.
WELCOME TO THE FINAL CLASS OF
THE KANSAS PIONEER WOMEN CLASS.
OTHERWISE KNOWN AS "SHE WEREN'T
NO FAINTIN' LILY NOR BATTLE A
AXE."
A COUPLE OF THINGS BEFORE WE GET
GOING TODAY, JUST HOUSEKEEPING
RULES, THAT KIND OF THING,
PLEASE TURN OFF YOUR CELLULAR
PHONES.
I WILL DO THAT RIGHT NOW.
OR ANOTHER LEAST PUT THEM ON
SILENT MODE DURING THE CLASS.
AND IF YOU CAN, IF YOU HAVE
QUESTIONS FOR ESPECIALLY ERIKA
TODAY, WANT YOU TO COME TO THE
MICROPHONE OR AT LEAST IF YOU
CAN'T, SHOUT IT OUT SO I CAN AT
LEAST REPEAT THE QUESTION.
THE MAIN REASON WE'RE DOING THAT
IS FOR OUR ONLINE CLASS BECAUSE
WE WANT TO MAKE SURE THEY GET
AS MUCH OF THE CLASS AS POSSIBLE
AS WELL.
AND WHAT YOU MIGHT DO IF YOU
COME UP TO THE MICROPHONE, DON'T
TOUCH IT.
BUT THERE'S AN X, A BLUE X, DUCT
TAPE ON IT, SO IF YOU WOULD
STAND ON THE X AND THEN ASK YOUR
QUESTION.
WE WILL TAKE A BREAK AT 2:00 OR
MAYBE A LITTLE BEFORE FOR LIKE 5
OR 10 MINUTES AND THEN IF FOR
THOSE OF YOU ONLINE, IF YOU HAVE
ANY QUESTIONS, FEEL FREE TO SEND
US AN E-MAIL AND WE'LL TRY AND
GET TO THOSE QUESTIONS AFTER OUR
BREAK.
AND FINAL NOTE, WE NEED TO BE
WEARING SOME KIND OF FACE
COVERING, AND THE STAFF AND
VISITORS, FACULTY, WE ALL HAVE
TO WEAR FACE COVERINGS.
OVER OUR MOUTHS AND NOSES WHILE
WE'RE ON THE WICHITA STATE
UNIVERSITY CAMPUSES, IN ALL
HALLWAYS, PUBLIC SPACES,
CLASSROOMS AND OTHER COMMON
AREAS.
IT'S JUST A REGULATION THAT WSU
HAS NOW.
A COUPLE OF THINGS, TOO, YOU MAY
HAVE RECEIVED AN E-MAIL FROM TAT
HIDANO, WHO -- IT WAS AN E-MAIL
THAT I SENT OUT BOTH TO MY WORLD
WAR II CLASS AND FOR THIS CLASS.
I WANT TO TELL YOU HOW MUCH I
HAVE ENJOYED DOING THESE
CLASSES.
AND I ALSO WANT TO SAY HOW
SPECIAL YOUR STORIES AND
CONTRIBUTIONS HAVE BEEN, AND
THAT'S ONE REASON I WANT -- IF
IT'S POSSIBLE, I WAS TALKING
WITH JAY PRICE, WHO IS THE
DEPARTMENT CHAIR OF HISTORY HERE
AT WICHITA STATE, AND I WAS
TELLING HIM JUST THE QUALITY OF
THESE STORIES AND HOW I WOULD
HATE TO LOSE THEM.
AND HE'S THE ONE WHO SUGGESTED
WHY DON'T WE DONATE THEM TO
SPECIAL COLLECTIONS AT ABLAH
LIBRARY HERE AT WSU.
THAT WAY, IF ANYONE IN THE
FUTURE, LIKE ME, OR SOMEONE ELSE
WOULD LIKE TO WRITE A BOOK ON
THESE, WE'VE GOT THE PERMISSION
AND WE CAN TRACK FOLKS DOWN THAT
WAY.
BUT I WOULD HATE TO LOSE THEM.
BECAUSE YOUR STORIES ARE SO
SPECIAL, AND I REALLY WANT TO
TELL YOU THAT'S AN IMPORTANT
LEGACY TO PASS ON.
AND SO I JUST WANT TO SAY THAT.
THE OTHER THING I KIND OF WANT
TO COVER IS THAT OUR SPEAKER
TODAY, ERIKA NELSON, HAS BEEN
BROUGHT HERE THROUGH A GRANT
WITH HUMANITIES KANSAS.
AND I HAD TO LAUGH A LITTLE BIT
WHEN I INVITED HER, I SAID, NOW,
IT IS YOUR CHOICE, YOU CAN
EITHER COME IN PERSON OR YOU CAN
ZOOM.
AND SO WE CHOSE TO DO THIS
ONLINE TODAY.
SHE SAID, BECCY, I'VE BEEN
WORKING IN MULLENVILLE, WHICH IS
JUST STEP AWAY FROM FORD COUNTY,
AND SO SHE FELT FOR OUR OWN
SAFETY, IT WOULD BE SAFER IF SHE
SPOKE ONLINE.
AND SO I JUST WANTED YOU TO KNOW
THAT.
ERIKA IS PART OF THE
HUMANITIES -- BY THE WAY, DID
YOU LIKE PRISCA BARNES LAST
WEEK?
WASN'T SHE PHENOMENAL?
OH!
WELL, ERIKA IS JUST
AS PHENOMENAL, IF NOT MORE.
SHE IS THE CREATOR OF THE
WORLD'S LARGEST COLLECTION OF
THE WORLD'S SMALLEST VERSIONS OF
THE WORLD'S LARGEST THINGS,
TRAVELING ROADSIDE ATTRACTION
AND MUSEUM.
IS THAT NOT FUN TO SAY?
SHE'S BASED OUT OF LUCAS, AND
SHE IS A -- SHE IS ONE OF THE
AMERICA'S FOREMOST EXPERTS AND
SPEAKERS ON THE WORLD'S LARGEST
THINGS.
SHE IS A NATIONAL RESEARCHER AND
SPEAKER ON GRASS ROOTS ART
ENVIRONMENTS, ROADSIDE
ATTRACTIONS AND ARCHITECTURE,
AND THE WORLD'S LARGEST THINGS.
SHE IS THE FOUNDER AND CURATOR
OF THE UNIQUE AND INNOVATIVE,
MARVELING ROADSIDE ATTRACTION.
AND SHE WAS FORMERLY IN NETWORK
BROADCASTING, SHE IS NOW AN
ARTIST, CURATOR, SPEAKER AND
EDUCATOR.
SHE IS ALSO WORKING ON RESTORING
MT LEGITT'S ARTWORKS AND
SCULPTURES AT MULLENVILLE.
SHE WAS INSTRUMENTAL IN HELPING
IN THE RESTORATION OF THE GARDEN
OF EDEN AT LUCAS AND ALSO A PARK
IN LUCAS.
SHE IS AN AMAZING, AMAZING
PERSON AND SHE IS PART OF
HUMANITIES KANSAS.
PLEASE WELCOME ERIKA NELSON.
[APPLAUSE]
>> ERIKA: WOW, THAT'S A LOT TO
LIVE UP TO.
HOPEFULLY YOU'RE AS EXCITED
ABOUT THESE STORIES THAT I GET
TO UNCOVER THROUGH HUMANITIES
KANSAS AS I AM.
>> Beccy: OH, I FORGOT TO SAY
WHAT THE TOPIC OF YOUR
DISCUSSION WAS.
I LOVE SAYING IT, BUT PLEASE
TELL THEM!
JUST TELL THEM WHAT THE HEADLINE
IS.
>> ERIKA: IT'S TRANSFORMING THE
COMMONPLACE.
SO WE'LL BE LOOKING AT SEED
PORTRAIT, HAIR WREATHS AND
BUTTER SCULPTURES.
AND ONE OF THE REASONS THAT THIS
IS SUCH A TIMELY TOPIC IS THAT
WE'RE ALL MISSING EVENTS RIGHT
NOW.
WE'RE ALL MISSING THINGS BECAUSE
WE KNOW THAT SAFETY WISE,
GATHERING IN LARGE GROUPS ISN'T
SUCH A GREAT IDEA.
SO THAT DOES MEAN MOST OF OUR
COUNTY AND STATE FAIRS ARE NOT
GOING ON RIGHT NOW.
SO I CHOSE TO PRESENT THIS ONE
IN PARTICULAR BECAUSE RIGHT NOW
THERE WOULD HAVE BEEN A LADY IN
A COOLER SCULPTING BUTTER FOR
OUR ENJOYMENT AT THE FAIR, AND
PEOPLE BRINGING IN OVERSIZED
PRODUCE AND CHILDREN BRINGING IN
ART PROJECTS.
SO I HOPE THIS PRESENTATION AT
LEAST GIVES YOU A LITTLE BIT OF
THAT TASTE OF THE CELEBRATION OF
BOUNTY THAT OUR STATE FAIRS ARE
KNOWN FOR.
SO WITHOUT ANY FURTHER ADO, I
WILL POP ON OVER TO POWERPOINT
AND GET THIS SHOW STARTED.
AND THIS IS A HUMANITIES KANSAS
LECTURE.
I HAVE ANOTHER ONE CALLED "WOMEN
WONDER MAKERS" AND IT'S ABOUT
FEMALE ART ENVIRONMENT BUILDERS,
WHICH IS ALSO FUN.
AND OUR UPCOMING EFFORT IS
CALLED "RURAL CROSSROADS."
SO THERE'S A WHOLE INITIATIVE
ABOUT TALKING ABOUT WHAT HAPPENS
IN RURAL COMMUNITIES THAT REALLY
CREATE A CROSS ROADS FOR A TOWN,
AND THOSE ARE BOTH HUMANITIES
KANSAS INITIATIVES, EITHER
CURRENT OR COMING UP, THAT YOU
SHOULD SEEK OUT BECAUSE ALL OF
THE SCHOLARS ARE LIKE ME.
THEY'RE INTERESTED IN SOMETHING
AND THAT RABBIT HOLE OF
INFORMATION PUSHES YOU OFF IN A
DIFFERENT DIRECTION AND WE GET
TO LOOK AT ALL OF THESE COOL,
AMAZING THINGS, FOR A LIVING!
AND THEN TELL YOU ABOUT THEM.
SO SEED PORTRAITS, HAIR WREATHS,
AND BUTTER SCULPTURES.
VERY COMMON THINGS.
ONE OF THOSE YOU MIGHT BE MORE
FAMILIAR WITH THAN OTHERS,
BUTTER SCULPTURES, BUT I'M GOING
TO BE TALKING ABOUT THE SUPER
HIGH END VERSION OF ALL THREE OF
THESE.
SO ON THE SCREEN WE HAVE LILIAN
COLTON, WHO CREATES SEED
PORTRAITS.
IN THE CENTER YOU'LL SEE A
VICTORIAN HAIR WREATH, AND WE'LL
BE TALKING A LITTLE BIT ABOUT
LEILAH COLTON, WHO HAS A HAIR
MUSEUM IN INDEPENDENCE,
MISSOURI, COMPLETELY DEVOTED TO
ART MADE OF HAIR.
AND ON THE RIGHT, IT MIGHT LOOK
LIKE A PLASTER BUST, BUT THAT IS
ONE OF THE VERY EARLIEST BUTTER
SCULPTURES FROM THE UNITED
STATES.
SO THERE WE HAVE LILIAN, LEILAH,
AND CAROLYN SHAW-BANKS, WHO WILL
BE FEATURED TODAY.
AND ALL OF THESE HAVE THIS
COMMON THEME, FAIRS AND OUR OLD
WORLD'S FAIR FESTIVALS ALL
TALKED ABOUT WHAT WE GROW AND
WHAT WE PRODUCE AS AN INDUSTRY.
AND ONE OF THOSE THINGS THAT
KIND OF TIED IT ALL TOGETHER AND
GOT ME INTERESTED IN ALL OF THIS
WERE EXAMPLES OF AGRICULTURAL
ART.
SO ON THE AUDIENCE'S RIGHT, THE
LEFT OF THE SCREEN, THERE'S A
STATUE OF LIBERTY THERE, AND
THAT IS COMPLETELY MADE UP OF
PRODUCE, PRODUCED FROM ONE OF
THOSE WORLD'S FAIR.
OR IT USED TO BE A TRADITION FOR
TOWNS TO DECORATE WITH THE CROPS
WHENEVER THEY WERE IN SEASON,
AND THAT'S USUALLY WHAT GAVE
RISE TO SOME OF THESE SMALL TOWN
FESTIVALS THAT STILL GO ON BUT
MIGHT HAVE LOST THEIR CONNECTION
TO THE AG THAT THEY WERE
CELEBRATING.
SO HERE'S AN EXAMPLE FROM
ELDORADO, KANSAS.
THEY USED TO DECORATE THEIR
DOWNTOWN ALL OF THE STORE FRONTS
WITH EXAMPLES OF THE CROPS FROM
THAT YEARS A ONE OF THOSE --
AS ONE OF THOSE VERY TYPICALLY
AMERICAN THINGS, BRAGGING ABOUT
WHAT WE CAN DO AND WHAT WE
PRODUCE.
SO THEY WERE GEARED AS THESE
OVERWHELMING DISPLAYS OF
AWESOMENESS TO ILLUSTRATE TO
VISITORS OR TO RIVALS HOW GOOD
WE ARE AT WHAT WE DO.
AND SO THAT WAS SORT OF THE
START FOR A LOT OF THIS CROP
ART, AND SOME OF YOU MIGHT HAVE
BEEN -- MIGHT TRAVEL.
MOST EVERYONE KNOWS ABOUT
MITCHELL, SOUTH DAKOTA'S CORN
PALACE.
THIS IS ONE OF THE PREMIER
PERMANENT EXAMPLES CROP ART THAT
CROP UP ON -- HA, HA -- CROP UP
ALONG OUR AMERICAN ROADSIDES.
AND FOR THOSE OF YOU UNFAMILIAR,
THIS IS A REAL BUILDING, AND ALL
OF THOSE IMAGES THAT YOU SEE ON
IT ARE PRODUCED BY HAVING EARS
OF CORN AND PUTTING THEM ON TO
THE BUILDING.
THIS IS -- THIS USED TO BE A
TEMPORARY BUILD EVERY YEAR AND
IT ACTUALLY STARTED IN IOWA IN
THE LATE 1890s, BUT THEN
MITCHELL, AFTER ONE BAD YEAR,
MITCHELL, SOUTH DAKOTA, STOLE
THE TITLE OF HAVING THE WORLD'S
LARGEST CORN PALACE THAT THEY
WOULD PUT UP AND THE THING THAT
YOU SEE HERE IS A TEMPORARY
STRUCTURE.
THAT IS HOW GUNG-HO WE WERE IN
SHARING OUR BOUNTY AND BRAGGING
ABOUT OUR BOUNTY, WAS THAT THE
TOWN WOULD GET TOGETHER TO
CREATE A BLOCK-WIDE, A
BLOCK-LONG BUILDING THAT IS
COMPLETELY COVERED BY AND SEVEN
CELEBRATING THE AGRICULTURE --
AND CELEBRATING THE AGRICULTURE
OF THAT AREA.
MITCHELL, THE CORN PALACE IN
MITCHELL STARTED IN 1916.
IT WAS 1919 THAT THEY DECIDED,
WELL, WE REALLY LIKE DOING THIS
AND WE'LL BUILD A PERMANENT
BUILDING.
AND THIS IS A 1963 VERSION WHERE
YOU CAN SEE THAT THESE PATTERNS
HAVE BEEN CHANGING EVERY YEAR.
SO ONCE THEY HAD A PERMANENT
BUILDING, THEY ALSO HAD A
PERMANENT CROP ARTIST WHO WOULD
DECIDE ON THE THEME FOR THE YEAR
AND THEN DRAW OUT DESIGNS TO BE
REALIZED IN CORN ON THE SIDE OF
THE BUILDING.
AND HERE YOU CAN SEE ONE OF THE
MORE MODERN DESIGNS GOING UP.
AND RIGHT ABOVE THE LIFT, YOU
CAN SEE THAT UNCOMPLETED AREA
AND IT'S JUST, IT'S A PLYWOOD
BUILDING, A PLYWOOD FACADE, BUT
THEN THE DESIGNS ARE LAID OUT
AND THE CORN IS HARVESTED.
THIS IS ANOTHER REALLY NEAT PART
ABOUT THE CORN PALACE.
THEY NOW GROW ALL OF THE COLORS
OF THE CORN THAT THEY NEED IN
THAT AREA.
SO THEY HAVE SPECIALIZED THEIR
CROPS NOW FOR PRODUCTION FOR THE
CORN PALACE.
AND THEY HAVE 13 COLORS THAT
THEY GROW.
THE NOTICE RECENT ONE THAT THEY
ADDED IS GREEN BECAUSE THAT'S
NOT A NORMAL EAR OF CORN COLOR.
BUT BACK TO THE FUNCTIONALITY OF
IT, THEY'RE DONE WITH THEMES AND
YOU CAN SEE HERE THERE'S SOME
TAR PAPER IN THE BACK AND HERE'S
A CLOSE-UP.
YOU CAN SEE THAT IT'S REALLY
THIS GIANT PAINT BY NUMBER, OR
CORN BY NUMBER.
SO THEY HAVE THE DESIGNS LAID
OUT AND THEN WHITE, RED, BLACK,
AND IT'S SOMEBODY ELSE'S JOB TO
SPLIT THOSE COBS IN TWO, AND
THEN THE TECHNICIANS GO UP AND
NAIL UP THE CORN EACH YEAR.
NOW, YOU CAN SEE BEHIND HIS HEAD
IT'S NOT JUST CORN, IT'S ALSO
GRASSES AND GRAINS.
SO IT IS REALLY A CELEBRATION OF
ALL OF WHAT SOUTH DAKOTA
PRODUCES, NOT JUST THE CORN
INDUSTRY.
NOW, THAT ONE IS A PRETTY
FAMILIAR ONE.
AND I COULD TALK FOR AN HOUR
JUST ABOUT THE CORN PALACE, BUT
WE'RE HERE FOR AN OVERVIEW OF
SOME OF THE WOMEN WHO HAVE MADE
THIS FIELD AMAZING.
OH, ACTUALLY I WILL GO BACK FOR
A LITTLE BIT BECAUSE RIGHT NOW,
THE DESIGNS ARE MADE BY A
COMMUNITY COLLEGE.
SO THE ART TEACHER IN THAT
COMMUNITY COLLEGE, SHE HAS
STARTED A DESIGN TEAM MADE UP OF
STUDENTS, AND THAT ENDS UP BEING
THEIR CLASS PROJECT EVERY YEAR.
SO THESE DESIGN STUDENTS ARE
EXITING WITH A DESIGN PORTFOLIO
THAT HAS ACTUALLY BEEN REALIZED
IN FULL FORM IN THE PUBLIC EYE
UTILIZING THE CROPS OF THE AREA.
SO THAT'S PRETTY GREAT.
BUT BACK TO LILIAN COLTON.
IN SEEING THAT CORN PALACE, YOU
CAN SEE WHERE -- IF YOU THINK OF
THEM AS PIXELS, THEY'RE BIG
PIXELS, SO YOU MAKE BIG IMAGES.
BUT LILIAN PERFECTED THE ART OF
THESE SMALL, VERY INTRICATE
PORTRAITS MADE OUT OF SEEDS.
NOW, WE'VE ALL DONE THIS IN
ELEMENTARY SCHOOL.
THESE ARE SOME AGE 14, AGE 16,
AGE 18 EXAMPLES OF CROP ART THAT
WE ALL HAVE DONE THAT SMELL OF
ELMER'S GLUE AND LENTILS THAT
YOU COULD ALMOST EAT, BUT NOT
QUITE, MIXING TOGETHER ON
CARDBOARD AND MARKER.
IS REALLY ALL YOU NEED TO KNOW
ABOUT HOW TO MAKE IT, BUT TO
MAKE IT INTO AN ART FORM, YOU
HAVE TO HAVE DEDICATION.
NOW, LILIAN STARTED OUT LIFE
AS A HAIR DRESSER AND SHE SAID
THAT HER EXPERIENCE AS A HAIR
DRESSER AND PAYING ATTENTION TO
WAVES AND PATTERNS AND TEXTURE
REALLY HELPED HER DEVELOP HER
CROP ART TECHNIQUES.
SO IF YOU'RE LOOKING AT THE
WRINKLES ON LINCOLN AND THOSE
HIGHLIGHTS, THAT'S NOT PAINT.
THAT IS ACTUALLY DIFFERENT TONES
OF SEEDS THAT ARE COMBINING TO
MAKE THAT PORTRAIT.
AND THEN FOR HIS BEARD, SHE'S
PICKING LONGER, GRASS-LIKE SEEDS
THAT COULD BE WILD RICE.
AND SHE GOT INTO THIS AT A VISIT
TO HER OWN STATE FAIR.
THE MINNESOTA STATE FAIR STARTED
DOING SEED ART COMPETITIONS IN
1965, AND ONE OF THEIR CAVEATS
IS THAT ALL OF THESE SEEDS AND
EVERYTHING IN THERE NEEDS TO BE
NATIVE TO MINNESOTA.
SO, AGAIN, TALKING ABOUT THE
INDUSTRY OF THE AREA, TALKING
ABOUT THE BOUNTY OF THE AREA,
BUT THEN TAKING IT TO THAT NEXT
LEVEL.
AND LILIAN VISITED THE CROP ART
AND SHE THOUGHT, WELL, I COULD
DO THIS.
SO IN 196 -- THE NEXT YEAR, SHE
DID HER VERY FIRST ENTRY, AND
WITHIN A COUPLE OF YEARS, SHE
WAS WINNING THE GRAND PRIZE EACH
AND EVERY YEAR.
SO FROM 1965 UNTIL THE
MID-1980s, SHE WAS THE TOP
CROP ARTIST AT THE MINNESOTA
STATE FAIR UNTIL THEY COULDN'T
ASK HER TO NOT DO IT ANYMORE
BECAUSE SHE IS A MASTER AT THIS
CRAFT.
BUT THEY DECIDED TO HIRE HER TO
DEMONSTRATE THE CROP ART.
AND THAT WOULD BE A CONVENIENT
WAY TO KEEP THIS LADY FROM
BLOWING THE COMPETITION OUT OF
THE WATER EACH YEAR AND GIVE
SOMEBODY ELSE A CHANCE.
SO FROM 1984 ON, LILIAN COLTON
WAS DEMONSTRATING AT THE
MINNESOTA STATE FAIR IN THIS
VERY SPECIALIZED TECHNIQUE OF
CROP ART.
NOW, SHE HAND PLACES EACH OF
THESE SEEDS.
SO SHE HAS TRIES AND TRIES, KIND
OF LIKE ANYBODY WHO DOES BEADING
OR ANYBODY WHO HAS A BOLT BIN
AND YOU HAVE TO HAVE THE BOLT
MATCH UP WITH THE THREAD, YOU'VE
GOT YOUR RAVE OUT THERE.
SHE HAD BINS AND BINS OF SEEDS
SORTED BY SIZE, SORTED BY SHAPE,
AND SORTED BY COLOR.
AND THEY'RE ALL MOUSE-PROOF IN A
SPECIAL CLOSET BECAUSE SHE DID
HAVE MICE PROBLEMS EARLY ON THAT
WERE EATING UP HER ART SUPPLIES.
AND SHE SORTS THEM, PICKS THEM
OUT, AND PLACES EACH ONE BY HAND
ON THESE PORTRAITS.
AND YOU CAN SEE WHEN SHE'S
STANDING THERE THAT THESE ARE A
NORMAL SIZED PORTRAIT THAT YOU
WOULD HAVE IN YOUR HOUSE, BUT
WITH PAIN-STAKING HOURS AND
HOURS AND HOURS OF SEED
PLACEMENT.
SO ONCE THE STATE FAIR DECIDED,
YOU KNOW, YOU SHOULDN'T BE
COMPETING BECAUSE WE KIND OF
NEED OTHER PEOPLE TO WIN, TOO,
AFTER THAT, SHE STILL MADE WORK,
BUT SHE STARTED TEACHING ABOUT
HOW TO DO THIS WORK ALSO.
AND SHE WAS THE CROP ARTIST
DEMONSTRATOR AT THE MINNESOTA
STATE FAIR UNTIL ONE YEAR BEFORE
HER DEATH IN 2017.
SO THIS LONG, SOLID LEGACY WAS
ALWAYS REPRESENTED FOR MINNESOTA
BY LILIAN COLTON.
NOW, ONCE SHE STOPPED COMPETING,
THE FIELD EXPANDED THERE.
BUT EVERYBODY PAYS HOMAGE TO HER
AND HER TECHNIQUE.
SO THIS IS AN EXAMPLE FROM 2017,
AND THESE ARE CROP ARTISTS FROM
ALL OVER THE STATE OF MINNESOTA.
AND MINNESOTA STATE FAIR IS
REALLY HARD TO GET INTO IF
YOU'RE AN ARTIST, AND IF YOU WIN
A RIBBON IN THE CROP ART
DIVISION, YOU KNOW YOU'VE REALLY
MADE IT BIG.
SO HERE WE HAVE SOME OF THOSE
EXAMPLES FROM MINNESOTA 2016 OR
2017.
BUT WITH THIS CLOSE-UP, YOU CAN
REALLY SEE THAT DIFFERENCE, THAT
ARRAY OF COLOR IN SEEDS AND HOW
RUE CAN USE THOSE ARTISTICALLY,
THAT BLACK TO WHITE GRADATION
SORT OF MAPPED OUT AND MAKING
SOMETHING THAT WE'RE ALL
FAMILIAR WITH NOW, THAT HIGH
CONTRAST BLACK AND WHITE PHOTO
FEEL.
OR REALLY PLAYING WITH THAT
TEXTURE, SO GETTING SOME MORE OF
THOSE GRASS SEEDS AND THEN
CAREFULLY PICKING OUT WHAT IS
GOING TO FILL IN THOSE BLANKS.
BUT IF YOU NOTICE THESE SEEDS,
THEY ARE GOING WITH THE FUR.
IT'S NOT JUST ABOUT COLOR.
IT'S ABOUT LINE AND SHAPE AND
TEXTURE AND CONTRAST THAT REALLY
MAKE THESE POP OUT.
ALSO, SOME HUMOR.
HERE'S A GOOD FAIR HUMOR ONE.
WHAT WOULD A DOG MOST WANT AT A
FAIR?
A STICK.
WHAT'S EVEN BETTER THAN THAT?
A STICK ON A STICK!
YOU CAN ADD MUD, SAND AND SPIT
FOR JUST 50 CENTS.
AND SOME OF THESE ARE
SCULPTURAL, TOO.
SO SOME OF THEM ARE SURFACE
DESIGNS THAT END UP BEING DONE
COMPLETELY OUT OF SEEDS.
BUT AGAIN, LOOK AT HOW MUCH
THESE RESEMBLE BEADING!
SO THERE'S THIS REAL CROSSOVER
OF CELEBRATION OF BOUNTY, VERY
CAREFUL, MEDITATE I HANDWORK,
BUT ALSO REFLECTING EVERYDAY
LIFE.
AND JUST LOOK AT THOSE COOKIES.
DON'T THEY -- THEY MAKE YOU --
YOU CAN TASTE THAT EVEN THOUGH
YOU PROBABLY SHOULDN'T BECAUSE
IT'S NOT GOING TO TASTE LIKE A
CHOCOLATE CHIP COOKIE.
SO YEAR AFTER YEAR, THEY REFLECT
THE SOCIETY THAT THEY'RE MADE
IN, THEY REFLECT THE TIMES THAT
THERE ARE.
THIS WOULD HAVE BEEN RIGHT AFTER
PRINCE'S DEATH, AND HE WAS A MIN
SETTEN, SO REALLY -- MIN SO
TAN -- MINNESOTAN, SO REALLY
AFFECTED THAT YEAR.
SO THIS YEAR THERE ARE MANY,
MANY PRINCE PORTRAITS EVEN IN
THE CROP ART CATEGORY.
THERE'S GRAPHIC DESIGN.
THERE'S FUN ONES.
THERE'S SIGNS.
THERE'S POP CULTURE REFERENCES.
THERE'S HISTORICAL REFERENCES
THAT LOOK VERY MUCH LIKE A HAIR
WREATH, BUT AGAIN, ARE MADE OUT
OF SEEDS.
LILIAN WAS A BIG LOSS FOR THE
STATE FAIR.
SO THEY DIDN'T KNOW WHAT TO DO
WITHOUT HER.
BUT MINNESOTA IS ALSO KNOWN FOR
A GIANT PUPPET COMMUNITY.
SO THERE IS NOW A PUPPETEER WHO
CREATED A LILIAN COLTON PUPPET
TO EXPLAIN SEED PORTRAITURE TO
CHILDREN AT THE ENTRANCE TO THE
CROP ART PART OF THE FAIR.
SO YOU SEE THIS LITTLE PUPPET
LILIAN COLTON, AND YOU SEE HOW
THEY'RE MADE.
SHE STARTS WITH AN IMAGE AND
THEN GOES TO A SKETCH, REFINES
THAT SKETCH, AND STARTS FILLING
IT IN UNTIL YOU GET TO THAT
FINAL FORM.
SO EVEN THOUGH LILIAN COLTON IS
NO LONGER A PART OF THE FAIR, IN
PERSON, SHE WILL ALWAYS BE A
PART OF THE LEGACY OF THE
MINNESOTA STATE FAIR, AND CROP
ART AS A WHOLE.
THIS LAST ONE IS A SELF-PORTRAIT
SHE DID OF HERSELF.
WHEN SHE PASSED, THERE WERE
OBITUARIES WRITTEN ACROSS THE
STATE, AND HER FAMILY SAID SHE
GOT SUCH A TICKLE OUT OF ART
PROFESSORS WHO WOULD COME AND
VISIT HER AND WRITE PAPERS ABOUT
HER AND THERE ARE BOOKS AND
PAPERS ABOUT LILIAN COLTON.
BUT ONE OF THE QUOTES THAT HER
FAMILY PASSED ON WAS THAT SHE
GETS TALKED ABOUT IN THIS ART
CONTEXT, BUT ALL SHE WAS DOING
WAS GLUEING SEEDS.
THE ART OF IT COME IN THAT
TRANSFORMATION.
NOW MOVING ON TO -- IT SEEMS
LIKE IT WOULD BE A GROSS
SUBJECT, BUT IT'S REALLY PRETTY
BEAUTIFUL AND AMAZING.
WE'RE TALKING ABOUT PICTURES OF
HAIR.
NOT PICTURES DEPICTING HAIR.
BUT PICTURES AND SCULPTURES
FORMED FROM HAIR.
NOW, ONE OF THE EXPLANATIONS FOR
THIS RISE IN THE CREATION OF
HAIR WREATHS IS THAT IN THE
VICTORIAN TIMES, THERE WEREN'T
PHOTOGRAPHS.
SO THESE WERE ALL REALLY MEANT
AS MEMORIALS, OR WAYS TO
REMEMBER LOVED ONES THAT HAVE
PASSED OR ARE AFAR OR HAVE A
PART OF YOUR HEART OR ARE
CONNECTED TO YOU IN SOME WAY.
SO THAT VICTORIAN TRADITION OF
HAVING A LOCK OF HAIR IN A
LOCKET AS A REMEMBRANCE
PRE-DATES PHOTOGRAPHS, BUT IS
STILL THAT TACTILE, LITTLE
SNIPPET OF A PERSON THAT DID GET
REPLACED BY PHOTOGRAPHY LATER
ON.
AND WHEN YOU LOOK AT THESE UP
CLOSE, IT'S REALLY HARD TO
IMAGINE HOW HAIR CAN BE DONE
LIKE THIS.
EACH OF THOSE FLOWERS THAT YOU
SEE IS A LONG COIL OF HAIR
AROUND A WIRE AND THEN THAT WIRE
IS BENT AND FORMED INTO -- WENT
AND FORMED INTO THAT FLOWER
SHAPE.
AND HERE'S A CLOSE-UP WHERE YOU
CAN SEE.
SOMETIMES IT'S LARGER HANKS OF
SHARE THAT ARE PUT TOGETHER AND
BRAIDED IN OR LIKE WHEAT WEAVING
THAT'S TRADITIONAL IN ENGLISH
AND SWEDISH TRADITIONS.
THIS USE OF HAIR AS A DECORATIVE
ELEMENT IS -- WAS FOUND
THROUGHOUT EUROPE AND THROUGHOUT
THE VICTORIAN ERA AS A REMEMBER
RAPS, BUT ALSO -- AS A
REMEMBRANCE, BUT ALSO WE WERE
SAVING OUR HAIR.
WHENEVER YOUR HAIR WOULD FALL
OUT A LITTLE BIT, YOU USUALLY
HAD THIS LITTLE JAR ON YOUR
DRESSER AND THAT'S WHERE YOU
WOULD PUT IT IN CASE YOU NEEDED
SOME EXTRA HAIR FOR AN EXTRA
FANCY 'DO OR SOME HAIR HEIGHT.
BUT THAT ALSO MEANT THAT THERE
WAS ALWAYS THIS SURPLUS OF THIS
COMMON MATERIAL THAT ENDED UP
HAVING A PRECIOUSNESS TO IT THAT
YOU COULDN'T JUST THROW AWAY
BECAUSE YOU WERE THROWING AWAY A
PART OF YOURSELF OR A PART OF A
LOVED ONE.
NOW, SOME OF THESE MEMORIAL
WREATHS, IF IT WAS A REALLY GOOD
BIOGRAPHER OF A FAMILY, THEY
WOULD LIST OUT WHOSE HAIR WAS
WHAT.
SO MANY OF THESE AIR WREATHS ARE
NUMBERED AND THEN THERE'S A KEY
ON THE BACK AS TO WHOSE HAIR IT
WAS.
SO THIS IS A REALLY EARLY 1885
VERSION OF A FAMILY TREE.
AND WITH THESE, THEY CAN
LITERALLY BE TREES.
SO THIS IS ANOTHER TREATMENT OF
HAIR.
SOME OF IT IS IN A TREE FORM,
SOME IS IN BUSH FORM, AND BUT
IT'S IN THE ROUND.
IT'S A SCULPTURE.
AND ON THE BOTTOM OF THE BASE,
IT'S A REALLY FAINT DRAWING, BUT
YOU MIGHT NOTICE UP THERE ON THE
TOP RIGHT, THERE'S A DRAWING
WITH LITTLE DOTS, AND EACH OF
THOSE DOGS CORRESPONDS TO AN
ELEMENT -- DOTS CORRESPONDS TO
AN ELEMENT IN THE DOME AND A
PERSON WHOSE HAIR IT IS.
AND THIS ONE, 1887, MOSTLY
DEVOTED TO SOPHIE HENRY, AGE 21
YEARS.
THE HAIR ORNAMENTS COULD BE
AS TINY AS IN A LOCKET.
SO THIS, TOO, IS JUST COMPLETELY
MADE UP OF HUMAN HAIR WITH A
LITTLE BIT OF EMBELLISHMENT OF
THE BLUE BEADS THE.
BUT THOSE FLOWER FORMS ARE ALL
HAIR.
HAIR CAN ALSO BE CHOPPED UP AND
GROUND.
AND IF YOU CHOP IT FINE ENOUGH,
IT ENDS UP WORKING THE SAME WAY
THAT SEEP YA DOES.
 -- SEPIA DOES.
YOU MIGHT KNOW THAT WORD FROM
PHOTOGRAPHS, AND THAT'S THAT
SORT OF BROWN TINT, SEPIA TONE
TO OLDER PHOTOGRAPHS.
WHEN EYOU CHOP UP HAIR REALLY
FINE AND ADD IT TO EITHER WATER
OR A BINDER, IT TOO HAS THIS
BROWNISH QUALITY AND IF IT'S
FINE, FINE, FINE ENOUGH, YOU CAN
ACTUALLY PAINT WITH IT.
SO THAT LOCKET ON THE LEFT IS A
SEPIA TONE HAIR PIGMENT BROACH.
AND THE ONE ON THE RIGHT IS
USING HAIR AS THIS SORT OF
FANCIFUL FAN TO COMPLETE THE
SCENE.
SO LEILA GOT INTERESTED IN THIS
WORLD SORT OF BY ACCIDENT.
THESE ARE EXAMPLES OF JEWELRY
WHERE THE HAIR'S NOT IN THE
BROACH, BUT THE HAIR IS USED
AS A TEXTILE AND THEN WOVEN INTO
THESE FORMS.
BUT LEILA TELLS HER STORY ABOUT
SHE TOO IS A HAIR DRESSER, SO
SHE WAS -- HAD A NATURAL
AFFINITY FOR HAIR.
BUT SHE WAS SUPPOSED TO BE GOING
TO AN EASTER PARTY, AND SHE WAS
DOWNTOWN AND LOOKING FOR EASTER
SHOES AND SHE PASSED THE WINDOW
OF AN ANTIQUE SHOP AND SAW THIS
LITTLE HAIR WREATH.
AND IT WAS ALL THE MONEY THAT
SHE HAD, AND SO SHE SAID, NO,
NO, I CAN'T DO THAT, I NEED MY
EASTER SHOES.
SO SHE WENT ON TO THE SHOE
STORE, HAD A PAIR PICKED OUT AND
PUT THEM BACK, AND WENT BACK TO
THAT ANTIQUE STORE AND BOUGHT
THE HAIR WREATH INSTEAD, SAYING
I CAN WEAR LAST YEAR'S EASTER
SHOES.
AND SHE BROUGHT IT HOME AND WAS
SO FASCINATED BY WHAT THIS THING
THAT SHE'D BEEN TRAINED TO DO
PROFESSIONALLY, WHAT SHE HAD
BEEN TRAINED TO DEAL WITH
PROFESSIONALLY, WHAT IT COULD
TURN INTO WITH A LITTLE BIT OF
WORK.
THIS IS A SHOT INSIDE OF LEILA'S
HAIR MUSEUM.
YOU CAN SEE THAT FIRST LITTLE
ACQUISITION GREW AND GREW AND
GREW.
THERE'S DIFFERENT ACCOUNTS, AND
SHE GIVES DIFFERENT ACCOUNTS TO
HOW MANY PIECES THAT SHE HAS.
SOME PEOPLE SAY 160 WREATHS.
SOME SAY 600.
OVER 2,000 PIECES OF JEWELRY,
BUT ALL OF IT WAS THE RESULT OF
THAT FIRST ACQUISITION IN 1956.
SHE STARTED THE MUSEUM WHENEVER
SHE RAN OUT OF SPACE UNDER HER
BED AND SHE COULD NO LONGER HIDE
HER COLLECTION FROM HER HUSBAND.
SO SHE'D ALREADY STARTED A
COSMETOLOGY SCHOOL.
SHE HAD A BUILDING IN
INDEPENDENCE.
AND SO THE BACK OF HER
COSMETOLOGY SCHOOL STARTED
HOUSING HER COLLECTION.
NOW, IT STARTED AS A COLLECTION,
BUT AS ANYBODY KNOWS, WHEN YOU
START COLLECTING THINGS, THEY'RE
GOING TO COME TO YOU IN
DIFFERENT FORMS OF PRESERVATION.
SO TO KEEP HER COLLECTION NICE,
SHE HAD TO START FIGURING OUT
HOW TO FIX SOME OF THEM.
AND IN REALLY EXAMINING AND
TAKING THEM APART TO PUT THEM
BACK TOGETHER, SHE STARTED
DISCOVERING THE TECHNIQUES THAT
IT TAKES TO CREATE A HAIR
WREATH.
AND SO SHE CLAIMS THAT THERE ARE
35 DIFFERENT TECHNIQUES THAT SHE
HAS FOUND, AND SHE HAS REVERSED
ENGINEERED 30 OF THOSE
TECHNIQUES.
AND HERE YOU CAN SEE SOME REAL
BASICS.
THE ONE ON THE TOP RIGHT IS WHAT
HAPPENS IF YOU CREATE A SHEET.
SO WITH GLUE, REALLY GLUEING THE
HAIR TOGETHER INTO A SHEET OR A
TEXTILE THAT YOU CAN FORM WELL
WET AND THEN WILL DRY.
AND SO THOSE LONGER FRONDS ARE
JUST FORMED AS A HANK OF HAIR,
BUT KEEPING IN THAT TOP RIGHT
EXAMPLE, YOU CAN SEE THOSE LEAF
ONES ARE A LITTLE BIT DIFFERENT.
AND FOR THOSE, YOU CREATE A FLAT
SHEET OF HAIR AND THEN CUT IT
OUT ALMOST LIKE APPLIQUÈ PIECES.
ON THE LEFT YOU'LL SEE THAT
THERE'S LOOPS AND LOOPS OF
HAIR -- LOOPS OF HAIR COMBINED
WITH WIRE.
AND THAT CAN SERVE AS THE BASIS
FOR A WEAVING OR IT COULD SERVE
AS THE BASIS FOR A WRAPPING.
BUT THAT IS THE GENERAL
STRUCTURE BEHIND MOST OF THESE.
AS IT TURNS OUT, THIS WAS A BIG
THING IN THE LATE 1800s.
SO MID TO LATE 1800s, YOU
COULD ORDER HAIR ORNAMENTS.
SO THERE WERE CATALOGS FULL OF
THESE DESIGNS.
SO SHE ALSO, LEILA ALSO STARTED
COLLECTING THE REFERENCES TO
THESE.
WHAT I WAS -- WHEN I WAS DOING
RESEARCH -- OH, AND YOU CAN SEE
THE JEWELRY THAT WAS AVAILABLE.
THERE WERE EARRINGS.
HERE, YOU CAN SEE THE COLOR
PHOTOGRAPH IS FROM HER
COLLECTION.
AND YOU CAN SEE IN THAT MIDDLE
DRAWING, THIS IS A CATALOG
EXAMPLE OF THAT SAME SORT OF
BRASS-HEADED DRAGON, BUT THEN
THE TUBE FORM CREATED OF HAIR
THAT WAS AVAILABLE.
NOW, WHILE I WAS DOING RESEARCH,
WHICH I LOVE TO DO, BECAUSE
THERE IS SO MANY RABBIT HOLES IN
LIBRARIES TO FALL DOWN, IT'S
JUST AMAZING, IT TURNS OUT THERE
ACTUALLY HAD BEEN A PRIMER FOR
THE ART OF HAIR WORK.
SO EVEN IN 1867, THAT'S THE
COPYRIGHT ON THIS ONE, 1867,
THERE WERE GUIDES TO NOT JUST
WHAT THE HAIR WORK COULD LOOK
LIKE, BUT HOW TO PREPARE THE
HAIR.
HE HAD EXAMPLES OF WHAT SORT OF
EQUIPMENT YOU MIGHT NEED TO
CREATE THIS HAIR WORK, LIKE A
BRAIDING TABLE AND CHARTS AND
GRAPHS AND DESIGNS TO CREATE
YOUR OWN BRAIDING TABLE TO
UTILIZE THIS RESOURCE THAT EVERY
ONE OF US HAS, HOW TO FORM THE
BOBBENS, WHAT THE DIFFERENT
BOBBENS WERE USED FOR, HOW THEY
HUNG OFF OF THE EDGES OF THE
TABLE TO CREATE DIFFERENT
WEIGHTS, HOW TO MANIPULATE
THOSE.
AND THEN IT GOES INTO WEAVING
TECHNIQUES, HOW TO DO TIGHT
BRAIDS, HOW TO DO NOT TIGHT
BRAIDS.
HOW TO DO BRACELET BRAIDS.
AND PATTERNS IN WHICH, ALMOST
LIKE SEWING OR KNITTING PATTERNS
TODAY THAT GIVE YOU STEP-BY-STEP
DIRECTIONS ON EXACTLY HOW TO DO
THESE VERY INTRICATE BRAIDS.
SO IT'S A LONG BOOK, ALSO FULL
OF REALLY GREAT EXAMPLES, MOST
OF WHICH LEILA HAS IN HER
MUSEUM.
NOW, LEILA ALSO COLLECTS
SNIPPETS OF HAIR.
SO SHE HAS HER CELEBRITY
SECTION.
THIS IS A SNIPPET OF ABRAHAM
LINCOLN'S HAIR.
AND SHE IS UNABLE TO TELL YOU
WHAT HER COLLECTION IS WORTH,
WITH GOOD REASON, BECAUSE HOW
MUCH IS ABE LINCOLN'S HAIR
WORTH?
WELL, ACCORDING TO A AUCTION
HOUSE IN DALLAS, ONE SNIPPET OF
ABRAHAM LINCOLN'S HAIR WITH
PROVE NANCE SOLD FOR $38,837.
IN THE LATE TWO THOUSAND-TEENS.
SO SHE'S STILL -- SHE STILL
TOURS BEAM THROUGH HER MUSEUM.
SHE HAS CELEBRITIES STOP IN.
THIS IS MICHAEL ROW AND YOU CAN
SEE IN HIS HAND HE HAS A LITTLE
SNIPPET OF HAIR AND HE IS TRYING
TO CUT THAT INTO SMALLER PIECES
SO THAT HE CAN START USING THOSE
AS PIXELS.
OR THIS IS ONE OF MY FAVORITE
STORIES FROM HER.
OZZIE OSBORN IS THERE!
SHE UPPED HER GAME, SHE PUT ON
THE BLACK, SHE HAD THE WHOLE
CAMERA CREW THERE AND OZZIE WAS
EXAMINING THIS HAIR MUSEUM.
NOW, SHE SAID RIGHT AFTER THIS
PHOTO WAS TAKEN, SHE ASKED HIM
TO REMOVE HIS HAT BECAUSE HE WAS
INSIDE.
AND SHE WANTED TO SEE HIS
GLORIOUS HEAD OF HAIR.
AND WHILE HE WAS DISTRACTED AND
PUTTING HIS HAT DOWN, SHE TOOK A
PAIR OF SCISSORS OUT OF HER
POCKET AND SNIPPED A LITTLE BIT
OF OZZIE OSBORN'S LOCKS FOR HER
MUSEUM.
AND HER HAIR SALON IS GOING, HER
HAIR SCHOOL IS STILL GOING.
IT'S BEEN IN OPERATION SINCE
1960.
IT'S INDEPENDENCE COLLEGE OF
COSMETOLOGY AND HAIR ACADEMY.
AND THAT OPERATES DAILY IN THE
FRONT OF LEILA'S MUSEUM.
IF YOU'RE LUCKY, LEILA WILL GIVE
YOU A TOUR, BUT HER DAUGHTER IS
THE ONE THERE MOST OFTEN AND
WILL ALSO FILL YOU IN ON THIS
AMAZING COLLECTION THAT HAS
SPANNED TIME, BUT REALLY
TRANSFORMS SOMETHING THAT EACH
AND EVERY ONE OF US HAS.
SHE IS A FORCE TO BE RECKONED
WITH.
IF YOU CAN FIND ANY INTERVIEWS
WITH HER, TOO, THEY ARE AN
ABSOLUTE HOOT.
SO WE'VE GONE THROUGH SEED
PORTRAITS FROM A HAIR DRESSER.
WE HAVE HAIR WREATHS, REVERSE
ENGINEERED, AND SHE DOESN'T MAKE
HER OWN ART YET, BUT SHE IS THE
CARETAKER OF THE KNOWLEDGE FOR
THE HAIR MUSEUM.
NOW WE MOVE ON TO SOMETHING THAT
EACH OF YOU LIKELY HAVE IN YOUR
CUPBOARD.
WE'RE GOING TO TALK ABOUT
BUTTER!
AND NOT JUST ANY ORDINARY,
AVERAGE BUTTER SCULPTURE.
NOT JUST ANOTHER COW.
BUT THIS IS THE ORIGINS OF
BUTTER SCULPTURE.
CAROLYN SHAWK BROOKS DIDN'T
INVENT BUTTER MOLDS.
THAT WAS A FOLK TRADITION THAT
HAD BEEN PASSED DOWN TO US, BUT
SHE WAS THE ONE WHO LAID THE
FOUNDATION FOR WHAT WE ALL KNOW
THROUGH OUR FAIRS AND FESTIVALS.
AND HERE ARE SOME EXAMPLES OF
BUTTER FOLDS THAT ARE FOUND IN
MANY TRADITIONS ESPECIALLY HEAVY
DAIRY TRADITIONS.
SO A LOT OF DUTCH FARMERS WOULD
HAVE THESE MOLDS, ENGLISH
FARMERS BROUGHT THEM OVER.
WE HAD MANY FORMS FROM OUR OWN
PIONEER TRADITIONS.
AND IT WAS JUST A WAY TO MAKE
YOUR OWN HOME-MADE BUTTER A
LITTLE BIT FANCIER FOR COMPANY
OR IF YOU'RE BRINGING IT ALONG,
A WAY TO LITERALLY STAMP IT WITH
YOUR OWN BRAND.
SO CAROLYN BROOKS -- CAROLINE
BROOKS WAS A RURAL LADY.
SHE WAS WORKING IN ARKANSAS, IN
HELENA, ARKANSAS, AND WHEN THEIR
CROP FAILED ONE YEAR, SHE
STARTED MOLDING BUTTER TO SELL
FOR EXTRA MONEY.
SO WHILE THE CROPS HAD FAILED,
THE COWS WERE STILL MILKING AND
SHE WAS STILL CHURNING CREAM
INTO BUTTER AND SHE WOULD TAKE
HER BUTTER THAT HAD BEEN MOLDED
INTO TOWN TO SELL FOR SOME EXTRA
CASH.
AT SOME POINT SHE WAS
DISSATISFIED WITH THE MOLDS AND
THOUGHT, WELL, I CAN START DOING
IMAGES IN THIS BUTTER.
SO SHE STARTED SCULPTING THE
BUTTER AND BRINGING THAT, AND
FOUND OUT THAT SHE WAS MAKING
QUITE A BIT MORE MONEY WITH HER
OWN CREATIONS THAN JUST A MOLDED
PAT OF GOOD BUTTER.
SO IN 1873, SHE WAS GETTING
READY TO DO HER DAILY CHORES AND
SHE THOUGHT, I'M NOT READY TO DO
THIS TODAY.
SO SHE READ A BOOK.
AND THE BOOK THAT SHE READ WAS
KING RENE'S DAUGHTER.
AND THE SUBJECT OF KING RENE'S
DAUGHTER WAS -- THIS WAS A BLIND
CHILD WHO DIDN'T KNOW THAT SHE
WAS BLIND.
AND HER PARENTS HAD KEPT IT FROM
HER.
BUT THEY DECIDED THAT ON HER
16th BIRTHDAY, THEY WOULD TELL
HER THAT SHE DIDN'T HAVE SIGHT
AND THAT THAT WAS NOT A NORMAL
WAY TO BE.
BUT THAT NIGHT BEFORE WOULD BE
HER LAST DREAMS OF INNOCENCE, OF
NOT KNOWING THERE WAS SOMETHING
WRONG.
AND THIS STORY SO STRUCK
CAROLINE THAT SHE WANTED TO
CAPTURE THAT LAST LITTLE BIT OF
INNOCENCE, THAT LITTLE LAST
DREAM, BEFORE YOU WAKE UP TO
REALIZE THAT YOUR WORLD IS NOT
WHAT IT SEEMED.
SO SHE WAS SO TAKEN BY THIS, AND
SHE STILL DIDN'T QUITE WANT TO
DO HER CHORES, THAT SHE SCULPTED
THIS VERY FIRST BUST OF
DREAMING.
AND SHE DISPLAYED IT AT HER
COUNTY FAIR IN 1874.
THERE'S A TRAVELING MAN WHO CAME
THROUGH WHO WAS LOOKING FOR
DISPLAYS FOR THE UPCOMING
PHILADELPHIA EXHIBITION.
AND SHE SAW THIS EXQUISITE
SCULPTURE IN THIS CREAMY, CREAMY
FORM AND REALIZED HA IT WAS A
BUTTER SCULPTURE MADE BY A
WOMAN'S HANDS AND BROUGHT TO THE
FAIR TO DISPLAY.
HE WAS SO TAKEN WITH IT, THAT HE
WANTED HER TO COME TO
PHILADELPHIA AND EXHIBIT IT.
NOW, TO TRAVEL THAT FAR,
CAROLINE HAD TO FIGURE OUT HOW
TO GET A TUB OF BUTTER TO A
COUPLE STATES AWAY IN THE
METHODS OF TRANSPORTATION AT THE
TIME.
SO SHE -- SHE HAD CREATED THIS
BUTTER IN A METAL PAN, IN THIS
BUST YOU CAN SEE AROUND THE
EDGES THE PERSON DOING THE
ETCHING IS NOT -- HAS NOT TRIED
TO HIDE THIS.
IT IS THE METAL DAIRY PAN THAT
SHE SCULPTED THAT PORTRAIT IN.
UNDERNEATH THAT PAN, SHE HAD
ANOTHER PAN FULL OF ICE.
SO SHE BASICALLY MADE ONE OF THE
FIRST REFRIGERATION SYSTEMS FOR
TRANSPORTATION, AND SHE WOULD
JUST KEEP THE ICE MOVING THROUGH
THE PAN SO THAT SHE COULD START
TRANSPORTING HER BUTTER
SCULPTURES FOR DISPLAY.
SO SHE WENT ON TOUR.
THERE WERE CABINET CARDS MADE
FOR HER.
SHE WAS INVITED NOT JUST TO THE
PHILADELPHIA EXHIBITION, BUT SHE
EXHIBITED INNOCENCE IN NATTIE
GALLERY.
SHE TOURED THE U.S. AND
EVENTUALLY SETTLED IN
WASHINGTON, D.C.
BUT SHE WAS WALKING THIS STRANGE
LINE.
WOMEN WEREN'T SCULPTORS.
WOMEN WERE DOMESTICS.
THEY WERE THE ONES TAKING CARE
OF THE HOUSE.
SO PEOPLE OFTEN HAD DOUBTS
WHETHER OR NOT CAROLINE WAS
ACTUALLY DOING THIS WORK.
SO IT WASN'T JUST HER WORK THAT
WAS DISPLAYED.
SHE WAS THE ONE THAT WAS ON
DISPLAY MANY, MANY TIMES.
AND THAT STARTED IN
PHILADELPHIA.
SHE WASN'T IN THE DOMESTIC
HOUSE.
SHE WASN'T IN THE EXHIBITS JUST
FOR CROP ART.
SHE WAS ACTUALLY MOVED OVER TO
THE ART SIDE, AND SHE WAS THE
ONLY WOMAN THERE BECAUSE MEN
WERE SCULPTORS, MEN WERE
ARTISTS.
HOW COULD THIS WOMAN COMPETE?
AND TO PROVE THAT IT WAS HER
DOING THE WORK, THEY MOVED HER
AND HER EASEL AND HER BUTTER AND
HAD HER CREATE BUTTER PORTRAITS
AND BUTTER SCULPTURES IN THE
SCULPTURE GALLERY TO PROVE THAT,
YES, A WOMAN NOT ONLY CAN WORK
WITH THIS MATERIAL, BUT HAS THIS
VERY KEEN EYE FOR ART, FOR FORM,
AND FOR CRAFT.
>> Beccy: ERIKA, I'M GOING TO
INTERRUPT JUST FOR A SECOND ON
THAT.
HOLDING TO THAT THOUGHT.
KEEP IN MIND, WOMEN DURING
THE -- ESPECIALLY UP THROUGH THE
19th AND EARLY TURN OF THE
20th CENTURY, A LOT OF TIMES
THERE WERE ONLY TWO OPTIONS FOR
THEM IN TERMS OF SOCIALIZATION.
MAKE IT THREE.
THERE WAS CHURCH, SEWING CLUBS
AND RECIPE, COOKING, EXCHANGING
RECIPE TYPE STUFF.
THAT WAS ABOUT IT.
THERE WERE NOT A LOT OF OPTIONS.
AND SO I THINK THAT'S WHY IT'S
SO SIGNIFICANT TO HEAR ABOUT
THESE DIFFERENT ART FORMS OF HOW
WOMEN BEGAN TO KIND OF PUSH THE
ENVELOPE.
WOULD THAT BE FAIR TO SAY,
ERIKA?
>> ERIKA:  OH YEAH.
SHE -- IT WAS MORE THAN PUSHING
THE ENVELOPE.
SHE BROKE THE ENVELOPE BECAUSE
THERE WERE NO WOMEN IN THE
SCULPTURE HALL.
WOMEN WERE NOT CAPABLE OF DOING
THAT.
SO WHEN ONE SHOWED UP, BEING
PERFECTLY CAPABLE, THE ONLY
THING THAT MADE IT OKAY WAS THAT
SHE WAS STILL USING A DOMESTIC
WOMAN'S REALM FORM.
BUT SHE DIDN'T STOP THERE.
SHE KNEW THAT SHE WAS ON
DISPLAY, ALMOST LIKE A SIDE SHOW
OF, OH, HOW DID THIS TALENT GET
INTO THIS FRAIL FORM?
SO FOR HER TO PIONEER NOT JUST
THE BREAKING OF THAT BOUNDARY,
BUT THE WILLINGNESS TO SHOW UP
AND SAY I DID THIS, THIS IS MY
WORK, I CAN DO THIS AND I DO IT
VERY WELL.
>> Beccy: I WANT TO ADD, THERE
IS A WOM WOMAN'S SCULPTOR FROM
KANSAS OR THAT HAS TIES FROM
KANSAS THAT WOULD HAVE BEEN FROM
THIS TIME PERIOD, TOO.
HER NAME IS VINNY REEM.
AND SHE IS CREDITED WITH
SCULPTING LINCOLN, THE STATUE OF
PRESIDENT LINCOLN, IN THE ITSELF
CAPITOL ROTUNDA.
AND SHE WAS PART OF KANSAS WHEN
IT WAS STILL A TERRITORY.
SO I THINK THAT'S KIND OF COOL.
I'M SO SORRY, ERIKA.
TAKE OVER.
>> NO, THAT IS GREAT BECAUSE
THERE ARE SO FEW DOCUMENTED
EXAMPLES.
WE KNOW WOMEN WERE DOING THIS
WORK.
THEY WERE JUST OFTEN RELEGATED
TO BEING AN ASSISTANT OR HAVING
A MAN'S NAME PUT ON TOP OF IT.
SO THIS WAS A TRIUMPH TO NOT
JUST BE ABLE TO DO THE WORK, BUT
THERE ARE CABINET CARDS
DOCUMENTING THIS.
SHE GOT SO WELL-KNOWN FOR THIS
WORK, SHE QUIT THE FARM, MOVED
TO WASHINGTON, D.C., AND STARTED
HER OWN SCULPTURE STUDIO.
SO SHE MADE ENOUGH FROM TOURING
THAT SHE COULD TRANSFORM HER
LIFE FROM RURAL FARM WIFE INTO A
SCULPT RESS.
THIS IS WHAT SHE DID IN HER OWN
STUDIO.
THIS IS THE SAME SUBJECT, BUT
THIS IS LIFE SIZE.
THIS IS A LIFE SIZE SCULPTURE.
SHE CREATED IT IN D.C. AND IT
GOT ACCEPTED INTO A PARIS
EXHIBITION.
AND HERE YOU CAN SEE THAT
COPYRIGHT 1878.
THIS IS PHENOMENAL!
THIS WOULD HAVE BEEN THE SAME
TIME PERIOD AS THE LINCOLN
SCULPTURE.
THEY WERE DOING THIS WORK.
SO IT WOULD BE WONDERFUL TO SEE
IF THERE'S ANY OVERLAP IF THEY
EVER RAN INTO EACH OH JUST
AS FELLOW PIONEERS OF HAVING
THEIR OWN STUDIOS.
BUT EVEN WITH THIS RECOGNITION
AND GETTING ACCEPTED INTO A
WORLD'S FAIR, IN THE SHIPPING
DOCUMENT FROM 1878 WHEN SHE SENT
IT OVER, IT TOOK MANY MONTHS OF
COORDINATION, BECAUSE AGAIN,
THERE WASN'T REFRIGERATION, SO
THOSE CLOGS AROUND THE EDGES ARE
STILL HIDING THE TUBS THAT YOU
HAVE TO CONTINUE YOULY FILL WITH
ICE.
 -- CONTINUALLY FILL WITH ICE.
SO TO SHIP IT OVERSEAS, SHE HAD
TO MAKE SURE THERE WAS A SHIP
THAT COULD CARRY ENOUGH ICE TO
TRANSPORT IT.
SHE HAD TO MAKE SURE THAT THERE
WAS A TRAIN THAT LED FROM THE
RAIL YARD TO THE PARIS
EXHIBITION WITH ENOUGH ICE TO
TRANSPORT IT, AND IT TOOK ABOUT
SIX MONTHS OF IF I NEIGH 8ING --
FINAGLING ALL OF THAT TO GET IT
TO WHERE IT NEEDED TO GO.
AND EVEN WITH ALL OF THAT, ALL
OF THOSE ACCOMPLISHMENTS AND
LOGISTICS AND BEAUTY OF
SCULPTURE, ON THE DOCUMENTS FOR
SHIPPING, IT'S JUST LABELED
AS 101 POUNDS -- IT'S JUST
LABELED AS 110 POUNDS OF BUTTER.
BUT THIS -- SHE STARTED THIS
TREND!
AND SHORTLY THEREAFTER, THERE
STARTED BEING BUTTER SCULPTURES
AT THOSE WORLD'S FAIRS.
SO SHE WAS THE ONE WHO BROUGHT
THAT SPECIFIC VERSION OF PRODUCE
ART INTO THE WORLD'S FAIR.
AND THEN IT CAME BACK TO OUR OWN
STATE FAIR.
SO IOWA WORLD'S FAIR SOLUTION
THERE'S A 1906.
BUT AS SOON AS IT CAME BACK TO
THE U.S. WORLD'S FAIRS, IT ENDED
UP BEING TAKEN OVER BY MEN, ONCE
AGAIN.
SO WHILE SHE WAS THE PIONEER, IT
WAS USUALLY MALES ON STAFF OF
THESE FAIRS THAT ENDED UP BEING
THE BUTTER SCULPTORS FOR THE
FAIR CIRCUIT.
BY THIS TIME, CAROLINE HAD MOVED
ON.
SHE CONTINUED TO HAVE A
SCULPTURE STUDIO.
SHE STARTED WORKING IF MARBLE.
BUT SHE WOULD STILL DO HER
MOCKETS IN BUTTER.
BUT SHE STARTED THIS WHOLE
TREND.
AND SHE ESCAPED THE CAB TALLISM
THAT WENT WITH -- CAPITALISM
THAT WENT WITH SOME OF THESE
BUTTER SCULPTURE DISPLAYS
BECAUSE THEY WERE OFTEN USED
AS ADVERTISING.
THEY ARE USED TO PROMOTE PRIDE
IN PLACE, BUT THEY WERE ALSO
SPONSORED BY SPECIFIC COMPANIES.
THERE'S ALSO -- THIS WOULD HAVE
ALSO BEEN THE TIME OF THE BIG
BUTTER AND MARGARINE FIGHTS, AND
THERE ARE ACTUALLY LAWS ON THE
BOOKS SAYING THAT YOU CANNOT ADD
THE YELLOW TO THE MARGARINE SO
YOU'RE NOT FREAKING PEOPLE --
FAKING PEOPLE INTO THINKING THAT
IT'S BUTTER.
SEE, THAT'S ANOTHER RABBIT HOLE
THAT YOU COULD GO DOWN, TOO, OF
THE WHOLE BUTTER INDUSTRY DURING
THIS FAIR TIME.
AND THE TRAVELING AND THE USING
AND THE PROMOTING OF A MORE PURE
PRODUCT THAN SOME OF THE
MARGARINE.
J.K. DOWLING WAS ONE THAT REALLY
DID THAT FAIR CIRCUIT, AND SHE
HAD BEEN -- THEN WAS HIRED BY
THE IOWA STATE FAIR TO BECOME
THEIR BUTTER SCULPTOR.
AND THAT DIDN'T MOVE BACK TO A
WOMAN'S JOB AGAIN UNTIL THE
1960s, AND THERE IS A WOMAN
WHO WAS DOING A SNOW SCULPTURE
OUT IN FRONT OF HER SORORITY AT
IOWA STATE.
AND ONE OF THE AWA STATE FAIR
ORGANIZERS -- IOWA STATE FAIR
ORGANIZERS SAW HER WORK AND
SAID, HEY, WE LOST OUR BUTTER
SCULPTOR THIS YEAR, WOULD YOU DO
IT?
SO IN 1960, THIS IS -- SHE WAS
NOT TRAINED IN OORT.
BUT SHE MOVED OVER FROM SNOW
SCULPTURES AT HER SORORITY TO
BEING THE FIRST WOMAN EMPLOYED
BY THE IOWA STATE FAIR TO BE
THEIR COW BUTTER SCULPTOR.
AND SHE KEPT THAT POSITION UP
UNTIL THE 2000s.
SO HERE ARE SOME EARLY PHOTOS.
EXPANDING BEYOND COWS INTO MORE
DAIRY LIFE.
AND DOMESTIC SCENES.
BUT ALWAYS A COW.
THIS WAS THE VERY LAST COW THAT
SHE WAS ABLE TO MAKE.
IN 2006 SHE RETIRED.
BUT FOR FOUR YEARS BEFORE THAT,
SHE HAD AN APPRENTICE WHO IS
CARRYING ON HER TRADITION.
AND SHE WANTED -- SHE REQUESTED
FOR HER VERY LAST SCULPTURE THAT
SHE COULD DO WHATEVER SHE
WANTED, SO SHE CHOSE TO DO THE
LAST SUPPER, WHICH ASIDE FROM
ITS RELIGIOUS CONNOTATIONS IS
ALSO THIS SORT OF GOING BACK TO
THE SOURCE THAT ALL OF THESE
THINGS ARE GATHERED AT THE
TABLE.
THEY ARE GATHERED AROUND BOUNTY
AND THEY'RE GATHERED AROUND THIS
CAREFUL REVERENCE FOR
TRANSFORMATION.
BUT IT ALL STARTED WITH CAROLINE
AND MAKING THE FAMILY MONEY WHEN
THE CROP FAILED.
AND THEN MOVING ON TO BEING THIS
INTERNATIONAL SCULPTOR.
SHE ALSO HOLDS THE PATENT FOR
PLASTER MOLDS.
SO SHE DID TRY AT SOME POINT
WHEN SHE FIGURED OUT THAT ICE
WAS EXPENSIVE, WHICH WE ALL
KNOW, SHE DID AT ONE POINT
DECIDE THAT SHE COULD POUR
PLASTER OVER HER BUTTER AND THEN
FLIP IT OVER, LET THAT BUTTER
MELT AND THEN POUR PLASTER ON TO
THAT, THE BUTTER THAT WAS
REMAINING ON THE FIRST CAST OF
THE PLASTER WOULD STILL
ALZHEIMER'S ACT AS A RELEASE.
YOU TAKE THAT FIST CAST AWAY AND
YOU'RE LEFT WITH A PLASTER
POSITIVE.
AND SHE PATENTED THAT TECHNIQUE.
SO SHE WAS VERY MUCH A WOMAN OF
HER INDUSTRY AND LOST TO HISTORY
EXCEPT FOR THOSE WHO KNOW WHERE
TO LOOK.
SO THESE ARE THE WOMEN THAT HAVE
REALLY TAKEN EACH OF THESE VERY
ORDINARY THINGS AND MADE THEM
INTO SOMETHING EXTRAORDINARY.
>> Beccy: IS IT OKAY THE WE
TAKE A SMALL BREAK?
>> OH SURE.
>> Beccy: OKAY.
WHY DON'T WE DO THAT REAL QUICK.
AND WHEN WE COME BACK, THERE IS
MORE TO DISCOVER!
>> Beccy: ALL RIGHT.
LET'S COME BACK.
WHILE WE'RE COMING BACK I WANT
TO GIVE A SHAMELESS FREE PLUG
FOR ANOTHER CLASS THAT'S COMING
UP IN A COUPLE OF WEEKS.
AND AGAIN, YOU CAN TAKE THIS
CLASS FOR FREE.
IT'S CALLED FROM PROHIBITION TO
POPULISM, HOW DNA HAS PLAYED
INTO KANSAS THROUGHOUT ITS
HISTORY.
IT'S NOT A POLITICAL COURSE.
SO JUST REST ASSURED ON THAT.
BUT WE'LL LOOK AT HOW KANSAS HAS
GONE FROM THE ABOLITIONIST TO
PROHIBITION, POPULISM, ALL OF
THOSE, AND WHAT AN IMPACT THAT
HAD ON THE MAKE AS A WHOLE.
AND IF YOU SIGN UP BY
SEPTEMBER 11th, YOU CAN GET
FREE FOR ANY RESIDENT IN THE
STATE OF KANSAS THAT'S OVER 60
YEARS OF AGE.
AND SO TELL YOUR FRIENDS, TELL
YOUR FAMILY IF YOU WOULD LIKE,
SIGN UP.
BUT I THINK IT WILL BE A GOOD
COURSE AND I THINK WE'LL HAVE
LIVELY DISCUSSIONS I HOPE.
SO ALL RIGHT.
ERIKA, ARE YOU BACK WITH US?
>> Erika: YEP.
>> Beccy: ALL RIGHT.
WELL, TAKE IT AWAY, ERIKA.
>> Erika: WELL, THE BREAK WAS
PERFECT.
THAT WAS THE LAST SLIDE.
I AM OPEN FOR Q&A.
>> Beccy: OKAY, WELL, YOU
GUYS, HOW ABOUT QUESTIONS?
AND TALK ABOUT -- I MEAN WHAT I
THINK ESPECIALLY AS YOU WERE
TALKING, ERIKA, I THOUGHT OF ALL
THE TATTING THAT MY GRANDMOTHER
DID AND CROCHETING AND ALL THOSE
THINGS, HOW THAT BECAME A PART
OF HER ARTISTIC OUTLET.
WOULD THAT -- AND I'M THINKING
FOR A LOT OF WOMEN THAT WAS THE
CASE.
WHAT ARE YOUR THOUGHTS ON THAT?
AND SURELY THERE ARE SOME
QUESTIONS.
>> Erika: YEAH, WE GREW UP IN
A HOUSEHOLD OF YOU'RE ALWAYS
DOING SOMETHING, EVEN IF THERE'S
A SHOW TO WATCH ON TV, YOUR
HANDS WERE BUSY.
SO HANDWORK HAS ALWAYS BEEN
THAT -- IT'S NOT AS THRIFTY NOW,
BUT IN GRANDMA'S HOUSE, IT WAS
REALLY A WAY TO MAKE SURE THAT
YOU USED EVERY SINGLE BIT OF USE
OUT OF EVERYTHING THAT YOU
PRODUCED OR PURCHASED.
AND THAT SHOWED THE SINCERITY
AND VALUE OF ITEMS THAT WE
SURROUND OURSELF WITH, BUT ALSO
ITEMS THAT WE PRODUCE AND
PROCURE.
AND I THINK THAT GLORIFICATION
OF THE SMALL IS WHAT IS SO
EMBEDDED IN HANDWORK.
IT'S A WAY OF HONORING, HONORING
WORK PAST WHAT SOME PEOPLE WOULD
THINK IS A USEFUL EXISTENCE.
LIKE THE HAIR WREATHS, HAVING
LITTLE EXTRA RATS OF HAIR SO
THAT YOU CAN MAKE A HIGHER
THING, BUT IF THAT'S NO LONGER
IN STYLE, WHAT DO YOU DO WITH
THIS RESOURCE THAT YOU GATHERED
AND STILL HONOR THAT GATHERING
AND THAT TIME?
AND THAT SORT OF RE- -- CREATIVE
RE-USE I THINK IS BEYOND WOMEN'S
WORK, BUT I THINK NOW THAT WE
ARE SLOWING DOWN AS A SOCIETY
OUT OF NECESSITY, I THINK PEOPLE
ARE RE-DISCOVERING THE GLORY IN
GOING SLOW AND PAYING HONOR TO
ALL OF THESE THINGS THAT WE HAVE
AROUND US.
AND OFTEN JUST UNWRAP A STICK OF
BUTTER AND SLAP IT ON THE TABLE.
WAIT!
WHAT IF YOU ELEVATE THIS SIMPLE
THING INTO SOMETHING BEAUTIFUL.
>> Beccy: WHICH LEADS US TO A
QUESTION.
>> I WAS JUST WONDERING,
MRS. BROOKS THERE, DID SHE JUST
BASICALLY WORK IN THE
WINTERTIME?
I MEAN THESE TOOK A LOT OF TIME
IN THE SUMMER.
>> Beccy: AND YOU HAD TO BE IN
COOL CONDITIONS.
>> AN ICE HOUSE?
OR WHERE DID SHE WORK?
>> Erika: WELL, YOU'D WORK
WHEREVER THE BUTTER WAS, TOO,
BECAUSE IF YOU'RE ABLE TO KEEP
BUTTER COOL IN THE SUMMER, YOU'D
STILL BE ABLE TO WORK.
BUT LIKE THE STATE FAIR PEOPLE
NOW WHO HAVE TO WORK IN THE BIG
COOLER, SHE WOULD HAVE TO WORK
IN THE CELLULAR OR IN THE -- IN
THE CELLAR OR IN THE BASEMENT,
WHEREVER SHE WAS ABLE TO KEEP
THAT COOL.
BUT THAT ALSO DEPENDED ON AN ICE
SUPPLY.
SO SHE DID HAVE TO HAVE THE
RESOURCES, TOO, TO KEEP A SUPPLY
OF ICE, TO KEEP THEM COOL
WHENEVER THEY WERE OUT BEYOND
HERSELF.
HELENA, ARKANSAS, IS A WARM
LOCATION.
BUT THEY HAVE CELLARS LUKE WE
DO.
>> Beccy: NOW, AS SOMEONE THAT
WAS A FORMER REPORTER, I DID
INTERVIEW DUFFY LYON IN THE
DAYS.
DOES THAT NAME RING A BELL WITH
YOU I'M HOPING?
>> Erika: IS SHE A WHEAT
WEAVER?
>> Beccy: SHE WAS THE BUTTER
SCULPTOR AT THE STATE FAIR,
KANSAS STATE FAIR, AND SHE
TRAVELED THE CIRCUIT.
I THINK SHE DIED IN LIKE I WANT
TO SAY 2010, '11, SOMEWHERE
AROUND THERE.
BUT I'M JUST GOING TO SAY THEY
RE-USED THE BUTTER FROM FAIR TO
FAIR AND IT GOT KIND OF NASTY
SMELLING FOR A REPORTER THAT
WOULD INTERVIEW FROM THE KANSAS
STATE FAIR.
OKAY.
THAT WAS JUST A LITTLE SIDE
NOTE.
>> Erika: BUT I LOVE THAT SIDE
NOTE BECAUSE I ALSO READ A LOT
ABOUT BUTTER SCULPTORS AND I GOT
INTERESTED WHEN MY MOM AND OUR
MATERNAL FAMILY HAVE ALWAYS BEEN
INVOLVED MANY COUNTY FAIRS.
THE COUNTY FAIR WAS SORT OF OUR
FAMILY LEGACY AND SHE FORWARDED
ME A REQUEST FOR QUALIFICATIONS
FROM MISSOURI TO REPLACE THEIR
BUTTER SCOTTOR.
SO -- SCULPTOR.
SO THESE AREN'T -- THESE ARE
POSITIONS YOU HAVE TO APPLY FOR
AND YOU HAVE TO GROW INTO
BECAUSE THERE ARE VERY SPECIAL
NEEDS.
YOU HAVE TO BE ABLE TO WORK IN
THE COLD.
YOU HAVE TO WITHSTAND THE SMELL
AND THE FEEL.
YOU HAVE TO UNDERSTAND NOT JUST
HOW TO SCULPT, BUT HOW TO SCULPT
WITH THIS VERY PICKY MEDIUM.
AND THEN WHAT I FOUND OUT IN
RESEARCHING SOME OF THE BUTTER
SCULPTURES, THESE ARE LARGE, BUT
THEIR ALSO FACADES.
SO IF YOU WERE TO LOOK BEHIND A
BUTTER SCULPTURE, MANY OF THEM
ARE WOODEN FORMS AND HAVE WOODEN
SKELETONS.
SO THE LAST ONE I GOT TO SEE AT
THE KANSAS STATE FAIR WAS A
WIZARD OF OZ SECTION.
AND ONE OF THE FIGURES WASN'T
SCOOTED UP TO THE WALL FAR
ENOUGH, SO YOU COULD JUST PEEK
AROUND THE EDGE OF ONE OF THE
SHOULDERS AND YOU COULD SEE THAT
IT WAS A MOSTLY HOLLOW WOODEN
SKELETON WITH A SPACKLE COAT OF
BUTTER.
SO THERE ARE ALL THESE SORT OF
THINK WANTS TO -- NUANCES.
>> THAT'S WRONG.
>> Erika: YEAH, IT'S LIKE
THAT'S NOT AS IMPRESSIVE WHEN
YOU THINK, OH, THAT'S A SPACKLE
COAT.
>> OF COURSE PIONEER WOMEN USED
TO MAKE CLOTHING OUT OF FLOUR
SACKS.
>> Beccy: FLOUR SACKS.
>> THEN THEY WOULD MAKE QUILTS.
NOW WE HAVE THE -- TO DO ALL
THAT.
WHAT I ENJOY ARE SEEING HOW
DIFFERENT COUNTRIES, WOMEN IN
DIFFERENT COUNTRIES, THE WAY
THEY MAKE QUILTS, LIKE IN JAPAN
THEY USED KIMONOS.
THEY ARE JUST GORGEOUS!
IN HAWAII, THEY USED THE
HAWAIIAN THEME.
SO YOU CAN MAKE, YOU KNOW,
LITTLE DIFFERENT TWISTS.
>> Beccy: EXCELLENT.
THANK YOU.
>> Erika: YEAH.
AND STILL REFLECTING WHERE YOU
ARE.
AND I DO THINK WE'VE LOST
SOMETHING IN PRODUCING THINGS
THAT USED TO BE MADE OUT OF
SCRAPS.
LIKE I HAVE A LOT OF TRENDS WHO
ARE QUILTERS, -- FRIENDS WHO ARE
QUILTERS, AND THERE'S A VERY
SMALL CORE THAT ARE STILL
STICKING TO THE USE OF SCRAPS.
LIKE THIS WAS MEANT TO BE MADE
OUT OF THINGS THAT WEREN'T BIG
ENOUGH FOR ANYTHING ELSE, WHICH
IS WHY THEY WERE BEING PIECED
TOGETHER OR THESE ARE ALL MY OLD
SILK SHIRTS OR ALL OF MY KIMONOS
AND THEY NEED ONE MORE LIFE.
SO THAT TRANSFORMATION OF
SOMETHING THAT WAS COMMONPLACE
TO AN INDUSTRY ALSO KIND OF
REFLECTED HOW WE TREAT THINGS IN
THE U.S.
WE TREAT EVEN THE HAND CRAFTS
AS A COMMODITY TO BUILD AN
STRAIRND.
 -- BUILD AN INDUSTRY AROUND.
>> YES.
I HAVE A HISTORY OF A VERY
ARIT'SIC MOTHER -- ARTISTIC
MOTHER WHO I NEVER REALIZED HOW
WONDERFUL A QUALITY SHE HAD
UNTIL I BECAME A SENIOR CITIZEN.
I ACTUALLY FOUND IN THE SCRAPS
OF A QUILT SOME OF THE PATTERNS
FROM DRESSES THAT I HAD WHEN I
WAS A LITTLE GIRL.
AND I AM LOOKING AT SOME OF THE
ARTISTIC QUALITIES OF THOSE
QUILTS AND EVEN SOME OF THE
HOMECOMING SUITS THAT SHE
DESIGNED AND MADE FOR ME, AND
EVEN HAND-STITCHED SOME OF THE
SEAMS.
AND I AM SO EXCITED TO HEAR
ABOUT THE OTHER WONDERFUL
ARTISTIC WOMEN IN KANSAS AND THE
UNITED STATES.
AND HONEST TO GOODNESS, I CAN'T
BELIEVE HOW LONG IT TOOK ME TO
APPRECIATE MY OWN MOTHER'S
ARTISTIC QUALITIES.
[ LAUGHTER ]
>> Beccy: I UNDERSTAND.
THAT'S WONDERFUL!
THANK YOU FOR SHARING THAT.
>> THIS IS A LITTLE BIT OFF
TRACK, BUT ERIKA, I WANTED TO
KNOW IF -- I'VE BEEN TO LUCAS.
I'VE BEEN TO THE HAIR MUSEUM AND
I'M MET LEILA AND AYE ALSO BEEN
TO THE CORN PALACE.
BUT I WANT TO ASK YOU ABOUT
LUCAS.
WERE YOU A SIGNIFICANT PART OF
THE PARK?
AND THEN ALSO ABOUT HOW ABOUT
THE REST ROOMS?
THEY WON SECOND PLACE IN THE
NATIONAL --
>> Beccy: NUMBER TWO.
>> NUMBER TWO.
THEY WERE NUMBER TWO, NOT NUMBER
ONE.
BUT IF YOU EVER GET UP THERE, GO
TO THE RESTROOMS.
BUT WERE YOU PART OF THAT, TOO?
>> Erika: AND ONLY IN RESTROOM
COMPETITION IS NUMBER TWO JUST
AS GOOD AND SOMETIMES MORE
SATISFYING BECAUSE YOU CAN'T
ESCAPE THAT.
WE WERE DOING THE GARDEN OF EDEN
RESTORATION WHILE THE BATHROOM
PROJECT WAS GOING.
SO I DIDN'T GET TO PART BAIT
IN -- PARTICIPATE IN THAT OTHER
THAN CONTRIBUTING LOVELY PARTS.
SO THAT SAME THING OF -- SO FOR
THOSE OF YOU UNFAMILIAR, OUR
PUBLIC RESTROOM IS MOSAICKED,
INSIDE AND OUT, WITH BROKEN
CROCKERY AND HOT WHEELS.
>> Beccy: IT'S ONE OF THE
LARGEST IN THE NATION, RIGHT?
>> Erika: IT IS.
IS IT A VERY LARGE TOILET-SHAPED
PUBLIC RESTROOM, MOSAIC.
AND LIKE THE DESCRIPTION OF THE
QUILTS, THESE LITTLE PIECES ARE
MEMORIES, AND ILLUSTRATE
COMMUNITY COMING TOGETHER IN A
PHYSICAL FORM TO CREATE AN ART
PIECE.
SO I DID NOT GET MY HANDS DIRTY
IN THAT ONE, BUT WE WERE WORKING
ON THE GARDEN.
AND THEN AFTER THE GARDEN OF
EDEN RESTORATION, WE DID THAT
THROUGH KOLOR FOUNDATION, AND
SOME OF THE CREW WERE TALKING
ABOUT AN ART SITE THAT THEY HAD
JUST COME FROM IN SPRINGFIELD,
OHIO.
AND THEY WERE DESCRIBING IT.
AND I THOUGHT, YOU KNOW, THAT
SOUNDS AN AWFUL LOT LIKE MILLERS
PARK, AN ENVIRONMENT THAT HAD
BEEN IN LUCAS, BUT THEN GOT
MOVED TO HAYS 70 MILES AWAY.
AND I HADN'T SEEN IT IN MY
LIFETIME.
BUT I SAW PHOTOS OF IT IN SOME
OF THE COMMEMORATIVE BOOKS THAT
WOULD COME OUT.
SO I STARTED RESEARCHING INTO
THAT.
I ASKED KOLOR FOUNDATION IF I
COULD SECURE THOSE SCULPTURES IF
THEY WOULD BRING THE RESTORATION
CREW BACK AND WE WOULD CREATE A
PARK.
SO THE OWNER OF THE SCULPTURES
SAID YES.
KOLOR FOUNDATION SAID YES, SO WE
GOT TO DO ANOTHER PROJECT HERE
IN TOWN AND BRING THOSE
SCULPTURES BACK.
>> Beccy: NOW, WOULD YOU MIND
ALSO TALKING ABOUT HOW YOU GOT
INVOLVED WITH THE RESTORATION
WORK WITH MT LEGITT.
>> Erika: WELL, THAT TOO IS
KHOLER FOUNDATION, BUT PRIMARILY
AS A RESEARCHER AND A FELLOW
CURIOUS PERSON, I -- WHEN I SEE
SOMEBODY DOING SOMETHING, I GO
AND ASK THEM WHY THEY'RE DOING
IT IN A VERY FRIENDLY WAY
BECAUSE IT'S LIKE, OH, THERE'S
ANOTHER ONE, I GOTTA GO SEE WHAT
THIS GUY'S DOING!
SO WHEN I WAS DRIVING AROUND
KANSAS, LATE ONE NIGHT I SAW
THIS SORT OF WHIRLING, CLANKING,
REFLECTIVE THING AND I THOUGHT,
WELL, I NEED TO TAKE A NAP AND
WAIT UNTIL DAYLIGHT AND GO BACK.
AND IT WAS MT LEGITT STUFF.
I KNEW NOTHING ABOUT HIM,
NOTHING ABOUT HIM AS A PERSON.
>> Beccy: IN MULLENVILLE.
>> Erika: IN MULLENVILLE.
AND SO I STOPPED AND I SAW THIS
FARMER WHO HAD WELDED TOGETHER
TOTEMS ABOUT ANYBODY WHO HAD
EVER PISSED HIM OFF AND PUT THEM
UP THERE ON HIS FENCE LINE.
AND IT WAS BEAUTIFUL!
SO I SOPPED AND STARTED -- I
STOPPED AND STARTED CHATTING
WITH HIM.
AND HE WAS THIS BIG, GRUFF TEDDY
BEAR THAT YOU COULD SEE THERE'S
THIS CRUSTY EXTERIOR, BUT THIS
WARM, GOOEY CENTER THAT WANTED
TO EXPRESS HIMSELF AND WANTED TO
ENGAGE IN CONVERSATION, AND THIS
WAS HOW HE CHOSE TO DO IT.
SO ENDED UP BEING FRIENDS WITH
MT.
HE WAS AGING, AND TOWARDS THE
END OF HIS LIFE HE STARTED
THINKING I NEED TO FIGURE OUT
HOW TO KEEP WHAT I'VE MADE
TOGETHER.
SO HE PUT TOGETHER A COALITION
OF PEOPLE RESPONSIBLE FOR
SPURRING ON SOME SORT OF
RESTORATION PROJECT.
AND BY THAT TIME, I'D GOTTEN TO
WORK WITH KOLOR ON THE GARDEN,
QUIET GODDEN TO -- GOTTEN TO
WORK WITH THEM ON MILLERS PARK,
I'D GONE TO GEORGIA AND WORKED
WITH THEM ON A DIFFERENT CREW
AND THE TRUSTEES GNAW ABOUT
THEM, I KNEW ABOUT THEM, I KNEW
ABOUT MT.
I STARTED PROMOTING MT AS A
POSSIBLE PROJECT.
SOASH STARTED TALKING AND WE GOT
TO ARRANGE IT SO THAT IT IS
BEING PRESERVED WHERE IT IS IN
THE COMMUNITY THAT WAS
RESPONSIBLE FOR CREATING MT AND
CREATING THE SITE, TO EXPAND
THAT CREATIVE -- THE CREATIVE
LANDSCAPE OF KANSAS.
AND KEEP IT WHERE IT'S SUPPOSED
TO BE.
>> Beccy: EXCELLENT.
WE HAVE ANOTHER QUESTION.
>> I WAS CURIOUS ABOUT THE
BUTTER SCULPTURES, BOTH THE
BEGINNING OF THE BUTTER AND
AFTER THE SCULPTURE WAS MADE.
HOW WAS THE BUTTER PRODUCED?
I KNOW THEY DID IT BY CHURNING
BACK THEN.
RATHER THAN BUYING IT.
THAT WOULD HAVE BEEN A LOT OF
WORK.
AND MAYBE EASIER THAN BUYING IT,
YOU KNOW, IN LARGE QUANTITY.
THEN THE SCULPTURE ITSELF, HOW
DID IT KEEP FROM MELTING,
BREAKING OFF, YOU KNOW?
IT'S SOMETHING THAT WOULD FALL
APART I THINK.
SO HOW WAS IT PRESERVED?
>> Erika: WELL, THAT ALSO
TALKS TO ANY OF THIS HANDWORK IS
ALSO A TESTAMENT TO THE QUALITY,
WHICH SOMEBODY ELSE MENTIONED IN
HER STATEMENT THAT SHE STARTED
APPRECIATING THE QUALITY OF HER
GRANDMA'S WORK.
AND THAT'S THE SAME WITH
PRODUCING EDIBLE ITEMS.
SOME PEOPLE'S BUTTER WAS LIKELY
NOT CHURNED ENOUGH TO GET IT TO
FULLY FORM INTO THAT SMOOTH,
CREAMY TEXTURE.
BUT IF SHE WAS ABLE TO SELL HER
BUTTER EVEN BEYOND
EMBELLISHMENT, IT MEANT THAT SHE
WAS GOOD AT PRODUCING AND
CHURNING SOMETHING VERY, VERY
STABLE.
AND SO SHE WAS A GOOD CRAFTS
PERSON EVEN IN PRODUCING THE
BUTTER.
BUT THAT'S ALSO WHY THEY GET
REUSED, BECAUSE IT IS HARD WORK
TO PRODUCE THAT MUCH OF AN ITEM.
AND THIS WAS BEFORE COMMERCIAL
BUTTER.
SO YOU WERE EITHER MAKING IT OR
YOU WERE TRADING WITH YOUR
NEIGHBOR WHO HAD A DAIRY OR
GOING TO THE STORE AND BUYING IT
FROM SOMEBODY WHO INTRODUCED IT
ELSEWHERE BUT WAS LIKELY NOT THE
SAME QUALITY.
SO SINCE SHE HAD CONTROL OVER IT
FROM BEGINNING TO END, SHE KNEW
THAT HER SCULPTURE DEPENDED ON
HER MAKING -- CHURNING THE
BUTTER TO THE POINT WHERE IT
WOULD HOLD.
AND IT DID DEPEND ON ICE OR
BEING KEPT COOL.
BUTTER DOES TURN RANCID.
SO AT A CERTAIN POINT IT DOES
BECOME INEDIBLE.
BUT THE LATER ONES, ONCE SHE
BECAME A PROFESSIONAL SCULPTOR
AND MOVED TO WASHINGTON, D.C.,
SHE WOULD HAVE HAD ACCESS TO THE
DAIRY SUPPLIERS THAT WOULD HAVE
BEEN ABLE TO CHURN BUTTER, AND
BUY IT COMMERCIALLY.
BUT THAT IS ALSO WHAT CHANGED
WITH THE FAIR CIRCUIT.
SO ONCE THE STATE FAIRS STARTED
HAVING BUTTER SCULPTORS, THOSE
WERE USUALLY FROM A COMPANY AND
IT WAS A COMPANY WHO WOULD
SUPPLY THE BUTTER AND HIRE THE
ARTIST SO THAT THEY COULD MAKE
SOMETHING THAT SHOWED HOW GOOD
AND PURE THAT PRODUCT WAS.
IT WAS SO PURE YOU COULD
SUPERINTENDENT WITH IT.
 -- SCULPT WITH IT.
IT WAS SO PURE, YOU COULD MAKE
THESE SMOOTH, CREAMY SURFACES.
SO IT REALLY ALL IS STILL
REFLECTING THE BASE PRODUCT, THE
QUALITY OF THAT PRODUCT.
IF ANY OF YOU HAVE EVER TRIED
YOUR HAND AT WATER COLOR, THE
LITTLE DRIED WATER COLOR THINGS
THAT YOU GET AT BIBLE SCHOOL OR
ELEMENTARY SCHOOL ARE NOT THE
SAME AS WHAT PRODUCES A GREAT
WATER COLOR.
SO IF YOU HAVE BAD BUTTER, IT'S
THE EQUIVALENT OF HAVING THOSE
LITTLE DRIED PACKETS VERSUS
HAVING THAT REALLY BEAUTIFULLY
CHURNED, SMOOTH, CREAMY, SWEET
CREAM BUTTER THAT WOULD MAKE FOR
A GOOD SCULPTURE.
>> Beccy: EXCELLENT.
ANY OTHER QUESTIONS OR THOUGHTS?
YES?
>> Beccy: THE KOLOR
FOUNDATION, ERIKA CAN TALK TO IT
BETTER THAN I CAN, BUT
ESSENTIALLY IT'S A FAMILY, THE
SAME FAMILY THAT DOES THE
FAUCETS, RIGHT?
THEY DECIDED TO GET INTO GRASS
ROOTS PRESERVATION.
>> Erika: THE DAUGHTER OF ONE
OF THE MAIN KOHLRE WAS VISITING
A SECURITYTURE PARK AND SHE SAW
THAT IT WAS NOT IN GREAT SHAPE
AND SHE SAID, ALL RIGHT, YOU
KNOW, WHAT WE NEED TO HAVE A
FOUNDATION THAT HAS AS A MISSION
SAVING THESE PLACES THAT
WOULDN'T BE SAVED OTHERWISE THAT
ARE BUILT BY NORMAL PEOPLE USING
AVERAGE MATERIALS THAT ARE
OUTSIDE OF THE MUSEUM SYSTEM.
SO IT WAS HEART BREAK OF SEEING
A SCULPTURE PARK BUILT AT A BAR
IN NORTHERN WISCONSIN THAT
STARTED THE FOUNDATION.
SO SHE TALKED HER FAMILY INTO
CREATING KOHLER FOUNDATION,
WHICH IS AN ARM OF THE WHOLE
KOHLER FAMILY AND KOHLER
COMPANIES, BUT IS THEIR PRIVATE
FOUNDATION WHOSE SOLE MISSION IS
TO ACQUIRE, PRESERVE, AND GIVE
BACK ART ENVIRONMENTS OR
ARTWORKS THAT WOULD OTHERWISE BE
LOST.
BOIK NOW, SOMETHING THAT YOU
NEED TO KNOW --
>> Beccy: NOW, SOMETHING THAT
YOU NEED TO KNOW, AND SOME OF
YOU THAT HAVE BEEN IN OTHER
CLASSES OF MINE WILL KNOW THIS
ALREADY, KANSAS RATES THIRD IN
THE NATION IN TERMS OF GRASS
ROOTS ART.
AND OF COURSE ERIKA LIVES IN THE
CAPITAL OF THE GRASS ROOTS
CAPITAL OF KANSAS.
AND THAT IS OF COURSE IN LUCAS.
BUT -- AND THERE'S A NUMBER OF
REASONS WHY KANSAS IS AMONG THE
TOP THREE.
THE OTHER TWO ARE CALIFORNIA AND
WISCONSIN.
AND THE WAY ROSLYN SHULTS, WHO
IS THE DIRECTOR OF THE GRASS
ROOTS ART CENTER, TOLD ME IS
THAT GRASS ROOTS ARTISTS ARE
FOLKS WHO ARE OUR AGE AND MAYBE
A LITTLE OLDER, THEY'VE JUST
RETIRED.
AND THEY'RE THINKING TO
THEMSELVES, NOW IS THE TIME TO
DO MY ARTWORK.
THEY MAY NOT THINK OF IT LIKE
THAT.
BUT YOU KNOW, AND THEY START
OFF -- THEY'VE NOT BEEN TRAINED
BY ANY MEANS.
THEY TAKE WHATEVER FORM THEY
WANT TO USE, WHATEVER GENRE.
SOME PEOPLE HAVE SCULPTED
SCULPTURES OUT OF LIMESTONE AND
BUTTER KNIVES.
SOME HAVE USED MILK OF MAGNESIA
BOTTLES, YOU KNOW, THE OLD BLUE
KIND, TO MAKE THINGS.
WHAT HAVE BEEN SOME OTHER
THINGS?
OF COURSE SP DINSMORE IN LUCAS
WITH THE GARDEN OF EDEN,
CONCRETE.
WHAT ARE SOME OTHER?
>> Erika: CHEWING GUM.
>> Beccy: CHEWING GUM.
BAR BEE DOLLS.
>> Erika: ANYTHING YOU CAN
THINK OF THAT CAN BE REUSED OR A
LOT OF -- AND A LOT OF GRASS
ROOTS ARTISTS ARE -- THEY'RE
RETIRED BUT THEY WERE PEOPLE WHO
WORKED EVERY SINGLE DAY AND THAT
DAY THAT THE WORK STOPS, THEY
DON'T STOP WORKING.
THEY JUST NOW HAVE THE TIME TO
FILL IT WITH THEIR OWN DIRECTION
INSTEAD OF SOMEBODY ELSE'S.
AND OFTEN THE WORK THAT THEY DO
AFTER RETIREMENT REFLECTS ON THE
WORK THAT THEY DID WHILE THEY
MIGHT NOT BE TRAINED IN ART, IT
DOESN'T MEAN THIS THEY'RE NOT
TRAINED.
SO A WELDER COULD STILL BE
WELDING, IT'S JUST NOW INSTEAD
OF DOING SOMETHING ASSIGNED TO
HIM, HE'S DOING WHATEVER HE
WANTS.
>> Beccy: IT CAN BE A LITTLE
MORE WHIMSICAL.
SOME OF IT HAS BEEN CARVINGS OUT
OF SOAP.
I MEAN IT JUST GOES ON AND ON.
IN WICHITA, ONE PLACE THAT YOU
MIGHT LOOK FOR THIS GRASS ROOTS
ART IS -- I FORGET THE GUYS
FIRST NAME.
HIS LAST NAME IS PENDEGRAST.
BUT ON 17th STREET, EAST OF
WEST STREET, THERE ARE ALL THESE
SCULPTURES.
AND I WOULD HIGHLY ENCOURAGE YOU
TO DROP BY THERE SOMETIME
BECAUSE IT'S TRULY WIMSY CAL.
 -- WI WIM I CAN -- WHIMSICAL.
>> IN WICHITA, SPEAKING OF
CONCRETE AND SPEAKING OF PEOPLE
IN THE COMMUNITY BEING
INVOLVED --
>> Beccy: CAN YOU GET CLOSER
TO THE MICROPHONE?
>> CAN YOU HEAR ME NOW?
>> Beccy: YES.
>> IN WICHITA, WE HAVE AN
EXAMPLE FROM THE 1920s OF
CONCRETE ARTWORK THAT ALSO
INVOLVED COMMUNITY INVOLVEMENT.
YOU MIGHT BE FAMILIAR WITH THE
BUILDING THE DOCKUM BUILDING AT
HILLSIDE AND DOUGLAS, THE MENESA
BRIDGE, THE VERY LARGE MURAL AT
THE TOP OF THE ORIGINAL AIRPORT
BUILDING, WHICH IS NOW THE
AVIATION MUSEUM.
ALL OF THOSE SCULPTURAL ELEMENTS
ARE MADE OF CONCRETE.
AND THIS WAS BEGAN IN THE
LATE -- IN THE 19 -- EARLY
1920s, CAST CONCRETE WAS
REPLACING CARVED LIMESTONE
AS DECORATIVE ELEMENTS BECAUSE
IT COULD BE MASS PRODUCED AND
MUCH MORE CHEAPLY THAN CARVING
STONE.
AND SO THE COMPANY THAT DID THE
DECORATIONS ON THOSE BUILDINGS
STARTED COLORING THEIR CONCRETE,
AND THEY GAVE IT A -- THEY
COINED THE TERM CARTHOLYTE,
WHICH WAS REMINISCENT OF
CARTHAGE LIMESTONE.
AT ANY RATE, CONCRETE REQUIRES A
KIND OF -- SOME KIND OF
AGGREGATE USUALLY SAND, AND IN
THOSE DECORATIONS THEY DID USE
SAND, THEY USED DYES THAT COLOR
CONCRETE AND THEY ALSO CRUISED
CRUSHED GLASS.
AND THEY SOLICITED CONTRIBUTIONS
OF GLASS FROM PEOPLE IN THE
COMMUNITY.
SO, FOR INSTANCE, THE BLUES IN
THE MURAL AT THE AVIATION MUSEUM
ARE REPUTED TO BE FROM
MEMTHALATUM BOTTLES AND SELTZER
BOTTLES AND THINGS LIKE THAT.
>> Beccy: AND WASN'T THE BLUE
MILK OF MAG KNOWSHA?
>> OH YES, I'M SORRY.
IT -- YEAH, I THINK SO.
I HAVEN'T CLIMBED ON THE LADDER
TO LOOK AT THAT MURAL MYSELF.
BUT THERE ARE SEVERAL EXAMPLES
AROUND TOWN OF THESE BUILDINGS
ALL DONE BY BUN COMPANY.
AT ANY RATE, I WORKED FOR THE
CITY IN I THINK IT WAS ABOUT
2008 OR NINE, MENESA BRIDGE WAS
THE BRIDGE ITSELF NEEDEDDEN TO
REPLACED -- NEED TO BE
REPLAITED.
AND SO THE SIDE WALLS, WHICH
HAVE THESE CARTHOLITE SCULPTURES
ON THEM HAD TO BE ISOLATED WHILE
THEY TOOK OUT THE ROAD WAUGH AND
REBUILT THE BRIDGE.
THEN WE FOUND A CREW THAT WOULD
REPAIR SOME OF THE BROKEN
COLCOLORED CARTHOLITE.
AND AT THAT TIME THEN WE RAN A
DRIVE LOCALLY AND SOLICITED
COLORED GLASS FOR THAT.
AND I WAS VERY TOUCHED -- THIS
IS MY POINT -- OF PEOPLE
BRINGING PIECES OF DEPRESSION
GLASS THAT THEY HAD AT HOME OR
ONE OLDER GENTLEMAN BROUGHT ME A
LITTLE NECKLACE OF RED BEADS
THAT HAD BEEN HIS WIFE'S.
>> Beccy: OH!
>> AND A FEW OF THOSE THINGS WE
JUST DIDN'T WANT -- FOR
SENTIMENTALITY AND WE DIDN'T
NEED ALL OF THEM, WE COULDN'T
CRUSH UP.
SO WE MADE A LITTLE DISPLAY.
AND I THINK IT'S STILL ON
EXHIBIT IN THE FORYER OF CITY
HALL.
>> WE ARE HONORED.
THIS IS BARBARA HAMMOND, SHE
USED TO WORK IN THE CITY
PRESERVATION OFFICE.
AND DIDN'T SHE DO -- I MEAN THAT
IS AN EXCELLENT EXAMPLE OF WHAT
WE HAVE IN WICHITA.
AND REALLY THE GRASS ROOTS ART
THAT CAME FROM THAT.
THANK YOU.
THANK YOU VERY SHARING THAT --
THANK YOU FOR SHARING THAT.
ANY OTHER QUESTIONS OR COMMENTS?
YES, WE HAVE ONE MORE.
YOU GOT THEM INTERESTED, ERIKA.
>> Erika: GOOD!
>> AT SOME POINT, I SAW A
PERIODICAL ABOUT KANSAS GRASS
ROOTS ARTS.
DOES THAT EXIST?
I HAVEN'T SEEN IT FOR YEARS.
BUT...
>> Erika: THERE USED TO BE THE
KANSAS GRASS ROOTS ART
ASSOCIATION THAT WOULD SEND OUT
NEWSLETTERS.
AND THE GRASS ROOTS ART CENTER
ALSO SENDS OUT NEWSLETTERS.
SO GRASS ROOTS ART CENTER STILL
DOES.
THERE ARE ALSO PERIODICALS THAT
DON'T RELATE TO KANSAS BUT WE
TRY TO GET OUR ENVIRONMENT INTO
THEM.
BUT IT WAS LIKELY GOING TO BE
ONE OF THOSE TWO.
AND I KNOW GRASS ROOTS ART
CENTER DOES STILL DO A PRINT
VERSION.
SO I'M SURE IF YOU E-MAIL THEM
YOU CAN GET BACK ON THEIR LIST
AND SEE.
BUT IT'S DIRECT MAIL.
IT WOULDN'T BE A MAGAZINE.
IT WOULD BE A NEWSLETTER STILL
SLICK.
>> Beccy: AND IT'S WELL WORTH
BEING ON THEIR NEWSLETTER LIST.
>> OKAY.
IT WAS A LITTLE BIT OF PERSONAL
INTEREST BECAUSE THEY HAD A
PICTURE OF SOME OF MY DAD'S
STUFF.
HE MADE A FENCE OUT OF WELDING
ALL KIND OF IRON STUFF TOGETHER.
AND UDON'T THINK I EVER GOT A
COPY OF THAT, SO...
>> Beccy: EXCELLENT.
>> Erika: IF IT WAS AWHILE AGO
IT WOULD BE THE OLD GRASS ROOTS
ART ASSOCIATION.
AND THOSE ARE NOTORIOUSLY
DIFFICULT TO TRACK DOWN.
BUT THIS IS THE INFLUENCE OF
KANSAS.
THOSE NEWSLETTERS ARE IN THE
CORE LIBRARY OF EVERY
ORGANIZATION ACROSS NOT JUST THE
U.S., BUT I KNOW THE RAW VISIONS
GUYS IN UK HAVE THEM, TOO.
THE CANADIANS HAVE THEM, TOO.
THEY WERE CORE PERIODICLES
BECAUSE KANSAS WAS ONE OF THE
VERY FIRST TO START AN
ORGANIZATION IN THE 970s THAT
SPECIFICALLY LOOKED -- 1970s
THAT SPECIFICALLY LOOKED TO
SELF-MADE WORLDS.
SO KOHLER ARCHIVES HAS COPIES.
THE ORANGE SHOW IN HOUSTON,
TEXAS, HAS COPIES.
RAW VISION HAS COPIES.
I CAN'T GET COPIES BECAUSE
THEY'RE SO PRECIOUS!
>> Beccy: WOW.
WELL, ERIKA, I ONLY PROMISED YOU
AN HOUR AND A HALF.
I WANT TO THANK YOU.
AND I WANT YOU GUYS TO THANK
ERIKA.
GIVE HER A ROCK STAR THANK YOU.
WOOHOO!
[APPLAUSE]
THANK YOU SO MUCH, ERIKA.
I APPRECIATE IT.
I'LL BE IN TOUCH.
>> Erika: THANK YOU SO VERY
MUCH.
IT WAS LOVELY TO TALK TO YOU
GUYS.
AND THANK YOU FOR THE QUESTIONS.
THAT'S REALLY SUPER APPRECIATED.
>> Beccy: ALL RIGHT.
THANK YOU.
NOW, YOU GUYS, I STILL HAVE MANY
STORIES IF YOU WOULD LIKE TO
HEAR MORE STORIES THAT YOU HAVE
CONTRIBUTED.
OR ARE YOU THINKING, BECCY, IT'S
2:30, BECOULD GET OUT EARLY?
WHAT -- WHAT ARE YOUR THOUGHTS?
WHAT WOULD YOU CHOOSE TO DO?
STAY?
OAK.
AND YOU'D LIKE TO HEAR SOME OF
THE STORIES?
WELL, THIS ONE WAS SENT IN BY
JILL BOWDEN.
AND SHE SAYS THAT SHE CHOSE
THREE STRONG WOMEN OF HER
FAMILY.
HER GRANDMOTHER AND MOTHER WHO
HAVE INFLUENCED ME.
HER SECOND GREAT-GRANDMOTHER IN
1850 TRAVELED ACROSS THE
ATLANTIC OCEAN FROM ENGLAND WITH
HER 3-YEAR-OLD SON.
IT TOOK SEVEN WEEKS, AND AFTER
ARRIVING IN AMERICA, THEY HAD TO
TAKE A LONG STAGECOACH RIDE TO
VIRGINIA TO BE WITH HER HUSBAND.
MY SECOND GREAT-GRANDFATHER, WHO
HAD ARRIVED TWO YEARS BEFORE.
HE WAS TOLD BY A DOCTOR IN
ENGLAND THAT HE HAD TO QUIT
WORKING IN THE MINES FOR HIS
HEALTH AND GO TO AMERICA.
THEY HAD NINE CHILDREN.
ONLY SIX SURVIVED.
SO IN 1875, THEY MIGRATED TO
KANSAS WITH A GROUP OF 25
FAMILIES AND ESTABLISHED A
SETTLEMENT CALLED ZION VALLEY.
THIS WAS STILL INDIAN TERRITORY
AND ORIGINALLY WAS PART OF
BARTON COUNTY.
IN 1895, A TOWN COMPANY WAS
FORMED AND RENAMED ST. JOHN,
STAFFORD COUNTY, KANSAS, NAMED
FOR GOVERNOR JOHN PIERCE
ST. JOHN THE EIGHTH GOVERNOR OF
KANSAS.
THEIR DAUGHTER, MARGARET, MY
GREAT-GRANDMOTHER, TOLD OF HOW
THEY HAD TO BURN TWISTED HAY TO
STAY WARM DURING BLIZZARDS AND
CHASE COYOTES AWAY FROM THEIR
CHICKENS WITH A BROOM.
SHE RODE SIDE SADDLE TO ACROSS
THE COUNTRY TO POST OFFICE.
IN 1890 SHE MARRIED MY
GREAT-GRANDMOTHER.
HER FAMILY HAD CONNECTIONS WITH
FORT ZUMWAIT IN MISSOURI AND
COLONEL DANIEL BOONE.
HER GRANDMOTHER HAD TO QUIT
SCHOOL WHILE STILL YOUNG TO HELP
HER SEVEN YOUNG SIBLINGS AND
TOLD OF PULLING A WAGON WITH
PIES FROM A LOCAL RESTAURANT TO
VARIOUS COMPANIES -- CUSTOMERS
FOR EXTRA MONEY.
AFTER MARRYING IN 1920, THEY HAD
THEIR ONLY CHILD, MY FATHER,
BORN IN 1923.
MY FATHER WAS A LIEUTENANT NAVAL
PILOT AND FLEW DURING WORLD WAR
II AND THE KOREAN CONFLICT.
AFTER HIS NAVAL SERVICE, WE
RETURNED TO OUR HOMETOWN OF
ST. JOHN.
IN 1962, HE LOST HIS LIFE IN AN
ACCIDENT.
HE WAS 39 YEARS OLD.
I WAS 13.
MY MOTHER BECAME A WIDOW WITH
THREE CHILDREN -- FIVE CHILDREN
TO RAISE AT 35 YEARS OLD.
SHE WAS APPOINTED BY GOVERNOR
DOCKING IN 1972 AS STAFFORD
COUNTY PROBATE JUDGE AND THEN IN
1976 MOVED TO TOPEKA TO WORK IN
THE SUPREME COURT ADMINISTRATION
UNDER JUDGE FATSER.
I DO NOT KNOW HOW MY
GRANDPARENTS WERE ABLE TO
CONTINUE ON WITHOUT THEIR ONLY
CHILD, BUT WITH A STRONG FAITH
AND I BELIEVE US FIVE
GRANDCHILDREN WERE THEIR PURPOSE
TO CARRY ON WITH THEIR LIVES.
ISN'T THAT A GREAT STORY?
THIS WAS SENT IN BY HELENE
LONGHOFFER.
THE WOMAN WHO HAS HELD THE
BIGGEST IMPACT ON MY LIFE HAS
BEEN MY MOTHER, THELMA NELSON
HOLTZ.
SHE WAS BORN FEBRUARY 22nd,
1905 IN SALINA.
SHERIFF'S BITTER COLD -- IT WAS
BITTER COLD AND SHE WAS
PREMATURE.
SO THE DOCTOR ADVISED MAKING --
MIXING A LITTLE WHISKEY IN WITH
SOME CREAM TO STIMULATE HER AND
TO HELP HER GAIN WEIGHT.
THAT REMEDY SEEMED TO WORK WELL
AND SHE CONTINUED TO THRIVE.
MY GRANDFATHER SAID THAT SHE WAS
SO TINY THAT SHE WOULD FIT INTO
HIS SIZE 9 SHOE BOX.
AS A CHILD, I BECAME ACTIVE AS A
BROWNIE SCOUT AND THEN A GIRL
SCOUT.
MY MOTHER WAS OUR SCOUT LEADER
UNTIL WE FINALLY DISSOLVED OUR
TROOP WHEN WE INHERED HIGH
SCHOOL -- ENTERED HIGH SCHOOL.
AS THE MOTHER OF THREE BOYS I
VOLUNTEERED TO BE THE DEN MOTHER
FOR FIRST ONE, THEN TWO, AND
FINALLY ALL THREE SONS.
MY MOTHER HAD SET A GOOD EXAMPLE
ON HOW TO BE A GOOD CHILDREN'S
LEADER.
WHEN THE SCOUTING DAYS WERE
OVER, THEN I BECAME A SUNDAY
SCHOOLTEACHER FOR THE CHILDREN
AT CHURCH.
ALL THREE OF MY SONS AND THEIR
WIVES WERE ACTIVE WITH SPORTS
AND OTHER SCHOOL ACTIVITIES FOR
MY GRANDCHILDREN.
WE ALL LOVE DOING THINGS AS A
FAMILY.
SHE WAS AN ONLY CHILD, AS I WAS
TOO.
BEING WITHOUT SIBLINGS, WE
LEARNED TO MAKE FRIENDS WITH
EVERYONE.
SHE ALWAYS HAD A FRIENDLY SMILE
FOR EVERYONE AND ANYONE WAS
ALWAYS WELCOME AT OUR HOME.
I ALSO LOVED TO ENTERTAIN AND
FEEL THAT THE LORD HAS GIVEN US
BOTH THE GIFT OF HOSPITALITY.
WE HAVE BOTH HOSTED MANY PEOPLE
IN OUR HOMES.
BECAUSE OF MY INVOLVEMENT IN
FRIENDSHIP FORCE OF KANSAS, I
HAVE HAD THE OPPORTUNITY TO HOST
PEOPLE FROM AROUND THE WORLD.
WE MEET INITIALLY AND BECOME
DEAR FRIENDS QUICKLY.
MY MOTHER WAS AN EXCELLENT
CREATIVE COOK AND INSTILLED IN
ME A LOVE OF COOKING ESPECIALLY
BAKING.
SHE MADE THE MOST AMAZING
BIRTHDAY CAKES AND WE SPENT MANY
HOURS BAKING COOKIES.
AND SHE TAUGHT ME HOW TO MAKE
ICING ROSES AND TO DECORATE
CAKES.
THIS LOVE I HAVE PASSED ALONG TO
MY GRANDCHILDREN.
THEY OFTEN CALL AND WRITE ASKING
ME FOR RECIPES.
TO THIS DAY, MY SONS ARE
PROBABLY BETTER COOKS THAN THEIR
WIVES.
WHAT BEER LEGACY COULD I -- WHAT
BETTER LEGACY COULD I LEAVE
FAMILY?
THIS ONE WAS SENT IN BY MARGORIE
GREEP.
AND I HAVE TWO WOMEN THAT HAVE
MADE A GREAT INFLUENCE IN MY
LIFE.
BOTH MY GRANDMOTHER AND MY
MOTHER WERE STRONG, INDEPENDENT
WOMEN THAT WERE ABLE TO SURVIVE
AND RAISE THEIR FAMILIES WITHOUT
HELP AGAINST ALL ODDS.
KATIE RAGAN WAS BORN IN 1879 IN
THE TOWN OF HATFIELD.
THIS TOWN IS NOW GONE.
BUT WAS BETWEEN THE EXISTING
TOWNS OF MAYS AND KOHL WITCH.
HER FAMILY LATER MOVED TO
COLWICH.
IN HER 20s SHE ATTENDED A
DRESS MAKING AND TAILORING
SCHOOL LOCATED THIS WICHITA.
SHE MARRIED IN 1908.
AFTER HAVING FIVE CHILDREN, THE
LAST TWO BEING TWINS, HER
HUSBAND DIED FROM THE SPANISH
FLU IN 1920.
DURING THAT TIME PERIOD, THERE
WERE FEW OPTIONS OPEN FOR WIDOWS
LEFT WITH CHILDREN.
MOST REMARRIED QUICKLY TO
PROVIDE FOR THEIR CHILDREN
BECAUSE THERE WERE NO SPECIAL
PROGRAMS AVAILABLE.
KATIE WAS LUCKY BECAUSE THE
TOWNS PEOPLE TOOK UP A
COLLECTION AND BOUGHT A SMALL
TWO -- ONE-BEDROOM HOME FOR
THEM.
SHE BEGAN DOING SEAMSTRESS WORK
WHICH HELPED, BUT SURVIVAL WAS
STILL DIFFICULT.
SOMETIMES A FARMER WOULD GIVE
THEM EXTRA PRODUCE.
ONE WINTER, THEY SURVIVED ON
NOTHING BUT TURNIPS.
SHE HAD PROBLEMS WITH HER
EYESIGHT WHEN SEWING AND OFTEN
NEEDED TWO PAIR OF READING
GLASSES TO SEW.
SHE STRUGGLED, BUT MANAGED TO
RAISE HER CHILDREN TO BE STRONG
ADULTS WITHOUT ASSISTANCE.
MY MOTHER, MARGORIE GREEP, WAS
ALSO A WOMAN WHO COULD STAND UP
TO ADVERSITY.
SHE WAS BORN A TWIN IN 1919.
BECAUSE OF THE SITUATION AT
HOME, THE CHILDREN OFTEN WORKED
EXTRA JOBS AS CHILDREN TO HELP
THE FAMILY.
SHE WAS ONLY ABLE TO CONTINUE TO
SCHOOL FOR A FEW YEARS.
MY MOM WORKED FOR FARMERS' WIVES
DURING THRESHING TIME TO FIX
MEALS FOR ALL THE WORKERS.
SHE WENT TO WORK AT THE AGE OF
12 FOR A FAMILY IN WICHITA TO
CARE FOR THEIR CHILDREN AND WORK
AS A SEAMSTRESS.
SHE CREATED A SUIT FOR THE LADY
OF THE HOUSE AT THAT AGE.
SHE WORKED FOR SEVERAL PROMINENT
FAMILIES IN WICHITA, THE LUANS
WERE THE LONGEST.
SHE MARRIED AND HAD SEVEN
CHILDREN.
DURING THE WAR, MY FATHER LOST
AN ARM, SO MOM WAS THE PRIMARY
BREADWINNER FOR A TIME.
SHE ALSO WORKED AS A RIVETER FOR
ONE OF THE AIRCRAFT PLANTS IN
TOWN.
HE PASSED AWAY WHEN I WAS 11.
LUCKILY AT THIS TIME, SOCIAL
SECURITY WAS AVAILABLE, BUT MOM
DID EXTRA SEWING, PLUS WE RAISED
OUR OWN PRODUCE AND CHICKENS FOR
FOOD.
THESE LADIES PROVED TO ME THAT
REGARDLESS OF THE SITUATION YOU
ARE GIVEN, YOU DEAL WITH IT.
YOU DON'T GIVE UP.
AND BELIEVE YOU NEED TO BE
DEPENDENT ON OTHERS TO SURVIVE.
ELLEN, I WANTED TO KNOW IF YOU
WOULD BE WILLING TO SHARE THE
STORIES YOU SENT IN.
AND ANY OTHER ITEMS.
I MEAN I THINK THIS WOULD BE A
GOOD OPPORTUNITY.
>> HELLO.
CAN YOU HEAR ME PRETTY GOOD?
>> Beccy: IF YOU CAN GET A
LITTLE CLOSER, THAT WOULD BE
GOOD.
>> OKAY.
GOING BACK TO WHAT THAT WOMAN
HAD SAID, A FRIEND OF MINE, BILL
WHITE, WAS IN CHARGE OF THAT
MENESA BRIDGE RECONSTRUCTION.
YEAH, HE'S A GREAT GUY.
OKAY.
SO I'M A RETIRED HISTORY
TEACHER.
HERE'S A LITTLE BACKGROUND.
HARRY WOODRING WAS ELECTED THE
25th GOVERNOR OF KANSAS.
HE WAS ELECTED IN 1928.
HE RAN FOR RE-ELECTION IN '32.
AND LOST TO LANDON.
1933 TO 1936 HE WAS THE
UNDER-SECRETARY OF WAR WITH FDR.
AND '336 TO '40 HE WAS THE
SECRETARY OF WAR.
NOW, HARRY WOODRING WAS FROM
NOETASHA AND MY GRANDPARENTS
WERE FROM THERE.
SO WHEN HE WENT TO TOPEKA, HE
BROUGHT MY GRANDPARENTS WITH
HIM.
AND MY GRANDFATHER HAD -- HE'D
FINISHED DENTISTRY SCHOOL IN
KANSAS CITY AND WENT STRAIGHT
INTO WORLD WAR I.
AND SO HE PUT HIM IN CHARGE --
SO GEERN WOODRING PUT HIM IN
CHARGE OF THE BOYS REFORMATORY
SCHOOL IN TOPEKA.
AND MY -- SO HE COULD DO
DENTISTRY ON THESE KIDS, TOO.
SO AT THAT POINT, MY FAMILY,
THEY WERE ALL IN TOPEKA.
I HAVE PICTURES OF MY MOM AT
CEDAR CREST.
OKAY.
SO MY GRANDMOTHER, HER NAME WAS
ORAL EDITH PERRY BAUERSFELD.
AND MY GRANDFATHER VERDIS LEE
BAUERSFELD.
SO MY GRANDMOTHER GOT --
WOODRING WAS A DEMOCRAT.
AND MY GRANDMOTHER GOT VERY,
VERY -- DO YOU HAVE THE
PICTURES?
>> Beccy: I DON'T THINK WE
HAVE THEM.
>> OH, OKAY.
MY GRANDMOTHER RAN FOR -- WELL,
SHE WAS THE SHAWNEE COUNTY
DEMOCRATIC COUNTY PERSON.
SHE WAS -- SHE WAS THE -- YEAH.
SHE WAS THE DEMOCRATIC COUNTY
OFFICIAL.
AND IN THAT, I HAVE PICTURES OF
HER WITH HOOVER, ALTHOUGH HALVER
WAS REPUBLIC -- HOOVER WAS
REPUBLICAN AT ONE POINT.
SO HE'S -- AND THEY SAY -- I'VE
SEEN SOME THINGS THAT SAY SHE
WAS THE FIRST WOMAN IN THE
UNITED STATES THAT WAS THE HEAD
OF A COUNTY -- OF A DEMOCRATIC
COUNTY ORGANIZATION.
>> Beccy: WOULD IT BE LIKE A
PRECINCT COMMITTEE WOMAN?
SHE WAS THE COUNTY --
>> YEAH.
AND I HAVE THIS -- THE PAPERS,
THE ONE OF THESE BOOKLETS.
I MEAN SHE WAS ON THE DAIS.
SHE WAS IN CHARGE OF BIG
CONVENTIONS AND MEETING LOTS OF
PEOPLE, YEAH.
SO THAT'S MY GRANDMOTHER.
AND THEN MY GRANDFATHER, MY
GRANDMOTHER AND GRANDFATHER
MOVED TO WICHITA AND MY
GRANDFATHER STARTED THE NEHIGH
BOTTLING COMPANYA AND THEY
STARTED DOING DR. PEPPER.
SO MY MOM WAS BORN IN '25 IN
NEOTASHAY, 1925.
AND SHE -- DURING THE WAR SHE
LIED ABOUT HER AGE TO WORK AT
THE POST OFFICE.
AND HER DAD BACKED HER UP ON IT
THAT SHE WAS THAT AGE.
AND SO AROUND 19 -- 1946 MY MOM
STARTED HER OWN CAFETERIA.
AND THE ADDRESS OF THE CAFETERIA
WAS 113 WEST DOUGLAS.
AND THAT'S KIND OF WHERE
INTEREST BANK IS -- WHERE
INTRUST BANK IS NOW.
INTRUST BANK IS 117.
THE BUILDING RIGHT THERE ON THE
CORNER IS 103.
SO BETWEEN THAT WAS -- I THINK
IS WHERE FIRST NATIONAL -- THE
OLD FIRST NATIONAL INTRUST,
WHERE IT EXPANDED INTO.
SO I MEAN PEOPLE CAN BE PIONEERS
IN LOTS OF DIFFERENT WAYS.
AND MY MOTHER WAS A PIONEER IN
THAT IN 19 -- IN '91 MY BROTHER,
FITZ FEEDLER DIED OF AIDS.
AND MY MOM, SHE BECAME A
CHAMPION FOR THE CAUSE.
WE -- SHE STARTED AN
ORGANIZATION, SHE BROUGHT IT
HERE TO WICHITA CALLED P-FLAG
WHICH STANDS -- IT'S AN ACRONYM.
PARENTS AND FRIENDS OF LESBIANS
AND GAYS.
SHE WAS THE FIRST LIKE
PRESIDENT, LOCAL PRESIDENT OF
IT.
AND THEN MY SISTER WAS PRESIDENT
OF IT.
AND THEN WITH THE AIDS MEMORIAL
QUILT, MY MOM AND MY SISTER AND
I, WE WENT TO TULSA BECAUSE
TULSA WAS HAVING THE AIDS
MEMORIAL QUILT.
AND WE TALKED TO THE ORGANIZERS
AND IT WAS TENS OF THOUSANDS OF
DOLLARS TO DO THIS.
AND I CAN REMEMBER TALKING ON
THE WAY HOME FROM TULSA GOING
WE'LL NEVER BE ABLE TO DO THIS
IN WICHITA!
SO AS YOU MIGHT IMAGINE, MY
BROTHER WAS IN THE HOSPITAL
QUITE A BIT.
AND THEY HAD IT THEIR OWN PART
OF ST. FRANCES, THEIR WING WAS
THE AIDS WING.
AND SO ONE TIME FAMILY -- ALL
THE KIDS THAT WERE -- ALL THE
PEOPLE THAT WERE IN THERE, THEY
HAD FAMILY.
SO ONE TIME, THERE WAS THIS ONE
FAMILY MEMBER AND THEY WERE --
MY FOLKS WERE TALKING TO THEM
AND SAID WE'D LOVE TO BRING THE
AIDS MEMORIAL QUILT TO WICHITA.
AND THIS PERSON HAD QUITE A BIT
OF CLOUT AND THEY SAID WE'LL GET
IT DONE.
AND WE DID.
SO WE BROUGHT THE AIDS MEMORIAL
QUILT -- YEAH, IT WAS MY MOM'S
IDEA TO BRING IT.
OH YEAH.
GOING BACK TO PFLAG, SO MY
MOM -- SO BECAUSE OF THAT
ORGANIZATION, WE HAD ANOTHER
PHONE LINE IN OUR HOUSE, IT HAD
A DIFFERENT NUMBER, IT HAD A
DIFFERENT RING TONE BECAUSE SHE
ANSWERED THE CRISIS LINE FOR
PFLAG.
SO WHEN PARENTS OR FAMILY WITH
NEEDED TO TALK TO SOMEBODY, MY
MOM WAS THAT PERSON.
AND WE COULD ALWAYS TELL THE
DIFFERENCE BECAUSE THE TONE
RING.
AND IF SHE WAS TALKING ON THE
OTHER PHONE TO YOU, SHE'D SAY,
OH NO, I GOTTA STOP, THE OTHER
PHONE IS RINGING.
SO I COME FROM A LONG, STRONG OF
REALLY WONDERFUL WOMEN.
>> Beccy: WHAT AN AMAZING
STORY.
THANK YOU SO MUCH FOR SHARING.
ISN'T THAT GREAT?
[APPLAUSE]
AND I WANT YOU TO MENTION THIS
ONE, TOO.
>> SO A TREND OF MINE, VICKY
STANGLE, SHE USED TO BE A
PROFESSOR HERE.
SHE MOVED TO VIRGINIA.
SHE WROTE A BOOK CALLED "ED
SIMPLE, KANSAS FREE THINKER, AN
IDEAL WOMAN."
>> Beccy: CAN YOU SPELL ETTA
AND SIMPLE?
>> E-T-T-A.
CAPITAL S-E-M-P-L.
E.
ETTA SEMPLE.
I WAS READING IT.
SO VICKY PUT FREE THINKER
BECAUSE IF SHE PUT FREE LOVE, IT
PROBABLY WOULDN'T HAVE HAD SO
MUCH SUCCESS.
THIS WOMAN WAS NOT ONLY A FREE
THINKER, SHE WAS ALL ABOUT FREE
LOVE TOO.
>> Beccy: WELL, BUT ALSO KEEP
IN MIND, KANSAS DID HAVE A
FAIRLY LARGE FOLLOWING OF PEOPLE
WHO WERE OF THE FREE THINKING,
FREE LOVE SOCIETY.
>> SO I THINK SHE TRIED TO KEEP
IT ACADEMIC AS OPPOSED TO
SENSATIONAL IN IT.
BUT YEAH.
I'M NOT SURE WHERE YOU CAN GET
THIS.
AT THE TIME IT WAS -- I THINK
SHE SELF-PUBLISHED.
>> Beccy: BUT YOU MIGHT TRY
AMAZON.
A LOT OF TIMES THEY WILL STILL
COVER.
>> OR WATERMARK.
>> Beccy: OR WATERMARK, YOU'RE
ABSOLUTELY RIGHT.
EXCELLENT.
THANK YOU SO MUCH FOR SHARING
THAT.
A COUPLE OF CLASSES AGO, I ASKED
YOU THESE QUESTIONS AND I HOPE
YOU'VE BEEN THINKING ABOUT THEM.
WHAT WAS THE LEGACY THAT YOUR
ROLE MODELS LEFT TO YOU?
AND WHAT DID THEY TEACH YOU?
WHAT CHARACTERISTICS DO YOU HAVE
THAT THEY DID?
WOULD THEY RECOGNIZE THAT IN
YOU?
AND WHAT LEGACY ARE YOU LEAVING
FOR THE WOMEN FOLLOWING YOU?
ANY COMMENTS?
THOUGHTS?  CRICKETS?
WHILE YOU THINK ABOUT THAT, I
WANT TO LEAVE YOU, ELLEN HANDED
THIS TO ME A COUPLE OF WEEKS
AGO.
AND I THOUGHT IT WOULD BE A GOOD
WAY TO END THIS CLASS.
IT'S ABOUT IN NOVEMBER OF 1872,
SUSAN B. ANTHONY WAS ONE OF 14
WOMEN WHO DEFIED THE LAW TO CAST
A BALLOT IN THE PRESIDENTIAL
ELECTION.
ANTHONY WAS ARRESTED FOR
KNOWINGLY VOTING WITHOUT HAVING
A LAWFUL RIGHT TO VOTE.
AND ON JUNE 18th, 1873, WAS
FOUND GUILTY.
THE NEXT DAY, WHEN HER LAWYER
APPEALED THE VERDICT, SHE
ADDRESSED THE COURTS IN RESPONSE
TO A QUESTION FROM THE JUDGE,
WARD HUNT.
JUDGE HUNT ORDERING THE
DEFENDANT TO STAND UP.
HAS THE PRISONER ANYTHING TO SAY
WHY SENTENCE SHALL NOT BE
PRONOUNCED?
MS. ANTHONY: YES, YOUR HONOR.
I HAVE MANY THINGS TO SAY.
FOR IN YOUR ORDERED VERDICT OF
GUILTY, YOU HAVE TRAMPLED UPON
FOOT EVERY VITAL PRINCIPLE OF
OUR GOVERNMENT, MY NATURAL
RIGHTS, MY CIVIL RIGHT, MY
POLITICAL RIGHTS, MY JUDICIAL
RIGHTS ARE ALL ALIKE IGNORED,
ROBBED OF THE FUNDAMENTAL
PRIVILEGE OF CITIZENSHIP I AM
DEGRADED FROM THE STATUS OF A
CITIZEN TO THAT OF A SUBJECT,
AND NOT ONLY MYSELF
INDIVIDUALLY, BUT ALL OF MY SEX
ARE, BY YOUR HONOR'S VERDICT,
DOOMED TO POLITICAL SUB SCREKS
UNDER THIS SO-CALLED REPUBLICAN
FORM OF GOVERNMENT.
JUDGE HUNT, INTERRUPTING.
THE COURT CANNOT LISTEN TO A
REHEARSAL OF ARGUMENTS, THE
PRISONERS COUNSEL HAS ALREADY
CONSUMED THREE HOURS IN
PRESENTING.
MS. ANTHONY: MAY IT PLEASE YOUR
HONOR, I'M NOT ARGUING THE
QUESTION BUT SIMPLY STATING THE
REASONS WHY SENTENCE CANNOT IN
JUSTICE BE PRONOUNCED AGAINST
ME.
YOUR DENIAL OF MY CITIZENS RIGHT
TO VOTE IS THE DENIAL OF MY
RIGHT OF CONSENT AS ONE OF THE
GOVERNED, THE DENIAL OF MY RIGHT
OF REPRESENTATION AS ONE OF THE
TAXED, THE DENIAL OF MY RIGHT TO
A TRIAL BY A JURY OF MY PEERS
AS AN OFFENDER AGAINST LAW.
THEREFORE, THE DENIAL OF MY
SACRED RIGHTS TO LIFE, LIBERTY,
PROPERTY, AND --
JUDGE HUNT:  THE COURT CANNOT
ALLOW THE PRISONER TO GO ON.
MS. ANTHONY: BUT YOUR HONOR WILL
NOT DENY ME THIS ONE AND ONLY
POOR PRIVILEGED, TO PROTEST
AGAINST THIS HIGH-HANDED OUTRAGE
UPON MY CITIZENS RIGHTS.
MAY IT PLEASE THE COURT TO
REMEMBER THAT SINCE THE DAY OF
MY ARREST, LAST NOVEMBER, THIS
IS THE FIRST TIME THAT EITHER
MYSELF OR ANY PERSON OF MY
DISENFRANCHISED CLASS HAS BEEN
ALLOWED A WORD OF DEFENSE BEFORE
JUDGE OF JURY.
JUDGE HUNT:  THE PRISONER MUST
SIT DOWN.
THE COURT CANNOT ALLOW IT.
MS. ANTHONY: ALL OF MY
PROSECUTORS FROM THE 8th WARD
CORNER GROCERY POLITICIAN WHO
ENTERED THE COMPLAINT TO THE
UNITED STATES MARSHALL
COMMISSIONER, DISTRICT ATTORNEY,
DISTRICT JUDGE, YOUR HONOR ON
THE BENCH, NOT ONE IN MY PEER,
BUT EACH AND ALL ARE MY
POLITICAL SOVEREIGNS, AND HAD
YOUR HONOR SUBMITTED MY CASE TO
THE JURY, AS WAS CLEARLY YOUR
ZOO DUTY, EVEN THEN I SHOULD
HAVE HAD JUST CAUSE OF PROTEST,
BUT NOT ONE OF THESE MEN WAS MY
PEER, BUT NATIVE OR
FOREIGN-BORN, WHITE OR BLACK,
RICH OR POOR, EDUCATED OR
IGNORANCE, AWAKE OR ASLEEP,
SOBER OR DRUNK, EACH AND EVERY
MAN OF THEM WAS MY POLITICAL
SUPERIOR.
HENCE, AND NO SINCE, MY PEER.
EVEN UNDER SUCH CIRCUMSTANCES, A
COMMONER OF ENGLAND TRIED BEFORE
A JURY OF LORDS WOULD HAVE FAR
LESS CAUSE TO COMPLAIN THAN
SHOULD I.
A WOMAN TRIED BEFORE A JURY OF
MEN.
EVEN MY COUNSEL, THE HONORABLE
HENRY L. SELDON, WHO HAS ARGUED
MY CAUSE SO ABLY, SO EARNESTLY,
SO UNANSWERABLY BEFORE YOUR
HONOR, IS MY POLITICAL
SOVEREIGN.
PRECISELY.
AS NO DISENFRANCHISED PERSON IS
ENTITLED TO SIT UPON A JURY AND
NO WOMAN IS ENTITLED TO THE
FRANCHISE, SO NONE, BUT A
REGULARLY ADMITTED LAWYER IS
ALLOWED TO PRACTICE IN THE
COURTS.
AND NO WOMAN CAN GAIN ADMISSION
TO THE BAR.
HENCE JURY.
JUDGE, COUNCIL MUST ALL BE OF
SUPERIOR CLASS.
JUDGE HUNT: THE COURT MUST
INSIST THE PRISONER HAS BEEN
TRIED ACCORDING TO THE
ESTABLISHED FORMS OF LAW.
MS. ANTHONY: YES, YOUR HONOR,
BUT BY FORMS OF LAW, ALL MADE BY
MEN, INTERRUPTED BY MEN,
INTERPRETED BY MEN,
ADMINISTRATED BY MEN, IN FAVOR
OF MEN AND AGAINST WOMEN AND,
HENCE, YOUR HONOR'S ORDERED
VERDICT OF GUILTY AGAINST A
UNITED STATE CITIZEN FOR THE
EXERCISE OF THAT CITIZEN'S RIGHT
TO VOTE SIMPLY BECAUSE THAT
CITIZEN WAS A WOMAN AND NOT A
MAN.
BUT YESTERDAY THE SAME MAN MADE
FORMS OF LAW, DECLARED IT A
CLAIM PUNISHABLE WITH A THOUSAND
DOLLAR FINE AND SIX MONTHSIVE
IMPRISONMENT FOR YOU OR ME OR
YOU OF US TO GIVE A CUP OF COLD
WATER, A CRUST OF BREAD OR A
NICE SHELTER TO A PAINTING
FUGITIVE -- PANTING FUGITIVE
AS HE IS TRACKING HIS WAY TO
CANADA.
AND EVERY MAN OR WOMAN IN WHOSE
VEINS COURSED A DROP OF HUMAN
SYMPATHY VIOLATED THAT WICKED
LAW, RECKLESS OF CONSEQUENCES
AND WAS JUSTIFIED IN SO DOING.
AND THEN THE SLAVES WHO GOT
THEIR FREEDOM MUST TAKE IT OVER
OR UNDER OR THROUGH THE UNJUST
FORMS OF LAW, PRECISELY.
SO NOW MUST WOMEN TO GET THEIR
RIGHTS TO A VOICE IN THIS
GOVERNMENT.
TAKE IT AND I HAVE TAKEN MINE
AND MEAN IT TO TAKE IT AT EVERY
POSSIBLE OPPORTUNITY.
JUDGE HUNT: THE COURT ORDERS THE
PRISONER TO SIT DOWN.
IT WILL NOT ALLOW ANOTHER WORD.
MS. ANTHONY: WHEN I WAS BROUGHT
BEFORE YOUR HONOR FOR TRIAL, I
HOPED FOR A BROAD AND LIBERAL
INTERPRETATION OF A
CONSTITUTION.
AND ITS RECENT AMENDMENTS THAT
SHOULD DECLARE A QUALITY OF
RIGHTS, THE NATIONAL GUARANTEE
TO ALL PERSONS BORN OR
NATURALIZED IN THE UNITED
STATES.
BUT FAILING TO GET THIS JUSTICE,
FAILING EVEN TO GET A TRIAL BY
JURY, NOT OF MY PEERS, I ASK NOT
LENIENCY OF YOUR HANDS, BUT
RATHER THE FULL RIGORS OF THE
LAW.
JUDGE HUNT: THE COURT MUST --
>> HERE MS. ANTHONY SAT DOWN.
THE PRISONER WILL STAND UP.
HERE MS. ANTHONY ROSE AGAIN.
THE SENTENCE OF THE COURT IS TO
PAY A FINE OF $100 AND THE COST
OF THE PROSECUTION.
MS. ANTHONY PROTESTED.
MAY IT PLEASE YOUR HONOR, I
SHALL NEVER PAY A DOLLAR OF YOUR
UNJUST PENALTY, ALL THE STOCK
AND TRADE I POSSESS IS A $10,000
DEBT INCURRED BY PUBLISHING MY
PAPER, THE REVOLUTION.
SO IT ENDS, JUDGE HUNT, IN A
MOVE CALCULATED TO PRECLUDE ANY
APPEAL TO A HIGHER COURT ENDED
THE TRIAL BY ANNOUNCING, MADAM,
THE COURT WILL NOT ORDER YOU
COMMITTED UNTIL THE FINE IS
PAID.
TRUE TO HER WORD, ANTHONY NEVER
PAID A PENNY OF HER FINE.
I JUST THOUGHT THAT WAS A COOL
WAY OF ENDING THIS CLASS.
I WANT TO ENCOURAGE YOU, IF YOU
HAVE ANY IDEAS FOR FUTURE
CLASSES, FEEL FREE TO SHOOT ME
AN E-MAIL.
OH, EYE HAVE A QUESTION?
 -- OH, YOU HAVE A QUESTION?
COME ON UP.
>> CAN YOU HEAR ME?
I JUST WANTED TO MAKE A COMMENT
AFTER WATCHING THE SCENES LIKE
ON THE DOCKUM AND JOHN LOUIS AND
THE PEACEFUL PROTESTS OF HOW
CARRIE NATION AND ALL THE
PEOPLE, WHAT DRASTIC MEASURES
THEY HAD TO BE HEARD BECAUSE
AFTER ALL THESE YEARS PEOPLE
HAVE JUST GOTTEN SO ANGRY AND
IT'S JUST SAD THAT PEOPLE CAN'T
GET ALONG.
BUT THE DRASTIC MEASURES THAT
PEOPLE HAVE TO SHOW THAT BLACK
LIVES MATTERS AND THAT WE -- SO
MANY OF US ARE -- HAVE THE WHITE
PRIVILEGE.
AND IT'S JUST AMAZING THAT WHAT
ACTIONS PEOPLE HAVE TO TAKE TO
MAKE A CHANGE IN THIS COUNTRY.
>> Beccy: ABSOLUTELY.
THAT'S AN EXCELLENT POINT.
WELL, I WANT TO THANK YOU, BOTH
IN PERSON AND ONLINE, FOR
JOINING US.
AND, AGAIN, IF YOU HAVE IDEAS
FOR FUTURE CLASSES, PLEASE FEEL
FREE TO SHOOT ME AN E-MAIL AND
WE'LL SEE WHAT WE CAN DO.
THANK YOU SO MUCH.
STAY SAFE.
SEE YOU NEXT TIME!
[APPLAUSE]
