“Fall Splendor” — Ashland public art

Have you seen a Chinese Lantern Flower,
or steel that looks like lace?
View 23 photos.
Artist: Annette Julien (in photo above).
Ashland Public Art series.

Introducing the artist

OSF prop made by Annette Julien

If you have attended plays at the Oregon Shakespeare Festival (OSF), you have likely seen art created by Annette Julien. This is the Cheshire Cat from the 2019 play Alice in Wonderland. At the end of this article, you will see full size photos of two of her dramatic props. (photo by Annette Julien)

I asked Annette, “When did you first create art?” She told me, “I don’t remember when I didn’t do art.” She journeyed from crayon drawings before elementary school to art for every elective class in high school to the Art Institute of Seattle. She received an Associate in Fine Art Degree in their Commercial Art Program. 

After graduation, she became an intern at Dillon Works, a Seattle area company that bubbled with creativity. Then she began as a volunteer in the props department at the Seattle Children’s Theater and worked her way up to a paid position at that theater. Her experience in Seattle led to her job in the props department at OSF, where she has worked for the past 20 years.

Annette explained that her life is filled with art. “I do art at work for OSF and then on the side, I do sculptures for me.” Many of the props she makes are furniture and other large pieces for OSF shows.

Introducing the unique Chinese Lantern plant

Chinese lantern plant
Chinese Lantern plant leaves and pods. (photo by Jennifer Beebe on Pixabay)

The Chinese lantern plant (Physalis alkekengi) has dramatic red or orange colored seed pods that, with the right weather conditions, turn into something totally different but equally amazing. Annette told me that the pods turn into what’s called a “skeleton,” and added, “That happens only if all the conditions are correct, and it’s really spectacular looking. The pods themselves keep their entire shape, with the little seed still bright, bright red in the middle. They have always fascinated me.”

Chinese lantern plant pod
Chinese Lantern plant, showing the pod “skeleton” with a red seed inside. (photo by Esther Merbt on Pixabay)

How Fall Splendor was made

I enjoy seeing a new piece of art that causes me to do a double-take, then think to myself, “How did they do that?” I had that thought as I looked at Fall Splendor. 

A new public artwork normally begins with a proposal put out to artists by the Public Arts Commission. Annette saw the proposal for this public artwork location and submitted her idea as the model shown below. 

Fall Splendor sculpture model
Model for Fall Splendor. The leaves are marked to guide her in the sculpture building process. (photo by Annette Julien)

Annette began her process by collecting samples of the plant leaves and skeleton pods near Ruch. She made a small model for the committee appointed to choose this public artwork. Along with the model, she brought them a large, full-size steel Chinese lantern plant leaf she had made. You can now see that leaf on the ground to the side of the sculpture. It appears to have ‘fallen off” the plant/sculpture. Annette laughed as she told me, “I used to get phone calls…’oh my god, one of your leaves broke off.’” 

Fall Splendor sculpture
You can see the “fallen” leaf on the bottom left. (photo by Peter Finkle, 2020)

Making the leaves

The sculpture’s stems and leaves are made with Corten steel. Steel comes in flat pieces, right? The leaves of Fall Splendor are curved and wavy just like real Chinese lantern leaves, right? They got that way through a combination of artistic creativity and brute strength. The artistic creativity was provided by Annette. The brute strength was provided by her brother’s hydraulic wood splitter. Yes, a wood splitter. It is not delicate, but neither is steel. 

Wood splitter
Wood splitter used to shape the leaves for Fall Splendor. (photo by Annette Julien)

Here is how Annette described the leaf making process: “All of these bends were done on a wood splitter. It’s a wood splitter used for firewood, powered by hydraulics.” To split wood, a piece of wood is placed between the flat plate and the wedge. As the hydraulic system pushes the flat plate towards the wedge, the wood is easily split. 

Annette adapted the machine to bend Corten steel. Rounded pieces of pipe were attached to both the flat plate and the wedge in order to gently bend the steel. “I would hold the steel and my brother would activate the splitter plate. I’d say “go, go, go, go, stop,’ and then I’d move the steel or flip it over until I got the wave that I wanted.” This bending was all done at room temperature without needing to heat the steel, since the wood splitter is so powerful.

The stainless steel leaves have been bent, cut down the middle and tack-welded in this photo. Annette had not yet welded the entire center seam and ground the welds smooth. (photo by Annette Julien)

She originally bent the “leaves” as rectangular pieces of steel until she got the wave patterns she wanted. Then she would cut a rectangular piece in half, cut out a leaf shape on each half and weld the two halves together into one wavy leaf. She concluded, “This complex process makes the leaves more interesting and realistic.”

Fall Splendor sculpture
Close-up of one leaf on the finished Fall Splendor sculpture. You can clearly see how the leaf’s center seam has almost disappeared. I am amazed again and again by the skill of a professional metal artist like Annette to make welds “disappear.” (photo by Annette Julien)

Corten steel, used for the leaves, is designed to rust, but Annette’s process will slow the rusting. She colored the leaves by adding an acid-wash patina. On top of that is an outdoor clear coat to preserve the color as long as possible.

Making the pods

The skeleton pods, made of 1/8” stainless steel, required a very different multi-stage process.

In her words, she began “by taking an actual skeleton pod. I cut it apart and spray painted a piece black. Then I scotch-taped it to a piece of white paper and xeroxed it up [made enlarged copies of the piece]. What you see in the sculpture is the actual designs in the pod.” 

Learning this step was my favorite part of interviewing Annette. From the first time I saw Fall Splendor, I was taken with the contrast of thick stainless steel and its delicate skeleton-pod design. When I learned that I was looking at nature’s delicate design, not Annette’s, my appreciation for the sculpture doubled. 

Fall Splendor sculpture in process
Thick paper was used in the pod design process. (photo by Annette Julien)

The pod shape is five-sided. Annette used thick paper to plan the size and shape of each side of each pod. This photo shows the enlarged Chinese lantern pod skeleton designs after they were glued onto the five pieces of thick paper that made up her experimental pod. Once she had the size and shape just right, she scanned the sort-of-football shape of each side into the computer. Using Photoshop, she combined the pod skeleton design with the shape design. This gave her a basic building block for the pod sections of the sculpture. These Photoshop designs were saved as computer files.

Next came transferring this design to stainless steel. She said, “I had the flat stainless steel pieces cut out with a water-jet cutter. I did the computer stuff and I sent them a file.” Water cuts through 1/8” steel? Yes, with the help of an abrasive mineral – typically powdered garnet – added to the high pressure water for the cutting process.  

Annette built this tool to help her bend the skeleton pod pieces. (photo by Annette Julien)

The pod pieces came back from water-jet cutting as flat ovals. The finished pods, of course, had to be curved. I asked Annette if the wood-splitter was used to bend this 1/8″ stainless steel. She replied, “No wood splitter on these.  I used a slip roller to put a gentle curve in them and then I used this pipe setup I built to hand bend them to the right shape to get them all to meet correctly.”

After each of the skeleton pod pieces was cut and curved, she was ready to put the five-sided pods together. Based on her thick paper design, each pod was created of five stainless steel pieces. I look at the stainless steel seams and see them “seamlessly” welded together. Each pod looks as though it were made of one piece of stainless steel, not five.

Fall Splendor sculpture
Stainless steel pod close-up, with glass seed inside. (photo by Annette Julien)

Each pod contains a bright red seed, as do real Chinese lantern pods. These seeds, made of glass, were hand blown at the Gathering Glass Studio that used to be at the corner of A Street and Pioneer Street. The shop has closed, but I was happy to see on the company website that they are still in business, now blowing and sculpting glass at a home studio.

Deep meaning?

According to Annette, there is no deep meaning built into the sculpture, simply the beauty and splendor of autumn (“Fall Splendor”) and the unusual ways the Chinese lantern plant and seed pods express that splendor. If we can visit the sculpture and feel even a taste of true “fall splendor,” I guess that is deep enough.

Fall Splendor sculpture
On November 4, 2020, I visited the Fall Splendor sculpture in the afternoon. I noticed the gorgeous fall color in the background only after I took out my camera to take a photo. I told my wife, “I took a photo of “fall splendor” behind “Fall Splendor.” (photo by Peter Finkle, 2020)

Value of public art and private art

“It makes me smile every time I walk by.” 

Visitor to Fall Splendor

In her daily work life, Annette makes props viewed by thousands of OSF playgoers, few of whom she knows. Maybe that is why the artworks commissioned by friends mean so much to her. Even though not as many people will see these artworks, she gets a special feeling knowing that someone she cares about will enjoy and appreciate one of her creations every day. 

The photos below show one of her favorite private commissions.

Since Fall Splendor is public art, I asked Annette if she gets much feedback about it. She told me, “What’s great is when I come wash it, which I do three or four times a year, people walking by on the stairway talk to me about the sculpture.” One woman’s comment really meant a lot to her: “It makes me smile every time I walk by.” 

How to find the Fall Splendor sculpture

The Fall Splendor sculpture is on the Calle Guanajuato stairway, which you can access from either Granite Street or Calle Guanajuato. 

The top of the stairway is on Granite Street, near the intersection with High Street. At the top of the stairway you will find a bench and a mosaic artwork called Rio Amistad, another piece in the Ashland public art collection. A few steps down the stairway, you will find Fall Splendor. Further down the stairway is the rock and steel public art sculpture called Inorganic Compound.

You can also find Fall Splendor from Calle Guanajuato by crossing Ashland Creek to the path on the west side of the creek and climbing up the stairway.

Other artwork by Annette Julien

Cheshire Cat

For the 2019 OSF season, Annette created the Cheshire Cat head. Its transformation from the foam model to the final work of art is fascinating. Annette described the foam model: “After making a clay model, I scanned it with a 3D scanner and then cut it out of bead-foam on the CNC [machine that cuts following a computer program].  It was cut in layers and I had to glue them together and do a final carving to clean it up.  I was working on making eyes in this picture.” 

OSF prop made by Annette Julien
Cheshire Cat bead-foam model. (photo by Annette Julien)

She said, regarding the next steps: “I did all the fiberglassing and rattan work over this and then took all this foam out when it was done.  One chunk at a time.”

“What appears to be wires is actually rattan, which serves as both the structure and design of the prop. The eyes are transparent plastic and have some simple LED lights in them.  The pupils are just black sticky vinyl, which blocked the light.”

OSF prop made by Annette Julien
This Cheshire Cat prop, made by Annette Julien, was used in the 2019 OSF production of Alice in Wonderland. (photo by Annette Julien)

 Victorian era dentist chair

OSF prop made by Annette Julien
This is the Victorian era dentist chair prop used in the OSF 2013 production of My Fair Lady. (photo by Annette Julien)

Annette was given the task of creating a Victorian era dentist chair for the 2013 Oregon Shakespeare Festival musical My Fair Lady.  

OSF prop made by Annette Julien
OSF Victorian era dentist chair prop in process. Annette Julien built the “H” (for Henry Higgins) from scratch. (photo by Annette Julien)

Notice the large “H” on the side of the chair. Annette briefly described the process of creating that “H” from scratch. “I cut the H out of a piece of flat stock steel and welded  1/2” wide flat stock steel all around the sides.  Welded on the back side.  It was made to look like cast steel.” 

OSF prop made by Annette Julien
I like this photo for its view of the complexity of the chair construction. (photo by Annette Julien)

This is a very intricate yet solid and heavy work of theater art. Something like this might be called “props,” but it is also a working chair, as you can see from the photo below, taken at Oregon Shakespeare Festival.

My Fair Lady at OSF 2013
My Fair Lady (2013): Jonathan Haugen (Henry Higgins) and Ensemble. Photo by Jenny Graham, Oregon Shakespeare Festival.

I found a one minute OSF video about the making of this chair. I enjoyed the video, but I was disappointed that Annette was not given credit for making the prop. Here is a link to the video.   https://www.youtube.com/watch?v=kzIpqg3wBWM

Wilson at the Ashland Library

I will leave you with a smile. This is Wilson the Dragon. Wilson lives at the Ashland Library, above the entrance to the children’s section.

"Wilson the Dragon" at Ashland Public Library
Wilson the Dragon, at the Ashland Public Library. (photo by Peter Finkle, 2020)

“Wilson” honors the late Bob Wilson, Ashland Library Director from 1973 to 2003. I learned more about “Wilson the Dragon” from former library Branch Manager Amy Blossom: “Bob Wilson, the Library Director, and I had seen pictures of some libraries that had great big sculptures of animals and fun ways to enter the children’s section and we wanted something like that. 

“Bob talked to his wife Claire Barr-Wilson who is a wonderful artist and had made many clay sculptures, and fantastical creations. (For example the garbage eating dragon at the Children’s Festival). She came up with the idea of a dragon. And added that the tail would go into the wall and come out the other side. You’ll have to check that out.

“Claire designed it, and Annette Julien, who worked at OSF in the Props Department created it. My husband Brad Galusha, made the ledge that it sits on and installed it.”

"Wilson the Dragon" at Ashland Public Library
This sign is below Wilson the Dragon at the Ashland Public Library. (photo by Peter Finkle, 2020)

George Kramer, whose name you see above along with his wife’s name, added to the story. “Bob Wilson was the longtime head librarian at the library, much beloved. He had recently retired, after having overseen the expansion and remodeling (I was part of that design team).  This was one of the years where Oregon was returning a ‘kicker’ to residents and my wife, Joyce Van Anne, and I received ours (I don’t remember what it was, maybe $1000 or something).  Anyway, we decided to donate it to the Friends of the Ashland Public Library and told them they should use it for something that wouldn’t otherwise happen, related to the new building.  They hired the artist and commissioned ‘Wilson.'”

Stop and say “Hi” to Wilson the Dragon the next time you are at the Ashland Public Library. As you peruse the bookshelves, you can also see many other beautiful works of public art at the library.

Other public art on the Calle Guanajuato stairway

References:

Amy Blossom, Personal communications, November 2020.
Annette Julien, Interview and personal communications, October and November 2020.
George Kramer, Personal communications, November 2020.

Signs of Ashland Photo Essay: Part 1

Artistic, Political, Social, Unusual, and Fun Signs Around Ashland

2020 is a difficult year for Oregon Shakespeare Festival and Ashland. Due to coronavirus, the Festival Welcome Center is closed and the three theaters are dark. “Black Lives Matter” is the OSF message to the community in June 2020. I miss OSF people. I miss their creations. So I am opening and closing this Signs of Ashland article with Oregon Shakespeare Festival photos.

Oregon Shakespeare Festival, Black Lives Matter
Oregon Shakespeare Festival Welcome Center – Black Lives Matter. (photo by Peter Finkle, 2020)
"Love Wins" flag
Whether on a sign or a flag, whether in 2o18 or 2020 or 2022, these are important reminders. (photo by Peter Finkle, 2018)

Going up or going down?

"Evacuation Route" sign for flash flood hazard
If you are at Ashland Creek and you need to go UP, here is the sign to look for. (photo by Peter Finkle, 2017)
"Alice Peil Walkway" sign
If you are on Granite Street and you want to go DOWN to Ashland Creek, here is the sign to look for. (photo by Peter Finkle, 2020)

“Love Wins” and “Truth Wins”

"Love Wins" sign
“Love Wins” and more, per this sign on Greenmeadows Way. (photo by Peter Finkle, 2020)
"Truth Wins" sign
“Truth Wins” and more, per another sign on Greenmeadows Way. (photo by Peter Finkle, 2020)

We want bees to win too

"Pollinator Garden" sign
Ashland gardeners have embraced the Pollinator Garden project. (photo by Peter Finkle, 2020)
"Support Bee Havens" sign
Here is a home-made bee-lovers sign. (photo by Peter Finkle, 2020)
"Butterfly Garden" sign
Butterflies are pollinators too! (photo by Peter Finkle, 2020)
"Cat Crossing" sign
Now we have an “animal theme” going. (photo by Peter Finkle, 2020)

Ashland is not just a town, it’s a community

City Council pledge sign
This pledge by the elected leaders of Ashland dated December 2016 is posted at the City of Ashland Community Development Department office. (photo by Peter Finkle, 2020)
Growers Market sign
Ashland people come together at the Growers & Crafters Market, where I found this sign. (photo by Peter Finkle, 2018)
"Ashland Food Project" sign
Ashland is not only a town, but is also a community of caring people. People all over town contribute food or money to the Ashland Food Project. (photo by Peter Finkle, 2018)

We miss you OSF !!! (in 2020)

Oregon Shakespeare Festival map
We miss you in 2020, Oregon Shakespeare Festival people and plays! (photo by Peter Finkle, 2020)
Oregon Shakespeare Festival humorous sign
Here is a little Coronavirus humor in the Oregon Shakespeare Festival window on East Main Street, from May 2020. (photo by Peter Finkle, 2020)

As I take more photos of signs as I walk the streets of Ashland, there will be a “Part 2” at some point in time.

If you enjoyed this photo essay, you might enjoy my photo essay about “Quirky Sights in Ashland: Part 1.” The link is below.

Street Scene sculpture: Who are these people?

Name of each person who modeled for Street Scene.
Life and work of sculptor Marion Young.
Complete with 35 photos!
Ashland Public Art series

Marion Young flanked by her clay models of Robert Barnett and Kate Sullivan.
Marion Young flanked by her clay models of Robert Barnett and Kate Sullivan.
(photographer unknown, photo courtesy of Robyn Jones)
sculptor Marion Young as a child
Marion Young, the future sculptor of Street Scene, as a child with her dog Bruce.
(photo by Olivia Young, photo courtesy of Robyn Jones)

Street Scene: the sculpture today

This engaging 14-foot-high bronze sculpture is located downtown on East Main Street near Pioneer Street, next to the Ashland Chamber of Commerce office and old Black Swan Theater. So far, this is my favorite sculpture in Ashland, primarily because it is filled with vibrant, life-like people. They are so life-like both because of artist Marion Young’s talent, and also because she found vibrant locals to model for her. She came to Ashland in 1988 to sculpt an earlier version of Street Scene, and lived here until her death in 2019.  

Street Scene sculpture by Marion Young, on East Main Street in Ashland, Oregon
Street Scene sculpture by Marion Young, on East Main Street in Ashland, Oregon. (photo by Tom Woosnam)

In this article, I will tell you how the sculpture Street Scene came to be, a little about each person who modeled for the sculpture, and give an introduction to Marion Young’s life and body of work.

Street Scene: how it came to be

Marion Young moved from Los Angeles to Ashland in order to sculpt the Street Scene commission. She was literally surrounded and inspired by the cauldron of creativity at Oregon Shakespeare Festival (OSF). For four years, her studio was located within the Old Scene Shop at OSF. Therefore, it is not surprising that many of the live models Young used for Street Scene were associated with OSF, most of them in the acting corps.

Marion Young working on Street Scene, at her studio in the Oregon Shakespeare Festival scene shop.
Marion Young working on Street Scene, at her studio in the Oregon Shakespeare Festival scene shop. (photographer unknown, photo courtesy of Matthew Haines)

Marion Young created two versions of Street Scene. The first was commissioned by Atherton Place, an elegant retirement center in Marietta, Georgia. It was 4’ wide by 9’ tall, done in white resin, and included nine people in the sculpture.

This first version of Street Scene was created for the retirement center in Atlanta, Georgia
This first version of Street Scene was created for a retirement center in Atlanta, Georgia. (photographer unknown, photo courtesy of Matthew Haines)

Inspired by Ashland culture, she decided to stay and sculpt a larger version of Street Scene. The larger Street Scene sculpted for Ashland is done in bronze, contains twelve people (plus three Shakespeare characters) and stands 14’ tall.

Young always used live models in her sculpting. Her “work,” however, began even before choosing the models. A lifelong student of Carl Jung’s psychology, Young thought in terms of archetypes (universal themes that influence our personalities). She began each sculpture with these themes in mind. As she envisioned Ashland’s Street Scene piece, she created specific universal characters to represent in the sculpture, she thought about relationships between the characters, and she tried to capture the spirit of Ashland.

Street Scene: Young is “discovered”

As I mentioned above, Young sculpted Street Scene in the old scene shop at OSF. “Word spread of her work as her life-size figures slowly emerged above the beams of this building’s massive interior.” The city of Ashland was at the time creating a new Downtown Development Plan. Planning Director John Fregonese appreciated the value of public art. It was Fregonese who spearheaded the 1987 renovation of the lovely Butler-Perozzi Fountain, which had deteriorated badly since its installation in Lithia Park in 1916.

Fregonese thought Street Scene would be a wonderful addition to Ashland’s downtown, and the Ashland City Council agreed. The city provided $5,000 seed money for acquiring the sculpture, but the rest of the funds had to be raised through private donations.

Street Scene: the funding challenge

The overall budget for Street Scene was $125,000, which did not leave much for Marion Young’s years of work. She was able to sell bronze casts of individual busts from the sculpture to help provide income. 

Bronze contributors to Street Scene, plus hundreds more who contributed with lesser amounts.
Bronze contributors to Street Scene, plus hundreds more who contributed with lesser amounts.
(photo by Peter Finkle, 2020)

Over 800 individuals, businesses and foundations contributed money toward the project. Many donated their services at no charge, or for a very low fee. For example, since bronze casting for the 2,000 pound statue was done at Artworks Foundry in Berkeley, California, Medford Fabrication and the Thorndike family donated all the transportation costs between Ashland and Berkeley, then helped install the sculpture.

recognition sign by Street Scene sculpture.
Recognition on the wall next to the Street Scene sculpture. (photo by Peter Finkle, 2020)

Local attorney, businessman and art lover Lloyd Matthew Haines was Chairman of the funding committee. He was, and still is, a strong proponent of public art in Ashland. He was also a friend and strong supporter of Marion Young and her work. When funding for Street Scene fell short even after hundreds of donations, Haines contributed the balance that was needed. 

Lloyd Matthew Haines and Marion Young recognized, Street Scene sculpture
Recognition on the wall next to the Street Scene sculpture. (photo by Peter Finkle, 2020)

Street Scene: dedication on July 6, 1994

Creating and putting up the massive concrete wall that Street Scene is attached to was a huge project in itself. 

Installation of the concrete wall that Street Scene is attached to.
Installation of the concrete wall that Street Scene is attached to.
(photographer unknown, photo courtesy of Matthew Haines)

Once that was done, the sculpture was attached. A community dedication took place on July 6, 1994. “As Ashland gallery owner and artist Judy Howard said at the dedication, ‘Art tells a story of a particular culture and reflects the life of those in that culture. This sculpture reflects the spirit of our community and will tell the Ashland story for generations to come.’”

Marion Young speaks at the dedication of Street Scene. Ashland Mayor Cathy Shaw looks on.
Marion Young speaks at the dedication of Street Scene. Ashland Mayor Cathy Shaw looks on. (photographer unknown, photo courtesy of Robyn Jones)

Street Scene: who are these people?

If you have looked closely at the Street Scene sculpture, you may have already identified one or more of the local actors and residents who modeled for Young. When I decided to write about the sculpture, I thought it would be simple to find a list of the twelve people who modeled for Young. No…not simple. In fact, it has been a surprisingly long and frustrating journey. 

Fortunately, I had fellow Ashlander Tom Woosnam on the journey with me. He became intrigued with Street Scene when he noticed that his good friend Lee Carrau was one of the twelve people in the statue. Woosnam and Carrau had acted together with The Palo Alto Players when they lived in California. Woosnam also recognized Rex Rabold and Shirley and Bill Patton as models for the statue, and wondered who the other eight people were. That put him on a parallel track to mine, and then we began to cooperate.

We researched on the internet and through newspaper articles. I tracked down Marion Young’s niece Robyn Jones, who helped fill in some blanks and kindly shared photos with me. Jones introduced me to Matthew Haines, the driving force behind fundraising for Street Scene. Haines was kind enough to fill in more blanks and share his collection of information and photos with me. 

Getting the correct names for the two children was the most difficult part. Each time Woosnam and I thought we had the correct names, another possible name would come up. Does this article provide the definitive list? I think so. However, if we learn something new in the future, I will update the article.

Here are the names of the models for Street Scene, with a brief note about each of them, starting from the bottom of the statue:             

Smaller than the humans above, the three whimsical figures at the bottom left are characters in Shakespeare’s play “A Midsummer Night’s Dream.” 

Marion Young speaks at the dedication of Street Scene. Ashland Mayor Cathy Shaw looks on.
The three characters from Midsummer Night’s Dream are at the lower left.
(photographer unknown, photo courtesy of Matthew Haines)

 *The Fairy Queen was modeled by Seva Anthony, aerialist and Green Show dancer for OSF.

Fairy Queen Titania in Street Scene sculpture
Seva Anthony as the Fairy Queen in Midsummer Night’s Dream. (photo by Peter Finkle, 2020)

*Bottom was a weaver who was given a donkey’s head by the mischievous fairy Puck. Anthony de Fonte, who played Bottom in the Festival’s 1993 production of “Midsummer,” was the model.

 *Peaseblossom was one of Fairy Queen Titania’s fairies who waited upon Bottom. Liz Wood (now Liz Finnegan), a Green Show dancer at OSF, modeled for Peaseblossom.

Bottom and Peaseblossom, Street Scene sculpture
Bottom (modeled by Anthony de Fonte) and Peaseblossom (modeled by Liz Wood).
(photo by Peter Finkle, 2020)
Kate Sullivan in Street scene sculpture

*Kate Sullivan, OSF actor — (The inviting spirit) With her arm extended and hand open, actor Sullivan portrays the pivotal figure who draws us in. “She is the spirit who invites us into the piece, into the magic of living.”

Virginia Kooiman, "the child," in Street scene sculpture

*Virginia Kooiman, local child — (The child) She was in kindergarten at Briscoe School. “A crack Old Maid player at age 5, she was the sculptor’s most eternally figity [sic] model and became the child of this young family. She holds a ball covered with stars.”

Marco Barricelli in Street Scene sculpture

*Marco Barricelli, OSF actor — (The hero-father) A “leading man of prodigious presence and talent,” Barricelli’s role in the sculpture is the hero-father. He was described as having “a 2000-year-old classic Roman head.” 

Marie Baxter

*Marie Baxter, Hanson Howard gallery co-owner — (The ethereal young mother) Young discovered Marie Baxter at Ashland Food Coop. After they got to know each other, the gallery started to represent Young’s sculptures in Southern Oregon, and Baxter agreed to model for Street Scene.

Phyllis Courtney in Street Scene sculpture

*Phyllis Courtney, OSF actor — (The charming middle-aged aunt) Courtney renovated John and Lizzie McCall’s beautiful 1883 historic home on Oak Street and opened McCall House B&B there in 1981. Also a long-time actress, she portrays half of the charming middle-aged couple, everyone’s favorite aunt.

Lee Carrau in Street Scene sculpture

*Lee Carrau, writer-producer — (The charming middle-aged uncle) As a career, Carrau produced industrial and scientific films. He also loved acting for the fun of it. Young chose him to model as the other half of the charming middle-aged couple, everyone’s favorite uncle.

BlackStar in Street Scene sculpture

*BlackStar, Native American healer — (The healer, and connection to the land) Young felt called to include a Native American female elder in the sculpture. She found BlackStar (Eunice E. Rotz), born 1918 in Texas and trained as a Comanche traditional healer. BlackStar lived the last decades of her life in Southern Oregon, creating silver jewelry and providing healing, before she passed away in 2007.

BlackStar modeling for Street Scene sculpture
This photo shows BlackStar modeling for Marion Young, with the partially completed clay bust beside her. (photographer unknown, photo courtesy of Robyn Jones)
Robert Barnett in the Street Scene sculpture

*Robert Barnett, OSF actor — (The story teller) When Young saw Barnett perform in an OSF play, she thought “his Norman Rockwell face and Harold Lloyd smile were irresistible…filled with warmth and friendliness.” Barnett is signing “I love you” to the viewer.

Elijah Apilada in Street Scene sculpture

*Elijah Apilada, local child — (The typical kid) Young found an Ashland Middle School boy with a feisty but smart attitude.

Rex Rabold in Street Scene sculpture

*Rex Rabold, OSF actor — (The wisdom of Shakespeare) With so much of Ashland’s creative and economic life intertwined with the Oregon Shakespeare Festival, Young introduced these elements in her figures at the top of the sculpture. A beloved OSF actor, Rabold died in 1990 at the age of 39. In Street Scene, he modeled for Young in his role as Shakespeare’s Richard II. 

At the top of Street Scene are Shirley and Bill Patton. “As the magical figure at the bottom of ‘Street Scene’ draws us into the spirit of Ashland, the sculptor wanted an elegant dancing couple at the top to take us on into life, to remind us that life has more potential than we ever dreamed possible.”

Shirley and Bill Patton in Street Scene sculpture

*Shirley Patton, OSF actor — (The elegant dancing couple) Shirley Patton has touched thousands of lives through her 75 years of acting (30 years of it at OSF), her vivacity, her kindness and her lifetime of service. Many people know Shirley as the voice of Jefferson Public Radio’s “As It Was” history spots, which she has narrated five days a week since 2005, almost 4,000 in all!

Bill Patton in Street Scene sculpture

*Bill Patton, long-time OSF Executive Director (The elegant dancing couple) Bill Patton worked at OSF from 1948 to 1995, including 42 years as General Manager and then Executive Director, helping to guide OSF. After Bill died in 2011, Paul Nicholson, who followed Bill as Executive Director, said of him: “Under his astute guidance the Festival grew from 29 performances and an audience of 15,000 to 752 performances and 359,000 in attendance the year he retired. He was a gentleman in every way, kind, thoughtful and caring.” Haines recalls Young holding the intention of having Bill Patton “walk into the sunset” at the top of the sculpture, since he was only a few years from leaving his post at OSF when she sculpted him. 

Marion Young’s life story and key sculptures

Sculptor Marion Young was born in California November 25, 1934 and died in Ashland April 12, 2019. She had happy years as a child living on a farm in the Oakland hills. Her niece Robyn Jones remembers Young speaking fondly of hours exploring redwood forests near her home with her collie dog Bruce at her side. 

Marion Young as a child, with her dog Bruce.
Marion Young as a child, with her dog Bruce. (photo by Olivia Young, photo courtesy of Robyn Jones)

Young grew up in a very artistic family. Her mother was a poet and musician, her father a painter and musician. She attended San Francisco State University, with a major in biology and a minor in art. Her plan was to become a medical illustrator. Instead, she became an actor. After a few years, she transitioned to co-owning a bronze artworks foundry and then an art gallery in Los Angeles with Thomas Holland, her romantic as well as business partner for a time. 

Marion Young in 1956.
Marion Young in 1956. (photographer unknown, photo courtesy of Robyn Jones)

Her artistic and life journey finally brought her to creating sculpture, where she was able to express all of her skills. Holland was her first sculpture teacher. She continued to study on her own, including spending months absorbing every nuance she could of Auguste Rodin’s genius through the Rodin sculpture collection at Stanford University. Young sculpted primarily in clay from live models. 

Her biography notes that she was “an ardent student of the writing and thought of [Carl] Jung.” This quote from Carl Jung, a favorite of Marion Young, expresses in very philosophical language what Young tried to capture in the physicality of her sculptures.

“Whoever speaks in primordial images speaks in a thousand voices: he enthralls and overpowers, while at the same time he lifts the idea he is seeking to express out of the occasional and the transitory into the realm of the ever-enduring. He transmutes our personal destiny into the destiny of mankind, and evokes in us all those beneficent forces that ever and anon have enabled humanity to find refuge from every peril and to outlive the longest night.”    Carl Gustav Jung

I had to read Jung’s quote at least three times to understand it! And then three more times to understand how it could apply to Marion Young’s Street Scene sculpture. The depth of her study of human nature helps take the feeling of the sculpture out of “the occasional and the transitory” and out of the “personal” into a universal feeling.

How did she achieve that depth of understanding human nature? From what I have learned of her, it was a combination of factors. As with most of us, it began with the role models provided by her parents, who were artists in multiple mediums of expression and creativity. It expanded as Young took dance lessons beginning at age four. Later, as an actor after graduation from college, she explored the emotional and psychological aspects of human nature from the inside of multiple roles. After beginning to sculpt, she took a deep dive into exploring the physical aspects of what it means to be human. How deep? How about not only taking anatomy, but also dissecting human bodies at UCLA School of Medicine? As her biography put it: “In order to obtain the kind of knowledge necessary for her work, Marion found that she had ultimately to perform her own dissections on the human body.”

That experience led to the creation of her sculpture called Essentia, which is now at the Columbia University School of Medicine (in the anatomy department). The sculpture accurately portrays the anatomy of a young woman, both muscles and fascia without the covering of skin. It captures the beauty of the essential, beneath the surface. Young went on to capture the beauty of essential aspects of human nature in Street Scene, but in a different way.

Essential sculpture by Marion Young
Essentia sculpture by Marion Young, front and back views.
(photographer unknown, photo courtesy of Robyn Jones)

How Marion worked: insights from the Van Gogh bust

If you visit the Ashland Library, you have surely noticed another one of Marion Young’s sculptures. Just within the library front doors is a life size bust of Vincent Van Gogh. Henry Woronicz, former OSF actor and Artistic Director, served as the model. But he didn’t just “sit there,” nor did she “just sculpt.” This sculpture provides a good example of her deep preparation for a piece, combining her Jungian studies, her theater background, and her desire to capture universal rather than superficial feelings.

First, Woronicz and Young created a half-hour script edited from Van Gogh’s letters to his brother Theo. Then, studying Van Gogh’s paintings, Young reproduced his bedroom in her studio, using OSF props. Only after all this preparation did Woronicz get into his “role,” sit on the “set,” and model for Young!

Bronze bust on the left and clay model on the right, of “Henry Woronicz as Vincent Van Gogh,” by Marion Young. (photographers unknown, photo on left courtesy of Robyn Jones, photo on right courtesy of Matthew Haines)

How Marion worked: insights from Shirley Patton

As mentioned above, Shirley and Bill Patton both modeled for Young’s Street Scene sculpture. Shirley shared these memories with me that illuminate Young’s internal and external process.

I was an accidental model.  Marion had chosen her models, I believe, in a number of ways.  She had a cast of characters in mind and found the people through conversations with friends and townspeople, and she was influenced by the Festival’s plays.  It was in the OSF souvenir program that she discovered Bill. She was attracted to Bill’s face and bone structure.  She’d had in mind a couple out on the town, enjoying the area’s nightlife. Dressed up with a tux and top hat!  (Not our usual dress for an evening in town, is it?)

I think I was introduced to Marion after the work had begun.  I came by where they were working to pick him up one afternoon, and she looked at me and said, “Oh, you can be Bill’s dancing partner!”  So I was added to her “cast.”  And I must confess that I’m glad it is me up there rather than another model.

 I remember the time Marion asked me to stop by her makeshift studio in the old scene shop building.  She was almost done with Bill’s likeness but she wasn’t satisfied.  It was missing a certain “spark.”  She said she had noticed that when I’d stop by the studio during his sittings that his eyes lit up, so she wanted me to come to his appointments so she could watch us interact.

She was looking for an elusive quality that would bring animation to a static piece of clay.  It’s a mystery to me but Marion kept at it until there was life in Bill’s eyes.   There was a difference.  She said it was the spark she was looking for.  She’d noticed that it came when we were laughing and talking together.  Now that was a dear thing for her to say.

Shirley Patton

The Hero’s Journey

Marion Young’s major unfinished work is called The Hero’s Journey. She described it as “about 60 inches tall with a walnut base. Each of the 12 characters that circle this sculpture is a representation of one of the archetypes of the journey of life.” As in Street Scene, Young used OSF actors as models. Sadly, Young developed mental health problems and early dementia at a relatively young age, and quit sculpting shortly before she completed The Hero’s Journey.

Matthew Haines learned of The Hero’s Journey from Young’s niece Robyn Jones. Jones told Haines it was still in clay form, and was in the basement at a friend’s house. Haines retrieved the unfinished sculpture and brought it to local sculptor Jack Langford to repair. Now, in May 2020, Langford is casting it in bronze at his Talent studio.

Closing Words

Ashland enriched Marion Young’s later years, and she continues to enrich Ashland beyond her time on earth. Each year, thousands of people see and are moved by her Street Scene sculpture on East Main Street and her Van Gogh bust at the Ashland Library.

Marion Young's signature on Street Scene sculpture
Marion Young’s signature on the Street Scene sculpture. (photo by Peter Finkle, 2020)
Label at bottom of Street Scene sculpture.
Sign below the sculpture: “Street Scene, a portrait of Ashland.” (photo by Peter Finkle, 2020)

“Stay tuned” for more articles about public art in Ashland.

References:

Quotes not credited are from unsigned written information about Street Scene and about Marion Young, provided to me by Robyn Jones and Matthew Haines.

Darling, John. “‘Street Scene’ sculptor dies,” Ashland Tidings, June 21, 2019.

Haines, Lloyd Matthew. Personal communications, photographs, written documents.

Jones, Robyn Michele. Marion Young’s obituary, CaringBridge website, accessed April 2020.
https://www.caringbridge.org/visit/marionlenoreyoung

Jones, Robyn Michele. Personal communications, photographs, written documents.

Patton, Shirley. Personal communication.

Shippen, Julie. “City primes bronze art project,” Medford Mail Tribune, April 14, 1989

TJT. “Erecting public art is a monumental task,” Ashland Daily Tidings, July 14, 1994. 

Ashland History ‘Firsts’ – Part 3

Who was the first U.S. President to visit Ashland?
When did Ashland get its first shopping mall?
Which Shakespeare play was first performed by Oregon Shakespeare Festival?

First Church and First Church Building

Beginning in 1864, fourteen Methodist families began to meet in their Ashland homes. They ambitiously began raising money for both a church building and a college. 

Ashland First Methodist Church 1908
Methodist Church, photo taken between 1908 and 1915 (from Oregon Encyclopedia, courtesy of Ann Nicgorski)

The original First Methodist Church building first hosted services in 1877, at the corner of North Main Street and Laurel Street. After a windstorm toppled the steeple in 1904, a sturdier church was built on the foundations of the original, and opened its doors in 1908. That is the church you still see today.

First Library

Ashland library can be traced to December 1879, when the Ashland Library and Reading Room Association was created – by women of the community of course. They were able to collect donations of 200 books. In 1891, they got “serious” and created the new Library Association with dues of $1 each per year.

Ashland Library 1891
A large 1891 fundraiser for the new Ashland Library Association.
(photo courtesy of the Ashland Public Library)

By January 1, 1900, the library had 1,200 books and a dedicated room in city hall that was open for reading each Saturday afternoon.

Ashland Library 1912, Carnegie library
The Ashland Carnegie library in 1912
(This image is part of the Stories of Southern Oregon Collection in the Southern Oregon University Hannon Library digital archives and made available by Southern Oregon University Hannon Library.)

In 1909, thirty years after the first library association was formed, Ashlanders received word that the Andrew Carnegie’s foundation would donate $15,000 toward building an Ashland library. The building was dedicated in 1912. It’s still there at the corner of Siskiyou Blvd. and Gresham Street. The Carnegie Foundation funded 1,687 public libraries in USA, 31 of them in Oregon between 1901 and 1915. Of the 31 in Oregon, only 11 are still operating as libraries. Ashland’s library is one of those 11.

Ashland Library 1912 interior
The new Carnegie library interior in about 1912. This area is now the children’s section of the library.
(This image is part of the Stories of Southern Oregon Collection in the Southern Oregon University Hannon Library digital archives and made available by Southern Oregon University Hannon Library.)

The small 1912 Carnegie library building served Ashland until the 1950s, when an extension was built in the rear and the Gresham room was built in the basement level. A much larger expansion took place in 2003, yielding the library we see today.

First Presidential Visit

On September 28, 1880, as stagecoach full of VIPs rolled into Ashland. Very, very important people…the President of the United States Rutherford B. Hayes, the First Lady, and Civil War hero General Sherman. The Ashland Tidings estimated 2,000 people gathered in the Plaza to greet the President. It is certainly possible that among the crowd were all 854 residents of Ashland, from the youngest to the oldest.

President Rutherford B. Hayes

According to O’Harra, four young girls presented the President and First Lady a selection of Ashland’s agricultural bounty: peaches, pears, apples, plums, grapes, blackberries, almonds and figs! [O’Harra 1986]

Rutherford B. Hayes was President of the United States from 1877 to 1881. This photo was taken between 1870 and 1880. (photo from Wikimedia Commons)

Lucy Webb Hayes was First Lady, wife of President Hayes. This photo was taken between 1870 and 1880. (photo from Wikimedia Commons)

William Tecumseh Sherman was a famous Union army Civil War General. This photo was taken between 1865 and 1880. (photo from Wikimedia Commons)

First Bank

Henry Beach Carter was a pioneer farmer in Iowa as a young man. Retiring from the farm, he opened a general store in Elkader, and in 1871 established the First National Bank of Elkader, Iowa. When he and his family moved to Ashland in 1884, he duplicated the feat by cofounding the Bank of Ashland.

In this 1909 photo, the 1884 Bank of Ashland building is on the left, and the Masonic building is on the right.
(This image is part of the Stories of Southern Oregon Collection in the Southern Oregon University Hannon Library digital archives and made available by Southern Oregon University Hannon Library.)

The Bank of Ashland building at 15 North Main Street on the Plaza is still there, now the home of Tree House Books. Bank of Ashland was the only bank in town until 1909, and finally went out of business in 1939.

Bank of Ashland building in 2019
Here is the Bank of Ashland building on the Plaza in 2019. (photo by Peter Finkle)

As a side note, I live on Beach Street, named after Ashland pioneer Henry Beach Carter. How many people have a street named after their middle name? Not many, I would guess.

First City Park

Ashland’s first park was probably the 7 ½ acre Chautauqua Park. It was located on land that was purchased in June 1893, after the first Chautauqua meeting in Southern Oregon was moved at the last minute from Central Point to Ashland. The national Chautauqua meetings were one to two week summer program of educational lectures, musical performances, sermons and more. This fit in with Ashland citizens’ strong commitment to education.

Talk about “last minute” – the domed structure large enough to seat 1,000 people was built in only one week, and was completed just one day before the 1893 Chautauqua opened! The last summer for the Chautauqua festival in Ashland was probably 1924. 

You may have heard that the concrete foundation of the 1917 Chautauqua building was incorporated into Oregon Shakespeare Festival’s Allen Elizabethan Theater.

Ashland Chautauqua building 1893
This was the first Chautauqua building in 1893. There was a small park area around it.
(This image is part of the Stories of Southern Oregon Collection in the Southern Oregon University Hannon Library digital archives and made available by Southern Oregon University Hannon Library.)

First Creamery

You may be familiar with the Butler-Perozzi Fountain in Lithia Park. It is named partly for Domingo Perozzi, who in 1895 founded the first creamery in Ashland, located where you’ll now find the winter skating rink on Winburn Way. This was also the first creamery in the entire Jackson County. As a result, his Ashland Creamery thrived, and Perozzi donated funds along with Gwin Butler to purchase the fountain for the 1916 grand opening of Lithia Park. Butler and Perozzi bought the fountain, carved from Verona marble by Italian sculptor Antonio Forilli, at the close of the 1915 San Francisco Pan-Pacific Exposition.

Ashland Creamery c1897
Wagons are lined up at the Perozzi Creamery c1897
(This image from Southern Oregon Historical Society is part of the Stories of Southern Oregon Collection in the Southern Oregon University Hannon Library digital archives and made available by Southern Oregon University Hannon Library.)
Lithia Park 1916
This photo shows the Butler-Perozzi Fountain in Lithia Park, probably taken in 1916.
(This image is part of the Stories of Southern Oregon Collection in the Southern Oregon University Hannon Library digital archives and made available by Southern Oregon University Hannon Library.)

First Hospital – is it #1 or #2?

Southern Oregon Hospital c1908
Fordyce-Roper house on East Main Street, converted to a small hospital, photo c1908 
(photo courtesy of Ben Truwe)

#1: In late 1907, the Fordyce-Roper house on East Main Street was converted into a small hospital. Sadly, it was badly damaged by fire in March 1909, though all patients got out safely.

Southern Oregon Hospital fire 1909
1909 fire at the small hospital on East Main Street
(photo courtesy of Ben Truwe)

As the house was being repaired, citizens discussed the need for a larger and more modern hospital. (Side-note: If you want to see the Fordyce-Roper house now, you won’t find it on East Main Street. You will find it if you walk up to the top of 2nd Street, and look to your right at the Winchester Inn. In 1910, the entire house was moved up the steep street by the power of one horse! But that’s a story for another time.)

1923 photo of the Granite City Hospital on Siskiyou Boulevard, now the site of the Stevenson Union at SOU
(This image is part of the Stories of Southern Oregon Collection in the Southern Oregon University Hannon Library digital archives and made available by Southern Oregon University Hannon Library.)

#2: In 1910, the brand new two-story, eighteen-room Granite City Hospital was built. This was a “real” hospital. Designed by noted Southern Oregon architect Frank Clark, it occupied the current site of SOU’s Stevenson Union. 

First “Shopping Mall”

Henry Enders Sr. and family moved to Ashland from Boise, Idaho in 1907. In Idaho, Enders had owned a department store. In Ashland, he built in 1910 what you could call the first shopping mall in Southern Oregon. The Enders Building is located on East Main Street between 1st Street and 2nd Street. The entire group of stores was connected with interior doors, so people could walk from one to another without going outside. Sounds like a shopping mall! 

Enders Building in Ashland, Oregon
The Enders Building on East Main Street, possibly in the 1930s. Note the Columbia Hotel sign.
(photo courtesy of John Enders)

According to Henry Enders Jr.: “Well, we had everything!  We had men’s clothing, furnishings, men’s and ladies’ shoes, ladies’ ready-to-wear, ladies’ dry good and piece goods, a fifteen cent store, a music store, a confectionary, hardware and sporting goods and a grocery store.”  [page 2, History of Ashland Oregon, 1977, as told to Morgan Cottle]

Enders Building 2019
The Enders Building on East Main Street in 2019. Note that the Columbia Hotel is still there.
(photo courtesy of John Enders)

Enders’ shops were popular with more than just Ashland residents. In the 1910s and 1920s, people from other towns would arrive in Ashland on a morning train, spend the day shopping in the Enders shops and seeing the sights of Ashland, and then go home on an afternoon or evening train. Some even stayed overnight at the Columbia Hotel above Enders’ shops, which is still in business at the same location after 110 years.

First Shakespeare Plays

Angus Bowmer moved to Ashland in 1931 to be an English professor at Southern Oregon Normal School. The expanded 1917 Chautauqua dome had been torn down in 1933, but its concrete foundation walls remained. As described on the Oregon Shakespeare Theater’s website, Bowmer “was struck by the resemblance between the Chautauqua walls and some sketches he had seen of Elizabethan theatres.” And today, “The Chautauqua walls remain standing; covered with ivy, they surround the Allen Elizabethan Theatre….” 

Bowmer talked the city into supporting the production of two Shakespeare plays as part of Ashland’s 1935 4th of July holiday celebrations. The city gave him money (“not to exceed $400”) and state funds helped get the stage built. However, the city insisted that afternoon boxing matches be held on the stage as a way to bring in patrons and income.

Bowmer directed and starred in Twelfth Night on July 2 (the first play), Merchant of Venice on July 3, and Twelfth Night again on July 4. To the surprise of non-theater-lovers, income from the many patrons of the evening Shakespeare plays covered losses from the boxing matches.

1935 playbill from “The First Annual Shakespearean Festival” in Ashland  
(from Oregon Shakespeare Festival website)

I hope you have enjoyed this series of brief vignettes of Ashland history “firsts.” 

Here is a link to Part 1 of the series: 

Here is a link to Part 2 of the series:

As part of his contribution to building community, Peter Finkle is walking every street in Ashland and writing an article with photos about every street.  Please subscribe with your email address, and you will be notified each time a new article is published.

References:

Anon. Portrait and Biographical Record of Western Oregon: Containing Original Sketches of many well known Citizens of the Past and Present, Chapman Publishing Company, Chicago, 1904.
Ashland Daily Tidings, February 26, 1927.
Atwood, Kay.  Jackson County Conversations, Jackson County Intermediate Education District, 1975.
Atwood, Kay. Mill Creek Journal: Ashland, Oregon 1850 – 1860, self-published 1987.
Enders, John. Lithia Park: The Heart & Soul of Ashland, 2016.
Green, Giles. A Heritage of Loyalty: The History of the Ashland, Oregon, Public Schools, School District No. 5, 1966.
LaLande, Jeff. from The Oregon Enyclopedia, https://oregonencyclopedia.org/articles/ashland/#.XdYMxi2ZM2I
Lewis, Raymond (possibly), “Abel D. Helman, Founder of Ashland,” Table Rock Sentinel, October 1981 (Southern Oregon Historical Society).
O’Harra, Marjorie. Ashland: the first 130 years, Northwest Passages Publishing Inc. 1986.
Oregon Shakespeare Festival website. https://www.osfashland.org/en/company/our-history.aspx (accessed 1/22/2020)
Ott, Katherine. History of the Ashland Public Library, 1938 (8 pages).