Tag Archives: Museum

The Berlin Masterpieces in Cincinnati

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This post’s title is a take-off of the title of an exhibit at the Cincinnati Art Museum the full and accurate title of which is Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America. At the heart of the exhibit is the story of a wildly popular, though somewhat controversial,1948 tour of paintings with its own title: Masterpieces from the Berlin Museums. The tour did not reach Cincinnati although two of the fourteen cities it did reach, Cleveland and Toledo, were in Ohio and there is a major Cincinnati connection.

The picture of General Eisenhour looking over some of the paintings that the Nazis had hidden away is at the entrance to the exhibit. On the other side of the wall it is mounted on, there is a timeline of the Nazis’ rise and fall that ends with the Masterpieces from the Berlin Museums tour. Two items from late 1943 are “Allies invade Italy”, in September, and “Monuments, Fine Art, and Archives section (Monuments Men) of the U.S. Army is established”, in December. The Monuments Men (the subject and title of a 2014 movie) set out to locate and protect artworks at risk of being destroyed by the Nazis.

Thousands of items were located, some in a large salt mine, and brought together at Wiesbaden, Germany. This is where the Cincinnati connection comes in. The director of the Wiesbaden Central Collecting Point was Cincinnatian Walter I. Farmer. By itself, his work in documenting pieces of art and preparing them for return to their owners would have been noteworthy but there was something more.

When he became aware of plans to ship a large number of paintings to the U.S. for safekeeping, Farmer organized thirty-two Monuments Men to produce the Wiesbaden Manifesto which protested what Farmer feared was “spoils of war” type treatment of the European treasures. Smithsonian Magazine calls this “the only act of protest by Army officers against their orders during the entirety of the Second World War”. Although it was eventually published, the manifesto was initially suppressed by Farmer’s superiors. The paintings were shipped to the National Gallery in Washington, DC, and placed in storage. As plans formed to return the paintings to Germany, it was decided to put them on display before their departure. An exhibit at the National Gallery was so popular that the U.S. Congress took notice and actually legislated the tour of thirteen additional museums. All 202 paintings were returned to Germany at the conclusion of the tour. 

Photos of “The Berlin 202” are displayed on a wall near the center of the exhibition. Four of the actual paintings, on loan from the State Museums of Berlin, are on display. The exhibit is fleshed out with other paintings in CAM’s possession by some of the artists contained in the 202. Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America runs through October 3, 2021.

Trip Peek #114
Trip #159
Corner to Corner to Corner II

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This picture is from my 2020 Corner to Corner to Corner II trip. The corners involved are the southwest and northeast corners of Ohio and the II identifies this as a repeat of an earlier outing. The first Corner to Corner to Corner was in 2001. It was just the third trip documented on this site and was partially a practice run for a much larger trip that would follow in four months. Similarly, this trip, the first of the COVID-19 riddled 2020, could be considered a test run for a larger trip planned for two months in the future. Pretty much by coincidence, the larger trip being prepared for in both instances was a retrace of a trip taken by my great-grandparents in 1920. In what was perceived as a way to limit exposure to COVID, the trip was organized around two nights at a motel near Medina. I reached the motel on the first day by following US-42 north and returned home on the third day by following OH-3/3C Highway south. in between I followed those same roads in and out of Cleveland and the Rock and Roll Hall of Fame.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.

Trip Peek #113
Trip #150
Spontaneous Nash Dash

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This picture is from my 2018 Spontaneous Nash Dash. The two concerts around which this trip was centered had been on my radar for a short while but the decision to attend really did occur spontaneously on the morning of the first concert. I left home on Thursday, and that night took in The Cleverlys at the Station Inn. That’s when the featured photo was taken. The other concert that was used to justify the trip was The Long Players on Saturday night. That left plenty of daylight hours to take in the new Patsy Cline Museum, the Gallery of Iconic Guitars, Santa’s Pub, and the Lane Motor Museum with a stop at Bobby’s Idle Hour on Friday night.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full-sized photo and the associated trip journal.

Open House at Vent Haven

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On Saturday, right after I was welcomed at the Vent Haven Museum open house, I was asked if I’d been there before.  “Yes”, I answered. “Several years ago.” I later checked to see when that earlier visit was and discovered that apparently — in my mind, today — several equals ten.

My only previous visit to the “World’s Only Museum Dedicated to Ventriloquism” occurred way back in 2011. It was during that short period when Oddment pages had not yet been totally replaced by blog posts. There is an Oddment page here. I joined a guided tour on that 2011 visit which made the information I received and shared on that Oddment page noticeably more precise and organized than what I’m posting here. That’s not at all a knock of the open house, and I encourage everyone to partake if they can. They generally do two a year and the second one for 2021 is just a month away on Sunday, June 13.

Today I’ll just share a couple of photos from each of the three open buildings. My first stop was in the building directly behind the house. It was built in the 1960s by museum founder W.S. Berger, and is the first building constructed specifically for the museum. There are hundreds of ventriloquist dummies in the building but I’ve chosen pictures of the string of past presidents and another small grouping. It is the smallest member of that grouping that caught my eye. It’s a replica of “Bull” from the TV show Night Court.

This is the collection’s first home after it was booted from the residence by Mrs. Berger in 1947. It is the garage left empty when Mr. Berger retired and sold his car. The middle picture is of eight dummies donated in the last twelve months. The museum typically gets 10-15 donated each year. There are also a few hundred dummies in this building but none more realistic looking than Penn and Teller.

Construction of the third building was started by Berger but he died before it was completed. It and the garage will be taken down later this year to be replaced by a new building that will offer several enhancements (including restrooms!). Be aware that these are not the only wall-of-bodies or shelf-of-heads photo ops in the museum which now has about a thousand residents.

I actually took this picture soon after I arrived but saved it for a closer. It’s Mike Hemmelgarn who made absolutely everyone feel relaxed and welcome.

That’s All, Brother

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Lt. Col. John M. Donalson named his C‑47 “That’s All, Brother” as something of a declaration that the Nazi’s success in Europe was just about over. Then he used it to lead more than 800 aircraft loaded with paratroopers across the English Channel to confront those Nazis on the night of June 5, 1944. When I heard that the plane was coming to the National Museum of the United States Air Force on Tuesday, I thought I might be interested in seeing it. When I woke up a couple of hours ahead of its estimated arrival time, I decided that I was interested in seeing it land.

A one-hour window had been announced for the landing and the plane appeared just about in the middle of that window. It made one pass over the runway without landing. Maybe that was so the pilot could scope things out or maybe it was so people on the ground could take pictures like the one at the top of this article. It then circled the museum and dropped onto the runway without a hiccup. Even with a chainlink fence in front of me, I was able to get a shot of the big airplane slipping safely between a water tower and a tractor-trailer.

The museum’s announcement said that the plane would be available for up-close viewing, inside and out, once it was on the ground and parked. Inside viewing would be limited to two at a time. I figured there would be a long and — with the two viewer limit — slow-moving line to get inside the plane so I anticipated not doing that. I did walk out to the plane, however, to get a closer look and better photos. Next to the plane, T-shirts and other merchandise were being sold from a van. It’s a Mercedes. Maybe no one other than me saw the irony in that, and even I am unsure whether using a German vehicle with D-D stripes to support a U.S. WWII military plane is a major insult or simply cynical.

The line was not as long as I feared and the two-person limit was not in place although there was an effort to maintain social distancing and a mask requirement was being strictly enforced. The C-47 is a military version of the DC-3 so it isn’t completely unfamiliar. Of course, passengers seating in the DC-3s I’ve seen looked considerably more comfortable than this. Information on this plane’s history and future can be found at “That’s All, Brother”.

There was a lull in the boarding right after I exited the plane, and I was able to get a shot of the door. One of the operations “That’s All, Brother” was involved in after D-Day was dropping supplies in relief of the siege of Bastogne during the Battle of the Bulge. With a touch of awe in his voice, the docent inside the plane pointed out that those supplies were thrown out this very door.

I could say that I took these pictures after checking out “That’s All, Brother”, but the truth is that there was a fair amount of time between the plane’s landing and it being available, and that’s when I went inside the museum. These pictures are, in fact, out of sequence. There are a few hundred aircraft displayed at the museum. Like “That’s All, Brother”, these are three with a WWII connection. The all-volunteer Flying Tigers, organized to fight in China before the U.S. entered the war used Curtiss P-40s. The C-47 in the middle picture was the last in routine USAF use. “Bockscar” is the name of the Boeing B-29 Superfortress that dropped an atomic bomb on Nagasaki on August 9, 1945. A mockup of that bomb, named “Fat Man”, is displayed beside it.

I’ve visited the museum several times and actually spent less time inside it today than on almost any other visit. But, for some unknown reason, I was really struck today by the amount of money, energy, and intelligence that has been devoted to creating machines whose sole purpose is the destruction of other machines — and people.

A friend called on Friday evening to tell me about a related event. “That’s All, Brother” was helping with a celebration honoring a local veteran. The celebration started Friday and would continue on Saturday. The fellow being honored was Jim “Pee Wee” Martin who parachuted into Normandy on D-Day and would be turning 100 on April 29. I decided I was interested in seeing that, too.

“That’s All, Brother” was joined by “Placid Lassie“, another C-47, and “D-Day Doll“, a C-53. All had participated in the D-Day invasion. As the three planes flew over Skydive Greene County, a couple dozen passengers exited. There were other jumpers, including the Army’s Golden Knights, and music, ceremonies, and fireworks were planned. Promised rain made an appearance about the time the Golden Knights finished their jump which prompted Terry, the friend who called Friday, and me to slip away while we were still mostly dry. 

These pictures are from Tuesday and are very out of sequence. When time permits, breakfast at the somewhat nearby (4 miles) Hasty Tasty is a nice prelude to an Air Force Museum visit. Hasty Tasty was a local chain that peaked at thirteen stores. This is the last and may also have been the first.

Chillin’ With Neon

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What would it take to get you to walk around outside in 28° weather? The subjects in the photo at right did it for me. As part of the ArtsWave Red Light Valentines Display, the American Sign Museum kept the outside signs illuminated for several hours on both Friday and Saturday nights, and I decided that was something I ought to see. I helped justify the trip downtown with one last drive across a favorite bridge just ahead of an extended closure.

The John A. Roebling Suspension Bridge has had its share of brief closings over the last few years. Once it was closed until it could be inspected after being struck by a car. Then it was closed when pieces from one of its sandstone pillars started falling onto the roadway. A protective net, visible in the middle picture, allowed it to reopen. Recently, it was closed for its own protection when a fire closed the nearby Brent Spence Bridge carrying I-71/I-75, and the nineteenth-century suspension bridge was just too tempting to truckers with rigs far in excess of the bridge’s limits. It was reduced to a single lane a couple of weeks ago as crews prepare for a full closure on Monday. Repairs that include replacing deteriorated sandstone will keep it closed for nine months or so.

After crossing to Kentucky on the Roebling, I returned to Ohio on the now repaired Brent Spence, and headed to the Sign Museum where I was greeted by a brightly lit Holiday Inn sign.

I have seen these signs lit before, but only when some event was taking place in the museum. Having them all aglow with an empty parking lot and dark building was something new to me.

I was half expecting there to be a number of photographers flitting around the signs but I had the place all to myself. After twenty gloveless minutes of tripod toting and camera aiming, I had a pretty good idea why. As I drove back past the Holiday Inn sign, I found myself thinking that heated steering wheels might not be entirely frivolous.   

A Pair of Parks and a Pint

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Parks are pretty good places to go when one of your goals is not getting close to people, and Friday’s extra fine weather made doing something outdoors all but mandatory. I had only recently heard of Chrisholm MetroPark and the fact that it was fairly close to another park I’d been thinking of revisiting made it the choice for my first stop of the day. The opening photo was taken from the east end of the full-width porch on the front of the Augspurger House.

In normal times, tours of the Augspurger House are given on certain days but that has been curtailed by COVID-19. There was no apparent activity at Rosemont Barn, either. In fact, the only non-visitor I saw was a fellow doing some mowing in a field on the far side of the barn.

This turned out to be the most interesting building in the park today, and I think it would be quite interesting even with house tours and a critter filled barn as competition. The interesting part is that, as the sign explains, it is one of thousands built by the Works Progress Administration. Existing outhouses were often quite shabby with poor drainage. For the cost of materials, the WPA would construct a properly designed sanitary outhouse. The WPA was the brainchild of Franklin Roosevelt and his wife was the major proponent of this effort to improve sanitation in rural areas. The tidy tiny buildings became known as Eleanors.

That’s just one of the things I learned today. I also learned a new word. The park’s real restrooms are next to the restored (but unused) Eleanor. They are currently closed and I didn’t even get a picture of the building but I did get a picture of a sign describing them and teaching me a new word. Described as “Butler County’s First Green Restroom[s]”, the composting restrooms deal with “humanure”.

Half of the visitors I saw in the park were at this very cool Playscape. On the way out, I drove by a couple walking their dog, and here I encountered a mom and daughter having a great time on the rustic-styled playground equipment. They do appear as two dots in the background of the second picture, but I really tried avoiding them in my pictures which meant waiting to photograph the tractor while mom was in the wagon being pulled “very fast”.

Pyramid Hill Sculpture Park is a little more than eight crow miles from Chrisholm MetroPark. My most recent visit was last December for the Holiday Lights. Today was a reminder that I need to come in the daytime more often and I probably need to pack a lunch. I also need to schedule better so that I am here when the indoor Ancient Sculpture Museum is open.

I started off misreading the map so was sort of walking around randomly for a bit. That’s not a problem, of course, as there are sculptures and scenic backdrops everywhere. These photos were chosen about as randomly as my path. The first is of Greg Loring’s Life’s Twists and Turns. The second is Age of Stone by John Isherwood, and the third is George Sugarman’s Garden of Sculpture.

Harry T. Wilkes, the man responsible for creating the park, built and lived in this pyramid topped home that gives the park its name. His 2014 obituary describes him well, and John Leon’s lifesize sculpture gives him something of a continuing presence in the park.

With more than a hundred sculptures displayed on 300+ acres, there is no shortage of things to look at or photograph. I did not photograph everything I saw but I came away with enough photos to overflow this blog post and probably a couple more. In fact, I took enough photos of just this one piece to bore most people. I’m wrapping up my visit with just three views of Sam McKinney’s Wherefore Art Thou with Romeo and Juliet reaching desperately to touch each other through the black granite and family conflicts that separate them.

This was my first COVID era visit to Municipal Brew Works which sits between the two parks in downtown Hamilton. I ordered the 1791 Oktoberfest from mask-wearing servers inside then parked myself at an outside table far from the few other afternoon drinkers. I can’t think of a better way to finish up a temperature perfect day filled with history, art, and sunshine. 

More Cincy Reopenings

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The Cincinnati Reds opened their season on Friday instead of March 26 as planned. Friday is also the day I made the Cincinnati Museum Center visit I’d postponed a couple of weeks earlier. It was supposed to happen on the same day as my Maya exhibit visit, but a service appointment got in the way. The delay moved it from the members-only preview week to a week after the general opening and fountain turn on. Water now shoots high in the air and cascades down through that series of pools in front of Union Terminal. The marker in the foreground stands near where the world’s first professional baseball team had their home plate. Less than two miles away, in an empty stadium, the modern version of the team got the shortened 2020 season rolling with a 7-1 win.

The museum center is using timed entry to keep the number of people in the building below capacity although that hasn’t yet been an issue even though attendance has been slowly increasing. Three museums are part of the CMC. Because just about everything in it is hands-on, the Children’s Museum remains closed as do two of the major components of the Natural History Museum. Keeping the replica limestone cave and the Science Interactives Gallery sanitized just isn’t practical, and some interactive experiences have been temporarily removed as well. I know all of that makes things considerably less entertaining for younger visitors but the most prominent residents of Dinosaur Hall are still there and they’re still awesome.

There are currently two temporary exhibits that are included in CMC admission. I checked out “Inspired by Nature” first. If you’ve spent any time looking over downtown Cincinnati, there’s a good chance you’ve seen some of Charley Harper’s art. It appears in several murals with “Homecoming (Blue Birds)”, on Court Street, being the most well known. The placard at the left of the last picture contains a Harper quote that probably sums up the man as well as any.

This is the centennial year for the passage of the constitutional amendment that allowed women to vote. “An Unfinished Revolution: Women and the Vote” tells of the struggle that preceded that breakthrough as well as the struggle that continues today in pursuit of equality. The 19th Amendment was passed on May 21, 1919, and ratified on August 20, 1920. In between those events, Ohio legislators took steps to assure that women could vote in the 1920 presidential election even if the amendment was not ratified in time. In the center of the first picture, the 1919 and 1920 Hamilton County voter rolls give a visual indication of just how significant a change that was.

Some portions of the Cincinnati History Museum are closed but I think that has at least as much to do with establishing new and reworked exhibits after the big renovation as with anything COVID-19 related. I was excited to find that “Cincinnati in Motion” is now complete. New to me sights included Proctor and Gamble’s Ivorydale complex and Crosley Field where I watched several Reds games and one Beatles concert. Neither “Shaping Our City” nor “You Are Here” were entirely finished when I was here last, but they are now. As we (at least I) struggle to outsmart our phones, it helps being reminded that all new technology requires some learning.

Another thing that happened during the two weeks between my planned and actual visit, was the reopening of the Holocaust and Humanity Center. Entrance to the HHC is not included in CMC admission but it is is the same building and discounted combination tickets are available. This was my second visit and I again found the personal stories and keepsakes extremely interesting. The pictured Torah was saved from a burning synagogue on Kristallnacht. I had taken a picture of the only window in the museum on my first visit but I had not actually looked out of it and that is the whole point of it being there. It provides a view of railroad tracks which is how many holocaust refugees arrived in Cincinnati. The third photo is from the “Humanities Gallery” which deals with today rather than history. I took several pictures of the row of screens and their rotating set of images and picked one to include in this post. Then, as I actually put this post together, I discovered that I had unwittingly selected a picture that was a near duplicate of one I had posted from my first visit. That picture, which can be seen here, obviously made an impression on me undoubtedly because it is evidence of the bigotry present today. I did not want to just repeat that picture and decided I didn’t want to repeat the feeling either. I went with something much more hopeful.

Many things at Union Terminal are now open but absolutely nothing is back to normal. That’s true of the whole world, however, and the folks at CMC and HHC seem to be doing the right thing. Kids have it the worst. I can think of nothing equivalent to the learning that automatically comes along with all the fun in the Children’s Museum and Science Interactives Gallery. I’m sad that they are closed but know that the risk of having them open is too great to even think about. A few interactive displays exist in the Cincinnati History Museum but they are in places that can be constantly monitored and sanitized frequently. In the HHC, pushbuttons are used to activate displays and recordings. Everyone entering is given a rubber-tipped stylus to handle the button-pushing and they are encouraged to “take it with you when you vote”. Hand sanitizer is available throughout all the museums. Every employee and guest I saw was wearing a mask and many staff members also had a face shield. In some sense, this could be considered a good time for adults to visit. It’s not crowded and access to both displays and docents is easy. But empty museums are not, in general, a good thing at all. I really look forward to the return of flocks of noisy kids figuring out where that ball is going to fall and which direction that gear is going to turn.

The picture at right was taken two weeks ago on my way to the Cincinnati Museum Center to see the Maya exhibit. Sugar n’ Spice has operated on Reading Road, about five miles north of downtown Cincinnati, since 1941. They are taking COVID-19 seriously with limited capacity, masked staff, plexiglass dividers, and more. I had heard something about plans to open a second location but I hadn’t really paid any attention to details. As I finished up my original wispy thin pancakes, I struck up a conversation with a manager who showed me some pictures of the new location. I learned that 1) the grand opening was happening the very next day and 2) the new store wasn’t just near the old Sycamore Street diner, it was in the diner.

I stopped here on Friday on my way to see the dinosaurs and suffragettes. It’s a 1955 Mountain View diner that was moved from Massillon, Ohio, to the Over the Rhine section of Cincinnati in 1984. It then operated for many years as The Diner on Sycamore. Its most recent life was as Joe’s Diner which closed in 2016. In between, it had a couple years of life as Vinyl and was dormant for several years. I really like what Sugar n’ Spice has done here and I really like their chances of success. The middle of a pandemic is certainly not the ideal time to open a restaurant but everything was, of course, in motion well before the pandemic hit. Although it’s a family-owned business, Sugar n’ Spice is really an established brand that has brought their bright colors and slightly whimsical decor along with a reputation for quality to a classic factory-built diner. The counter is not currently being used but two outside dining areas are available along with plexiglass separated booths in the Mountain View and in the brick and mortar building it is attached to. I’d totally forgotten how big Sugar n’ Spice omelets are. Five eggs aerated. This is what I had for breakfast — and dinner.

Maya at the Cincinnati Museum Center

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March 14 was to be opening day for a huge exhibit of Maya artifacts at the Cincinnati Museum Center. March 9 was the day a state of emergency triggered by the COVID-19 pandemic was declared in Ohio. The opening did not happen. On Friday, nearly four months later than planned, I was among the first group of visitors to step into the exhibit. We all wore face masks and all staff members wore face masks in addition to clear plastic shields. We were all museum members as only members are allowed in for the first week. Our entry time was preselected which is pretty normal with major exhibits at the museum but the number allowed for each interval was considerably less than what it would have been in March. There were floor markings to encourage six feet of separation and a few interactive “experiences” were removed to eliminate contact. Touching the artifacts would be forbidden in any case and I don’t believe any were removed. All 300+ seemed to be right where they had been waiting for four months.

The Children’s Museum and the cave portion of the Natural History Museum are closed but most of the center is open. Entry, however, is now time-based and I had reserved a slot for checking other things out after the Maya exhibit. That was not to be as I immediately headed home. Missing an appointment with an AC service guy in July is not wise.

That scheduled service call did not actually make me rush through the exhibit but it did cause some shortcuts. As I entered, I learned that an audio tour was available through my phone, but in the probably mistaken belief that it might slow me down, I ignored it. No doubt that’s one reason I have so little information to share on specific items. I read every description but took no notes, not even with my camera, and my memory did not retain details very long.

I did not photograph many of the numerous small pieces in the exhibit and didn’t even do a particularly good job with the larger ones. The three items displayed here against the lighted and decorated pyramids can reasonably be called mid-sized. The picture at the beginning of this article is of the one at the front right of the wider view.

This stela is one of the largest items in the exhibit. It can be seen beyond the pyramids in the previous pictures. Created in 800 CE near the peak of Maya civilization, it documents some of the accomplishments of a Maya king. That’s something I happen to know because of some only slightly blurry photo notes.

Only four Maya codices, all written after the civilization’s peak, are known to exist. The Cincinnati exhibit includes this partial reproduction. It and the two stone carvings are among the items I wish I’d picked up more details on, and it’s likely they will become justifications for a return.

I have no details to share about the stone mask but I do have this for the jaguar man. The exhibit was originally scheduled to close on September 7 but the delayed opening has moved that to January 3, 2021. I hope to return and be better prepared with more time when I do.

As for the rest of the museum, I will definitely be returning, possibly as soon as this coming week, to see that. I sort of want to see what changes COVID-19 has triggered and I most definitely want to check out a special exhibit on women and the vote that is open through September 27. As everyone should know, this is the centennial of the first national election in which women were permitted to vote. 

Book Review The Tinker of Tinkertown Carla Ward

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I guess my purchase of this book fits the technical description of an impulse buy, but I sure don’t think of it that way. Yes, I bought it without a hint of hesitation the instant I learned of its existence and there was certainly a lot more emotion than logic involved in the decision. But I sincerely believe that the logical part of my brain had long ago decided that acquiring this book was something I needed to do as soon as it existed. If it ever did.

It was the last day of June 2011, almost exactly nine years before I heard of this book, that I first heard of Tinkertown. As I sat in an Albuquerque hotel room working on the day’s journal, a friend sent a message saying, “Don’t forget to checkout Tinkertown”. In the morning, I did just that and was immediately blown away. Ross Ward, the tinker — and creator — of Tinkertown had already been gone for many years but I got to see many of his artworks, meet Carla, his widow, and tour the museum that the two of them had built in Sandia Park. It was a place that simultaneously reminded me of some of the many one-man folk-art installations I’d seen while being completely unlike any of them.

As I’m sure is the case with many visitors, it was the mechanized carvings that made the biggest impression on me. It’s the sort of blending of engineering and artistic creativity that tugs at both the analytical and the aesthetically driven parts of my brain. There was ample evidence of Ward’s other talents in some flat paintings, the bottle filled walls, and the sometimes whimsical but always artful signs appearing throughout the museum and grounds. There were enough hints of Ward’s life outside of Tinkertown to seriously arouse interest. That interest really can’t be satisfied with a single book, but this one does a remarkable job of trying.

Sometime between the book being ordered and its arrival, I revisited its description and noticed its length of thirty-six pages. I wasn’t worried but I did wonder how Carla could tell Ross’ story in just three dozen pages. The answer, as I think I already knew, is “Just fine.” She tells it with pictures and just enough well-chosen words to properly place those pictures in Ross Ward’s life and to tell some details of that life that the pictures do not.

There are several delightful photos of Ward, but the bulk are of his art and the bulk of those are in a section of “2D Work”. It’s a section I found quite interesting as most of its contents are things not displayed at Tinkertown. Items range from posters to etchings to fine art paintings representing nearly every period in Ward’s life. A personal favorite is a circus parade that he drew on thirty feet of adding machine paper at the age of eight.

A “Tinkertown” section follows. The pictures in it are of things I’ve seen but that doesn’t make me enjoy it any less. The well-done photos provide an excellent look at the exhibits that got me interested in Ross Ward to begin with. A timeline of Ross Ward’s life appears on the final page. 

There might be just thirty-six pages in The Tinker of Tinkertown, but they are really great pages. I’ve learned that images of the flat artwork came from high-resolution scans and that Carla (with an iPhone 11) is responsible for most of the modern photos including those shots of sideshow attractions and trapeze artists in Tinkertown. The images are well served by the fairly heavy semi-gloss paper they are printed on. That paper, by the way, is Forest Stewardship Council certified which speaks not only to the quality of this book but to the quality of the people at Tinkertown.

The COVID-19 pandemic caused Tinkertown to miss its traditional April 1 opening this year but the museum and staff are ready for the reopening when it is permitted. The book, of course, will be available there when that reopening occurs, but until then an online purchase is the only option available. Order your copy here.

The Tinker of Tinkertown: The Life and Art of Ross Ward, Carla Ward, Tinkertown Press, June, 2020, 11 x 8.5 inches, 36 pages, ISBN 978-0-9793124-8-9