Arts

December 2016 Issue

December 2, 2016 |

This month, “Gifts of Tucson” a gift guide to local makers, artists and authors… and our 2016 Year in Pictures. Read the digital edition of the December 2016.

zocalo-magazine-december-2016-gift-guide

Barrio Stories

March 2, 2016 |

barrio storiesEVENT:
Barrio Stories Project
Thursday & Friday – March 3 & 4 @10am
Saturday & Sunday – March 5 & 6 @ 11am
by award winning playwrights Elaine Romero, Virginia Grise, and Martin Zimmerman.
Directed by Marc David Pinate.
Produced by Borderlands Theatre

Staged outdoors on the grounds of the Tucson Convention Center, this theatrical spectacle brings to life oral histories of Tucson’s original Mexican American neighborhood demolished with the building of the convention center in the 1960s. Precious memories come to life as audience members take a theatrical tour of what used to be the bustling epicenter of commerce and public celebrations for Tucson’s Mexican-American community (some seating is available.) Four vignettes and performance installations encountered throughout the plaza culminate in an interactive post show pachanga – featuring folklorico and mariachi youth ensembles with interactive art and audio booth for all ages. Barrio Stories takes place March 3-6, 2016, as part of Borderlands’ 30th anniversary season. Complete information at BarrioStories.org

Ai Weiwei’s Dazzling Political & Cultural Zodiac Hits the TMA

March 1, 2016 |
Zodiac Heads, Gold Monkey, by Ai Weiwei

Zodiac Heads, Gold Monkey, by Ai Weiwei

The art world has been in love for some time with Chinese artist Ai Weiwei, thanks to a fabulous 2012 documentary (Ai Weiwei: Never Sorry), his stunning “bird’s nest” Olympic stadium design and countless exhibitions around the globe, such as the recent installation at Alcatraz prison. Weiwei is not just the latest flavor in the art world, he is a genuine genre-busting genius who frankly has few, if any peers in contemporary art. Weiwei is somewhat less appreciated for his brilliant takes on culture, history, appropriation, world politics and the interplay of each of these things with each other. His Circle of Animals/ Zodiac Heads: Gold at the Tucson Museum of Art, is both beautiful and a profound statement about so much more than beauty.

On display in the lower reaches of the main galleries at the museum, the work is a semi-circle composed of 12 oversized animal heads made of gold-gilded bronze set on wooden pedestals. The work, from 2010, depicts the 12 animals of the Chinese zodiac, which includes; a snake, dragon, bear, horse, dog and others. While the sculptures are exquisite to look at, with lifelike details including human characteristics in some of the heads, it is really the back-story that makes this a powerful piece of artwork.

The series, his first major public sculpture project, has been on tour in two formats; bronze, and in gold, since 2011. While the work will also appear in Phoenix later this year, Tucsonans get to see it first as it will be on display through June 26. Previous stops of the tour read like a who’s who of destinations including; the Tuileries Garden at the Louvre, the Hirshorn in DC, the LA County Museum, Cleveland Museum, The Adler Planetarium in Chicago and also stops in London and Brazil.

The original heads in the piece were part of the famed water clock fountain at the imperial retreat in Beijing, China and were designed by the Italian Jesuit Giuseppe Castiglione. The palace, elaborate gardens and fountain were destroyed in 1860 by British troops during the second Opium war, and looted as an act of revenge by Lord Elgin who also looted the Acropolis in Athens. Just seven of the twelve heads survived, and when they surface outside of the country at auction, they are a sore point as many Chinese believe they belong in China and not in the west. Weiwei thinks otherwise, and his interpretation of the work, as an oversized commentary, includes his own versions of the five lost heads, and his work speaks to questions of power, cultural appropriation, art and world history.

Ironically, Weiwei’s outspoken criticism of his home country, which gets him in trouble on a regular basis, is a direct result of the Chinese government’s treatment of his family that started when he was just a small child. His father, a renowned poet, was exiled for decades and as soon as Weiwei was able to travel to the west, he did. He landed in New York City at the perfect moment of time to hone his artistic and activist skills, arriving on the international art scene in 1999. He then found even more international acclaim due to his work on the Olympic stadium in 2008 with the Swiss architects Herzog and De Meruon. But things went south in 2008 when Weiwei created an artwork criticizing the government after the devastating earthquake that caused the collapse of 7,000 schools. This led to his being beaten by the police and his eventual incarnation for trumped up tax evasion charges. Weiwei was eventually freed and allowed to leave China and currently resides in Berlin, Germany where he teaches and continues to create work that is both beautiful and thought provoking.

Two of the missing original five heads in the series, the dragon and ram, were recreated and re-visioned by Weiwei based upon period research of similar artwork during the Ming (1368-1644) and Qing dynasty (1644-1911). The other three “new” heads of the rooster, dog and snake, were made after real life observation of the animals and have a slightly modern feel to them, which brings the work into a contemporary frame of mind. In addition the scale, and elaborate presentation in gold turns the original, smaller water fountain nature of the historic work on its end. Weiwei has taken something that was originally opulent and quite frankly multi-ethnic, with its European design and Asian history, and made it grossly obese and garish for the modern global world.

This is an important and thoughtful work of art by one of the world’s most important living artists that really needs to be seen in person. Do yourself a favor and spend some time with the installation, as it is presented in a way that you can walk around each head and really examine them, but also keep in mind the tortured history that they represent and the role artists take in communicating messages across time.

Ai Weiwei: Circle of Animals/Zodiac Heads: Gold is on display at the Tucson Museum of Art, located at 140 North Main Ave. through June 26. TucsonMuseumofArt.org

Artifact Dance Goes Back in Time for The Grand Parlor

March 1, 2016 |
Artifact dancers Claire Hancock, Julian Johnson, Cindy Cantos, Bill Patterson, Alissa Dill. photo by Ed Flores

Artifact dancers Claire Hancock, Julian Johnson, Cindy Cantos, Bill Patterson, Alissa Dill. photo by Ed Flores

Tucson’s dance world has been blessed with a number of remarkable groups over the past 30 years. We’ve seen companies who have delivered traditional, timeless works like clockwork, as well as groups who have pushed the performance envelope with their content and audience experience. In the art world today, both locally and nationally, collaboration is the key to engaging and entrancing an audience, and the Tucson-based Artifact Dance Project is clearly both an innovator and practitioner par none. The group’s March performance at the Tucson Scottish Rite Cathedral is entitled “The Grand Parlor,” and it has all of Artifact’s signature elements on display in a smorgasbord for the senses.

According to Artifact’s Managing Director and Co-Artistic Director Ashley Bowman, the performance is envisioned as an “Americana Vaudeville” evening of years past. The wide variety of acts, includes modern dance, tap, a contortionist, a little clown work and even homage to Noah’s ark. As with all Artifact Dance performances, music is a key element to the experience. Ben Nisbet has again created the sonic portion of the evening, which will be performed live during the evening. Works include classical standards such as; Saint Saen’s Danse Macabre and Rossini’s Barber of Seville overture along with works by Dvorak, Tchaikovsky, Schubert and Gershwin. Musicians for the evening include; Derek Granger, Ken Marrs, Mary Turcotte and Samantha Bounkeua. A ringmaster, Artifact Dance company member dancer Cindy Cantos, will guide the intimate audience on their journey through the evening’s 14 vignettes, which will also feature a short intermission. The show is both family friendly and adult friendly with cocktails available to complete the cabaret experience for those of appropriate age.

Of special note is the location for the “Parlor” performances, in the Tucson Scottish Rite Cathedral’s Grand Parlor. The building, listed on the National Register of Places, recently celebrated its 100th anniversary and is a local landmark that would have hosted events such as this in the past. The local Masonic Order still uses the facility for functions, but recently it has been used more and more by the community for special events, largely due to its vintage character and downtown location. Several of last year’s Tucson Fashion Week runway shows made use of the space very effectively, and the Artifact’s Grand Parlor performances will again transform the space into a unique location for arts performances. With such a wide variety of components to the show, it’s hard for Bowman to pick a favorite section. One has to imagine that the entire presentation of a modern dance company’s interpretation of the American Vaudeville performance style in a century-old building, will be something to remember for a long time. This is sure to be one of the performing arts seasons highlights.

The Grand Parlor, by Artifact Dance Project takes place March 18-19-20 at the Tucson Scottish Rite Cathedral, located at 160 S. Scott Ave. Tickets are $25 or $20 for students and are available in advance or at the door.

December 2015

December 3, 2015 |

Holiday Gift Guide and a look back at 2015. Read the digital edition here.

Zocalo Magazine December 2015 cover

3 Resources to Help You Navigate This Weekend’s Open Studio Tour

November 13, 2015 |
The 2015 Tucson Fall Open Studio Tour takes place Saturday and Sunday, November 14 & 15, from 11am-5pm.

Over 180 Tucson artists open their studios to the public. Use any of the following resources to assist you on this self-guided tour:

1 – TPACOST.org – The most comprehensive guide to the tour, with listings by name and by area. Detailed google maps guide you to your destination with ease and the site is mobile friendly.

2 – Zocalo Magazine in print – If you haven’t already, grab a copy of Zocalo Magazine’s November edition, available at over 350 locations city-wide. Inside, you will find 12 pages dedicated to the tour with 180 artist listings and map locations. Extra copies of the magazine have been recently stocked DOWNTOWN, at Wood & Pulp (outside rack) at 439 N 6th Ave, SW corner of 6th St and 6th Ave; MIDTOWN at The Loft Cinema; EASTSIDE at Bookman’s Speedway (6230 E. Speedway) and in the FOOTHILLS at AJ’s Fine Foods (inside, near checkout) in the La Encantada shopping plaza.

3 – Zocalo Magazine online – Use the digital version of Zocalo Magazine (a replica of the print edition) OR browse the digital standalone version of the Open Studio Tour guide, here.

2015 Fall Open Studio Tour brushes

Remembering Together

November 4, 2015 |

The 2015 All Souls Procession Weekend

With thousands of more participants, a finale performance of grand proportions and epic new art and music installments, the All Souls Procession of 2015 is bigger and more impactful than ever before.

Tucson All souls_1What began in 1990 as a small gathering to celebrate the memories of deceased loved ones through performance art has now grown into the biggest celebration of its kind in the US, as the 26th annual All Souls Procession prepares to host over 150,000 participants to the storied festival. The highly edifying and cathartic event, organized by local non-profit organization Many Mouths One Stomach, will be taking place this year on Sunday, November 8th in Downtown Tucson.

The All Souls Procession is a celebration of death and life that coincides with Mexico’s Dia De Los Muertos in honoring and remembering loved ones who have passed on. Masses of Tucsonans and people from all over the world will gather to march in the streets with painted faces, masks and festive garb to honor the lost souls by bearing blown up photographs, posters and letters commemorating them. The finale that will be taking place next door to Mercado San Agustin, where live music, fire dancers, and performance artists will entertain the crowd before the urn that is filled with letters and messages to deceased loved ones will be raised and ignited high above the crowd in a moment of exulting release.

“The one thing I see lacking in our society is how we honor our dead, at least in Western civilization. Most people don’t take the time or put the intention forth into slowing down and honoring our lost loved ones and celebrating their lives,” says event organizer and Director of Flam Chen Paul Weir. “The goal is that this experience is authentic and real and taken seriously. We want people to let go and feel supported and connected. Everyone is a participant in this. Everyone is invited into the streets to be a part of this and to feel part of something much bigger as a collective. Especially in today’s society, this is a very visceral and authentic experience and there’s a lot of value on each and every person involved.”

This year procession route is the same as last year’s event, as it starts downtown on 6th Ave and 6th street near the underpass. There will be a DJ playing there and sending out dedications and the Hungry Ghosts busking crew will be roaming around to collect donations. People will start culminating at 4:00pm and then procession will begin around 6:30pm. The march is a two-mile route from the underpass to Alameda to Congress Street and then underneath I-10 to the finale location at San Agustin.

This year’s event carries a specific theme to honor those who are “unmournable” due to unfortunate circumstances before they passed. “The theme this year that we’re working with is UnMournable Bodies, which includes everyone from criminals to drug addicts to people who were enemies of the state and people who are caught in the crossfire of war. A lot of people die nameless when families get decimated. A lot of people are forgotten because of one or two poor choices or actions they made while living. So our finale ceremony this year pays homage to those people,” says Weir.

As the event continues to grow to mass proportions, it increasingly gains attention from such outlets as The New York Times, Huffington Post, CNN and many other news organizations. Because of this, the number of people who travel from all over the world to be a part of it has also steadily been increasing, which is great for the event itself, and for the city of Tucson as a whole. Those attending the event for the first time will undoubtedly be in awe, but it’s important to remember the sole purpose at the heart of the festival.

“People coming for the first time should definitely put something in the urn for someone they’re trying to remember to really make that walk and experience meaningful to them,” says Weir. “It is beautiful and it is a spectacle, but everyone walking in that parade is walking for somebody. Hold that in your heart and understand that it’s a public ritual and you’re here to participate in it. It’s really that memory and that intention that is the most valuable part of the experience. The show at the finale is beautiful and we really try to push ourselves in creating something from an authentic place of expression. But in the end, it’s about the urn burning and the flames consuming those memories and sending them out to the universe.”

To prepare for an event of this magnitude, MMOS has to fundraise and plan ahead accordingly to accommodate for the annual growth. The board has already started planning for 2016 and 2017’s events in order to stay within their tight budget. While the city recently gave them a grant for $10,000 a year, the event typically costs more than $150,000 to put on, so donations and support is greatly appreciated and essential for the livelihood of future year’s processions.

“Donations are so meaningful to us because it’s a free event to attend and you can come participate at the deepest of levels for absolutely nothing. We don’t pollute the space with advertising or endorsers at all, because we take it very seriously that this is to honor our loved ones, so we turn down that kind of thing. We’re a non-profit and mostly artists created every year. Our board and staff are primarily volunteers and the directors of the parade that do the long, hard work get paid just a few cents per hour. So when you see the Hungry Ghosts busking crew out during the event, please remember that even a dollar or two per person goes an extremely long way for us.”

For those who are unable to make it to the event this year, or if you don’t like big crowds, fear not, because the final ceremony will be live streaming at www.VisitTucson.org. Check the website up to 48-hours before the event to find the link, which will include video, audio and a commentator from 6:30pm to 9:30pm on November 8th. And if you do make it to the procession, make sure to get there early, bring the whole family, and get ready for one of the greatest experiences of your lives, and all in celebrating and honoring the spirits of the dead.

Complete details on the 2015 All Souls Procession can be found at allsoulsprocession.org

All_souls_lady

Masterful Season Opening

October 16, 2015 |
Untitled, 2015, from Political Abstraction, archival pigment print, © Ralph Gibson, courtesy Etherton Gallery

Untitled, 2015, from Political Abstraction, archival pigment print, © Ralph Gibson, courtesy Etherton Gallery

Etherton Gallery features works by Andy Summers and Ralph Gibson

In the world of galleries and museums, curators and owners often wrestle with the pairing of artists for exhibitions. Sometimes it’s a bit of an intellectual leap to connect two or more artists and their respective works, but other times pairings makes perfect sense—such is the case of the new show at Etherton Gallery that pairs Andy Summers and Ralph Gibson. The exhibit, entitled Light Motifs, is up through November 7 and presents a variety of work from both men who share a love of black and white photography and have a complementary aesthetic.

MJ, Sardinia (1980) gelatin silver print, 60 x 40 inches © Ralph Gibson

MJ, Sardinia (1980) gelatin silver print, 60 x 40 inches © Ralph Gibson

Ralph Gibson, who is unquestionably one of the giants of contemporary photography, is showing a diverse selection of his images which range from stunning nudes to striking moments of the sublime. Gibson has been working in the digital arena now for three years and his transition from the “analog” world of film has brought some degree of freedom, especially when traveling as frequently as he does. Gibson takes “5 to 6 trips abroad a year and practices a version of visual imperialism” in documenting what he sees. He has been invited by numerous countries to come and shoot, and has most recently been in Australia and is heading to Korea next for a return visit. He describes himself as a “formalist” always adhering to a few tenants like the avoidance of wide angle, maintaining a specific distance to subjects and waiting for the perfect moment. Gibson’s work brings to mind other giants such as Cartier Bresson and Edward Weston, but he also seems uniquely adept at capturing the ethos of modern life like no other artist.

Andy Summers comes to photography alongside his other passion, which is music. Perhaps best known as part of the rock band The Police, Summers won raves for his guitar work and was named to several lists proclaiming him one of the greatest guitarists ever. He continues to make music and tour around the world, which also enables him to capture what he sees while abroad with his camera. Early work by Summers documented his life on the road with The Police and the surreal nature of being in one of the biggest bands in the world. But Summers is also quite a talented photographer of other subjects, most notably the female form, and his nudes are both striking and unique. Summers seems able to capture the stranger in a strange land with his dark, moody images of other cultures. He tends to focus on black and white imagery, although it “seems like sacrilege not to capture the color in the real world,” because it allows him to focus on detail and get more out of the subject. Summers strives to “create an attitude or mystery on the wall” with his work which often evolves over the course of a body of work. He aims to “transform the ordinary into the extraordinary,” and more often than not succeeds.

Jazz, Golden Gai, Tokyo, 2008, gelatin silver print, © Andy Summers

Jazz, Golden Gai, Tokyo, 2008, gelatin silver print, © Andy Summers

Ironically Summers and Gibson are in fact great friends, having met in 1983 in Brazil and having collaborated over the years on books, but have never exhibited together before this show, which according to Summers is both “fun for us and an honor for me to show with Ralph.” The two often get together and not only look at each other’s work, but play music together as Gibson is now a guitar player. Both men share a love of the same subjects, but also the world around them, and increasingly find themselves traveling in order to shoot. While Gibson is entirely digital in his work, Summers is about half-and-half and begrudgingly carries dozens and dozens of rolls of film through airport security whenever he’s abroad. While the two live on opposite sides of the country—Gibson in New York and Summers in California—they relish the time they get to spend with each other and the recent opening of the show at Etherton in late September gave them the chance to meet up and catch up with Tucsonans getting a chance to meet them as well. n

Light Motifs, work by Andy Summers and Ralph Gibson is on display at the Etherton Gallery, located at 135 S. 6th Avenue through November 7.
EthertonGallery.com, ph. 520.624.7370

Firebird III GM Concept Car

October 1, 2015 |
photos: Courtesy GM Media Archives

photos: Courtesy GM Media Archives

With its tailfins, double bubble canopy and air brakes disguised in its body, the Firebird III is space-age in the extreme. But it’s not just its Jetsons-meets-Batman style that makes it special.

“Most concept cars were just fiberglass dummies and didn’t have parts that really worked. This was the ultimate dream car or show car and it was also a research car,” says Jim Ewen, one of  two designers of the Firebird III who will talk about it during Tucson Modernism Week while the car is on display at MOCA, the weekend of October 3rd.

19_FIrebirdIII_06-0386The Firebird III, built in 1958, is powered by a gas turbine engine as well as a two-cylinder gasoline engine for the accessories. A two-seater with a double bubble canopy, it has a joystick instead of a steering wheel and a titanium skin. Like GM’s other concept cars, it was inspired largely by fighter aircraft.

1958 Firebird III at#4AAB0D (1)Ewen, now living in Tucson, was brought in to develop the wheels, interior and instrument panel. He says the design team was convinced some of their concepts – particularly the gas turbine engine – would one day be adopted by every car manufacturer. “We often talked back in the 1950s about how the year 2000 would be the ultimate year [in car design],” he says. But mainstream design proved to be much slower than they anticipated.

As for Ewen, his own car choice is far more subtle. Rather than vintage cars, he says he prefers to get around in something a little more reliable. Currently that’s a Chevy Malibu.

For tickets and a complete schedule of Tucson Modernism Week happenings, please visit TucsonMod.com

Tucson Modernism Week

October 1, 2015 |

Sakellar

Photo: On Saturday, October 10, 5pm, join Architect Dino Sakellar (son of Nicholas Sakellar) for an exploration of the life and work of one of Tucson’s iconic mid-century modern architects. The son of Greek emigrants Nicholas and his bride, Phyllis, moved to Tucson soon after World War Two. Over his 50 years of practice he created many of Tucson’s most beautiful buildings. He is one of three architects credited with bringing modern architecture to Tucson.

Exploring Tucson’s Mid-century Design Heritage

After four years, jam-packed schedules and a slew of innovative lectures and events, you’d think the organizers of Tucson Modernism Week might start running out of ideas.

Not so. This year’s Tucson Modernism Week is busier than ever, the line-up arguably its most impressive to date.

That’s due in large part to the small army of volunteers behind the nine-day event. And it’s due in equally large part to the stories that abound here in Tucson, says Demion Clinco, Chief Executive Officer of the Tucson Historic Preservation Foundation, which organizes Tucson Modernism Week.

“I think that Tucson was definitely an epicenter of design in Arizona and regionally and in some ways nationally and we don’t give our community credit for that,” says Clinco. Added to that is the fact that retirees who settle here bring with them their own “incredible” stories, he says.

In fact, the more Clinco and his team digs, the more fascinating tales of mid-20th-century Tucson it uncovers. Some of those stories take longer to emerge than others, however.

1950s western wear dresses by Tucson based Dolores Gonzales (Dolores Resort Wear), a special exhibit of Tucson Modernism Week. Image courtesy of the Dolores Gonzales Family Collection.

1950s western wear dresses by Tucson based Dolores Gonzales (Dolores Resort Wear), a special exhibit of Tucson Modernism Week. Image courtesy of the Dolores Gonzales Family Collection.

Clinco first spotted the 1950s dresses of fashion designer Delores Gonzales in archive materials more than a year ago. It took many months and some detective work to locate her remaining family, now living in Colorado and California. That set in motion the creation of a fashion exhibition of Gonzales’ western wear, to take place in the lobby of the Tucson Convention Center on October 3rd and 4th.

Delores Gonzales was born in Sonora, Mexico in 1907. In 1914, at the age of 7, she moved with her family from Agua Prieta to Douglas, Arizona. The story goes that a bullet from a Pancho Villa raid had landed on Delores’ pillow. Her father said “Enough” and moved the family over the border. Gonzales learned her sewing skills from her mother Beatrice and honed them in Los Angeles where she was a pattern cutter. Bad asthma forced her to return to Tucson where she owned a factory and a store.

“She was quite well known in Tucson and societal circles,” says Bob Gonzales, Delores’ younger son, who with his brother Leo used to roll braid and rick rack in the factory as a child.

She was also influential in the fashion world. “Cele Peterson credited her as being a major component of the whole movement of patio and western dresses,” says Clinco. This “Tucsonan chic” style – which incorporated the colors and Native American influences of the southwest – was picked up by national department stores. Says Clinco: “There’s no one person who you can credit but [Delores] comes as close as you can get.”

“I think that it’s overdue,” says Dolores’ daughter-in-law Karyl Gonzales of the Tucson Modernism Week exhibit. “She more than won any accolade anyone ever gave her.” Karyl, who will attend the event, remembers Dolores as a “party girl, party giver and party goer.” She first set eyes on her future mother-in-law at a function at the Pioneer Hotel on Stone Avenue. “She had white hair pulled back in a bun. She was wearing a black gown. I thought she was the most beautiful woman I had ever seen,” says Karyl.

Karyl married Dolores’ son Leo (known as Lee) and she and Dolores bonded over fashion; Karyl studied theatre at the University of Arizona and went on to work in costuming. Karyl and Lee’s daughter Lisa Marie Gonzales – whose childhood wardrobe was filled with outfits Dolores made just for her – carries on the fashion legacy. Lisa Marie now owns the fashion line DCC Diversified Clothing Company in California.

Fashion is a strong theme of this year’s Tucson Modernism Week. Ted DeGrazia’s textile designs will be on show at the DeGrazia Gallery in the Sun, while the closing party is a 1965 fashion show and silent disco at the 1965-built Murphy Wilmot Library.

Other Tucson Modernism Week highlights include: a furniture and home goods expo at the Tucson Convention Center; a mid-century modern home tour featuring buildings by Arthur Brown, Louis Coon, Nicholas Sakellar and William and Sylvia Wilde (and special lectures on architects Nicolas Sakellar and William and Sylvia Wilde); and the annual vintage trailer show.

Firebird III GM Concept Car. Image courtesy GM Media Archives

Firebird III GM Concept Car. Image courtesy GM Media Archives

One of the stand-out events will take place at MOCA Tucson: the arrival of the Firebird III [see sidebar]. This futuristic concept car was developed by General Motors in the 1950s as part of a series of car designs that were never intended for production, but rather to showcase just how far GM could go with its technology and design.

The car barely leaves its home at the General Motors Heritage Center in Sterling Heights, Michigan. On October 3rd, thanks to a collaboration between Tucson Modernism Week, the General Motors Heritage Center and insurance firm AIG, it will be on display for one weekend only at MOCA. Also present will be two of its designers, Norm James and Tucsonan Jim Ewen – reunited for the first time in more than 50 years.

The significance of the Firebird’s journey to Tucson isn’t lost on Thom Sherwood, a local Pontiac enthusiast and volunteer for Tucson Modernism Week. “It’s as if someone were to ask the Louvre in Paris to send the Mona Lisa to a backyard barbecue in Podunk, Arkansas. It’s a testament to the respect that GM feels towards its legacy and their designers, that it is undertaking to get the car shipped just for the weekend,” says Sherwood, who as well as moderating the Firebird III lecture, is overseeing a show of vintage “finned” cars outside the MOCA building on the same day.

On Saturday, October 10, 3pm, join Demion Clinco for a look at the Architectural Work of William and Sylvia Wilde, pioneers of Modern architecture in Tucson, and designers of Tucson Police & Fire Departments, built in 1974. Photo by Garardine Vargas

On Saturday, October 10, 3pm, join Demion Clinco for a look at the Architectural Work of William and Sylvia Wilde, pioneers of Modern architecture in Tucson, and designers of Tucson Police & Fire Departments, built in 1974. Photo by Garardine Vargas

Fun and fins aside, the organizers of Tucson Modernism Week hope their annual event does more than entertain. Its mission is “to educate the community” about the mid-century period and its renaissance, says Clinco. Volunteers try hard to hold their events in mid-century modern spaces. Architects who did influential work here in the middle of last century, but are not widely recognized for it, are celebrated. Clinco says that since Tucson Modernism Week began he sees the Tucson community taking more notice of the city’s mid-century buildings – some of which are hidden in strip malls. “Three years ago we didn’t see that happening. That makes me really thrilled. I’m confident people will be a little bit more conscious about mid mod design and not just cover it up with stucco.”

Last year’s Tucson Modernism Week pulled in 4,000 to 5,000 people, says Clinco, up from 3,000 the previous year. He reports ticket sales from the East Coast, Texas and even London. So why all the interest in the middle of the last century?

For one thing it was an exciting time in design, says Alan Hess, a Los Angeles historian, Tucson Modernism Week speaker and author of Googie Redux: Ultramodern Roadside Architecture. “The mid century period of the 20th century was a time of experiment and really talented architects [who moved] in a lot of different directions. The sunbelt generally was booming, people were moving there, there was development going on that attracted architects,” says Hess, whose lecture Modernism’s Back takes place at MOCA on October 3rd.

In the Arizona desert in particular, architecture was also functional, he says.“Modern architecture was about solving a problem. It was very very practical, especially when you were building a house in the desert and you have the sun coming into the house, the heat, the soil. All these things shaped the house.”

Luckily for Tucson and its mid century heritage, the Mad Men era is, quite simply, in vogue. Says Hess: “Every architecture style goes through its cycle. It’s new and then it gets to become old fashioned. It might get torn down, it gets rediscovered. It might take 30 to 50 years and it’s re-appreciated. This is just modernism’s time.”

For tickets and a complete schedule of Tucson Modernism Week happenings, please visit TucsonMod.com