit shorter drive than going to Charleston. There's much more to do in Charleston, of course, but Beaufort and nearby beaches were worth an occasional day trip.

The unusual thing about the place is that the surrounding salt marshes often stretch right up to the edge of town. There could be a row of gaudy 19th century mansions, and then what looks like howling wilderness right at the end of the street. I've always liked salt marshes (and you can probably tell that since most of the photos here are salt marshes), so I thought having them next door was a very cool aspect of the town. It may also be a reason Beaufort stayed small though; up until the late 1940s, malaria was still endemic to this part of the South. Living next to a mosquito-filled swamp maybe wasn't always the best plan back then. By the time the threat of disease abated (thanks to a massive federal public health and aerial spraying campaign) the town was old and historic, ready to be rediscovered & preserved for posterity. I hate to say it, but it's possible we have DDT to thank for this quaint little place.

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Eleven Very Small Sculptures

Not long ago, I dropped by NW Portland's Wallace Park to take some photos of Silver Dawn, the park's big shiny abstract sculpture over near the off-leash dog area. While I was putting that blog post together, I realized the park was home to a second, much smaller sculpture that I didn't notice during the original visit. Or rather, the park was home to a collection of tiny sculptures scattered all about the place, titled Eleven Very Small Sculptures. The RACC page describes it:

Artist: Bill Will, American, born 1951
...
A curious collection of eleven life-size bronze sculptures of common objects can be found tucked away in unexpected places throughout the park. The artist's goal for this piece was to provide artwork that would be subtle and integral to the environment, but would not compete with or obscure the elements that have already made the park an urban oasis.

Will also co-created Street Wise, the whimsical words-in-the-sidewalk thing near Pioneer Place, on the same block as the Human Comedy faces. His website doesn't seem to mention Eleven Very Small Sculptures anywhere; I suppose it counts as one of his minor works, at least size-wise.

I'm afraid I only have photos of one of the very small sculptures here, namely the book attached to a bench near the park's playground. This is because that was the only one of them I could find during a cursory look around the park. The RACC page has photos of several others: A flip-flop attached to a chain link fence (probably at one of the baseball diamonds); a coffee cup and scattered silverware somewhere I can't make out; small objects in the rafters of the park's picnic shelter; sunglasses atop a lamppost; and a milk carton atop a second lamppost. If I'm counting correctly, that comes to ten sculptures, assuming you count each piece of silverware separately. Finding these (and the mysterious eleventh one) is left as an exercise for the reader.

Eye of Orion

Some photos of Eye of Orion, a Manuel Izquierdo piece in the Portland Art Museum's outdoor sculpture court. It's not my favorite among the works of his that I've seen, but at least one random person has been spotted worshipping it, so reasonable people can disagree, I guess.

It also had a cameo role in QR/ART, a 2011 digital exhibition pairing the museum's traditional artworks with online digital remixes through the magic of QR codes. Yeah, QR codes. Which, in 2014, already seems more dated than any of the traditional works on display. What's more, Eye of Orion was paired with a page on weird-fiction.net that now comes up as a 404 (conceptual art not found).

Luckily(?) the Wayback Machine archived the page before it went away. That page turns out to be some incomprehensible yapping about the sculpture's supposed astrological significance. Or something. I"m not entirely sure what the author was getting at, other than the fact that Eye of Orion is somehow Very Very Important to the cosmos at large. Naturally the page mentions the former Masonic temple next door, because of course it would. The archived 'About' and 'Blog' pages are just spammy pages for various erectile dysfunction pills. Overall I'd rate it at about 350 to 400 milli-Timecubes. Maybe the whole thing's supposed to be deliberately loony, Subgenius-style. Or maybe we've found ourselves a second Eye of Orion cultist.

It seems like a dumb thing to start a cult about, if you ask me. I mean, worshiping a tower topped by a great lidless eye, wreathed in flame? Or at least wreathed in sorta-flame-shaped bronze bits? C'mon, guys, it's been done already. There were movies and everything. Although come to think of it, Orion and Sauron have never actually been seen at the same place at the same time, as far as I know. Waiiiit a minute...

Totem Pole, SW Terwilliger

SW Portland's Terwilliger Boulevard was designed as a winding road of scenic views, and there deliberately aren't a lot of structures right along the street, to avoid obstructing these views. One of the few exceptions is the Chart House restaurant, just north of the Beaverton-Hillsdale intersection. Next to the restaurant is a rather large totem pole; the idiosyncratic RACC guidelines say it qualifies as public art, and their database has this to say about it:

“Totem Pole” was carved by Chief Lelooska of Ariel Washington from red cedar harvested from the base of Mt. Adams. This totem pole is one of the most massive in existence measuring fifty feet high and four feet wide. The carved figures depict a beaver surmounted by a grizzly bear next to a raven topped by four watchmen. The totem was carved during Oregon's Centennial in 1959, to celebrate the state's role in Operation Deep Freeze, which established a scientific station at the geographic South Pole.

Born Cherokee, Lelooska (1933-1996) was adopted into the Kwakwaka'wakw, and was known for his mastery of storytelling and carving. As a scholar and educator, Lelooska was an authority on the Indians of North America with a particular emphasis on the tribes of the Northwest coastal region. He was known for his versatility in wood sculpting, creating artwork that ranged in size from hand-held rattles and feast bowls to large-scale totem poles. This piece serves as an excellent example of Lelooska’s work and is a prized part of Portland’s public art collection.

So that's the RACC account; it didn't answer all of my questions, so I dug into the Oregonian database to see what contemporary accounts had to say about it. The first thing to note is that there have been restaurants at this site (known as "Elk Point") for a very long time, stretching back to the early days of Terwilliger Boulevard. Before it became today's Chart House, for many decades it was Palaske's Hillvilla restaurant. It seems Palaske was an Indian art collector, so the idea of adding a totem pole next to his restaurant must have seemed like second nature.

Incidentally, Kenton's Paul Bunyan statue was created for the same centennial exposition, an event that's otherwise been all but forgotten. Based on the surviving art from 1959, we seem to have had sort of derpy and juvenile notions of how to commemorate the state's 100th birthday. (Lost Oregon, Vintage Portland, & Oregon Encyclopedia have interesting posts about the exposition). A totem pole is a weird way to mark the anniversary, at any rate, since it's not as if the Oregon Trail and then statehood were exactly beneficial to local tribes.

The one thing I can't confirm is the story about Antarctic exploration. It may very well be true, but I haven't found anything in the newspaper database to corroborate it.

So here's a brief timeline of the totem pole's creation and later history:

• The log arrived March 25th 1959. The pole's design was described as a scaled up copy of one from British Columbia's Queen Charlotte Islands, more commonly known as Haida Gwaii these days.
• A construction photo dated April 7th 1959
• A May 14th, 1959 front page photo of the pole under construction, wit the caption "Heap Big Totem Pole". In case you were wondering just how racist the Oregonian was back then. I checked briefly and didn't see any letters to the editor calling them out about this headline, which makes me think the paper's white readers of 1959 were ok with this too.
• Story to go with the previous photo, "Totem pole paint dries" . The article notes this pole had a concrete base, and steel bracing on the back. I didn't think to look at the back, so I don't know if that's still there or not..
• Raising ceremony June 4th. 27 tons. quoted: "It's an artistic triumph", reports Eddie Palaske. "It's almost half as tall as Meier & Frank's. This will be here long after the Centennial exposition is torn down, perhaps right up to the time the atom bombs strike."
• June 9th brought a story about Lelooska's indian encampment on the South Park Blocks, part of the Rose Festival Center. I can imagine an Indian encampment there, but try as I might, I can't picture carnival rides on the Park Blocks. I just can't see it.
• August 25th brought a mention of the inconvenient fact that tribes this far south didn't really do totem poles . It's couched in the usual mocking racial terms, being 1959 and all, but the underlying claim is factually accurate.
• A tall photo of the pole, dated October 6th . The caption mentions a pond at the base, which isn't there now.
• January 30th, 1961: A pair of visitors from Finland marveled at the totem pole. The wife mentioned that Finland has no totems because it has no indians. Husband: "No, but we have Swedes".
• The previous article got an indignant letter to the editor. Bigotry against Indians was still perfectly socially acceptable then, but prejudice against Swedes was on the wane on this side of the Atlantic. I suppose that may count as a form of progress, sort of.
• A photo of it being repainted for rose festival , June 2nd 1961. The article mentions it has (or had) a gas burner on top to light on special occasions. I don't know whether that still works, and if so, what constitutes a special occasion these days.
• A 1966 profile of Lelooska & a wider discussion about NW indian art
• Also a 1983 profile of Lelooska (Don Smith).
• Palaske's Hillvilla became the Chart House in 1985, and the totem pole underwent restoration at that point.
• A followup article about the changeover gave a brief history of the place