“This seemingly simple delight has evolved over centuries, each layer telling a story of cultural exchange, innovation and the pursuit of exquisite taste.”
Mixed Berry Trifle photo by Amanda Suarez via Serious Eats.
One evening this past November, Phillip and I were watching an episode of The Great British Bake Off (GBBO) where the consensus on one contestant’s crumbly cake was that it would have been better as a trifle.
White Chocolate Tiramisu Trifle with Spiced Pears via Epicurious. Photo by Con Poulos.
All the Pretty Trifles
Phillip wasn’t familiar with the term, but I knew he’d seen these classic, layered desserts before. I did an image search, looking for quintessential trifle examples to show him.
Naturalist, artist, and author Roseann Hanson is an explorer. But her definition of the word doesn’t require you to have traveled extensively on 5 continents the way she has.
To her, being an explorer is more about how carefully you study something – whether it’s the Sahara Desert or a grain of sand – than how far you go. (Incidentally, I agree!)
She gave a talk at the Natural History Institute in Prescott called “The Art of Exploration: How Field Sketching and Journaling Bridge Science, Conservation, and Well-being.”
Krkonoše Mountains drawing by archaeologist Jan Erazim Vocel, c. 1841. Photo via State Regional Archives in Prague + Wikimedia Commons.
Field Note History
In the days before you could just carry a camera with you, it was common practice for scientists and explorers to draw what they were observing out in the world.
Their field notes often included beautiful illustrations, along with handwritten descriptions.
Ancient rock art in Twyfelfontein. Photo by SqueakyMarmot / Mike, Vancouver, Canada – CC BY 2.0
Sketched in Stone
The impulse to make a visual record of what’s around us and what we’ve seen on our journeys goes all the way back to the Stone Age, to cave walls and sandstone boulders. Roseann Hanson sees these drawings as early field notes. Continue reading “Field Notes: Drawing (on) Your Experience”
“We … find our way on canoes as we travel across the ocean where there are no street signs.”
Even in the middle of the Pacific Ocean with no land in sight – and no GPS – Lehua Kamalu knows where she’s going.
Hōkūle’a was designed to replicate traditional Polynesian voyaging canoes. Photo courtesy of the Polynesian Voyaging Society.
I learned about Lehua through an interview on the Overheard at National Geographic podcast. As part of the Polynesian Voyaging Society (PVS), she has learned to find her way across the waves by employing ancestral knowledge and constant, keen observation of her surroundings.
Captain navigator Lehua Kamalu before departing on a voyage from Hawaii to California in August 2018. Photo by Hye Jung Kim / Polynesian Voyaging Society.
“Wayfinding for us really is the idea that with the naked eye, with all of your senses, [you] immerse yourself into the signs of the natural world around you.”
The Polynesian Voyaging Society was founded in the 1970s, part of a Hawaiian cultural renaissance of pre-colonial arts, language, knowledge, and skills. They re-learned how to build the large, ocean-going canoes that had originally brought Polynesians to the Hawaiian islands centuries ago, as well as the navigational methods that guided them.
“Waves create regular, readable patterns in the ocean that are long range and very consistent, particularly in the tropics, particularly here in Polynesia, and are very reliable to find your way.”
The first voyaging canoe PVS built was the 62-foot long Hōkūleʻa, which was launched in 1975 and has since traveled over 140,000 nautical miles! The next canoe, Hikianalia, was built in 2012.
Photo courtesy of the Polynesian Voyaging Society.
In 2018, after years of honing her navigational skills, Lehua Kamalu became the first woman to captain one of these canoes on an extended voyage.
It was fascinating to hear her describe what it’s like to sail across the Pacific Ocean without present-day navigational equipment.
“The navigator’s job is to spend as little time sleeping as possible. And as much time watching for consistency, watching for patterns in the sky and in the ocean, and also for changes and comparing what’s going on between the two.”
Currently, she’s one of the 400 crew members of two Polynesian voyaging canoes (Hōkūle‘a and Hikianalia) that are circumnavigating the Pacific on the 43,000-nautical-mile “Voyage for the Earth,” Moananuiākea.
The University of Arizona Museum of Art (UAMA) wasn’t even open yet the morning after Thanksgiving 1985, when an employee arrived to find a man and a woman already waiting outside. The gregarious couple managed to talk their way in, following the employee into the building.
University of Arizona Museum of Art in 1982 via Gannett.
The woman, wearing a red jacket and a scarf in her hair, chatted up a security guard, while her mustachioed partner went upstairs toward one of the museum’s most important works.
Woman-Ochre had been in the museum’s collection since 1958. It was unceremoniously taken off exhibit when this Black Friday visitor hacked the canvas out of its frame, rolled it up, stuffed it under his jacket (or somewhere), and made a hasty exit with his accomplice.
The empty frame of the missing de Kooning painting via UANews.
The two were peeling out of the parking lot with the painting before anyone at the museum realized what had just occurred. Back then, the UAMA didn’t have security cameras, and there were no leads. All they had was testimony from the few eyewitnesses, police composite sketches, and an empty frame.
Composite police sketches of the thieves, along with the empty frame they left behind. On display at UAMA’s Restored exhibition.
UAMA put the theft insurance money they received from the state into getting surveillance cameras and otherwise tightening up their security.
Possibly unrelated, but the university has also renovated the area, so you can no longer pull a car right up to the front of the museum.
UAMA today – with security cameras.
Periodically, UAMA would remind the public of the missing painting. Staff held out hope for its return, but they really didn’t know if they’d ever see it again.
And, for over 30 years, they didn’t.
Willem de Kooning with Woman I peering over his shoulder, c. 1952. By Kay Bell Reynal, Archives of American Art, Smithsonian Institution.
The Origin: New York 1955
“Beauty becomes petulant to me. I like the grotesque. It’s more joyous.”
The painting they had stolen was Woman-Ochre by Willem de Kooning, who is considered to be one of “the twentieth century’s most influential artists.” He was a contemporary of New York abstract expressionists like Arshile Gorky, Franz Kline, Jackson Pollock, Ad Reinhardt, and Mark Rothko.
Jackson Pollock, Number 20 (from 1950), painted on the back of a game board.
Woman-Ochre is part of the controversial series of Women paintings de Kooning did in the early 1950s. Described by some as “aggressive” or “violent,” they were too abstract to be considered portraits, but the recognizable human forms meant they weren’t abstract enough for de Kooning’s avant-garde friends.
Woman-Ochre by Willem de Kooning, 1955.
Perhaps his refusal to fit neatly into categories is part of what has kept people intrigued by de Kooning’s art over the years. His works are “among the most marketable in the world.” In 2016, his piece Interchange sold for $300 million, making it the world’s most expensive painting at the time. The University of Arizona (UA) estimated Woman-Ochre itself to be worth $160 million in 2005.
The Alters’ home in Cliff, New Mexico. By Cheryl Evans/The Republic.
The Discovery: New Mexico 2017
“…if the thief has kept the painting, he or she eventually dies, and the surviving family finds the painting and tries to sell it. The painting is returned — but the process can take decades.”
–UANews article written in 2015, when Woman-Ochre’s whereabouts were still unknown
In 2017, a retired public school speech therapist named Rita Alter passed away in Cliff, New Mexico, a town of under 300 people. Her husband, Jerry had passed a few years before, so their nephew was left in charge of dealing with the house and eclectic estate.
A tile-covered pyramid, one of the random assortment of possessions the Alters left behind. Image Courtesy of David Farley via Arizona Republic.
Most of the furniture and some other household items were sold as a lot to Manzanita Ridge Furniture + Antiques in nearby Silver City for $2000.
Manzanita Ridge Furniture and Antiques via their Facebook page.
That included an intriguing mid-century painting that was found awkwardly hanging behind the Alters’ bedroom door. Once it was on display in the store, people started asking if it was authentic and offering huge amounts of money for it.
Woman-Ochre hung behind the Alters’ bedroom door. Photo on display at UAMA’s Restored exhibition.
Puzzled, store co-owner David Van Auker removed it from the floor and began researching the painting. The search turned up articles from the 30th anniversary of Woman-Ochre’s theft, which UA publicized to keep the missing work in the public eye.
One UANews article from that time basically called it: “Usually, a stolen painting gets returned to a collection in one of two ways. The thief may try to sell the piece shortly after the heist and get caught. This often takes only a few years. But if the thief has kept the painting, he or she eventually dies, and the surviving family finds the painting and tries to sell it. The painting is returned — but the process can take decades.”
David picked up the phone and called UAMA. “I think I have a piece of art that was stolen from you guys….”
The Co-Owners of Manzanita Ridge Furniture + Antiques. Photo on display in UAMA’s Restored exhibition.
A few days later, museum staff made the 3-hour drive from Tucson to Silver City to authenticate the painting. They were moved to tears when they realized it truly was the piece that had been missing for so long.
“The thieves actually committed two crimes that day. First, they stole an important signature painting from the University’s museum collection. They also stole more than 30 years of access from the public and scholars across the world, depriving them of the opportunity to appreciate, learn from and be inspired by a significant artist.”
How did it get there in the first place? There’s evidence to suggest that the couple who owned the New Mexico home where the de Kooning was found were the ones who had made off with it all those years before. Since they’re both deceased, they won’t get a jury trial. However, we know the pair was in Tucson the day before the heist, celebrating Thanksgiving with family. And they do bear a resemblance to the police sketches made shortly afterwards.
Via ArtNet: “A police sketch of the suspects in the 1985 de Kooning heist released shortly after the crime took place, and a photograph of Jerry and Rita Alter at Thanksgiving dinner in Tucson the day before the robbery. Image courtesy of the police department and Ron Roseman.”
UAMA offered to purchase the painting from Manzanita Ridge, but they refused to accept any money for it.
Aerial view of the Getty Research Institute. Via the Getty blog.
The Restoration: Los Angeles 2019-2022
They didn’t steal [Woman-Ochre] from the museum, they stole it from all of us. From everyone.”
–David Van Auker, the antique store co-owner who found Woman-Ochre
It turns out that violently wrenching an oil painting from its canvas, rolling it up, and then stuffing it under your clothing are not recommended art preservation techniques.
Woman-Ochre close-ups sent to UAMA after its rediscovery in New Mexico.
When Woman-Ochre was finally found, it was a mess. The paint was cracked and flaking off. Damage caused by the theft was made worse by amateur attempts to repair it and the haphazard way it was stapled and screwed into a new frame. (Also not recommended.)
Laura Rivers, Getty paintings conservator, working on the restoration of Woman-Ochre. Via the Getty blog.
The painting was taken to the Getty Museum in Los Angeles, where their team of experts painstakingly assessed and repaired the damage. They were able to use infrared photography and X-radiography to find out exactly what type of materials de Kooning had used to create his painting, so they could treat it appropriately.
Woman-Ochre before restoration: under raking light (left), XRF (Macro X-Ray Fluorescence) scan (middle), close-up of cracked paint (right, top), and microscopic paint cross-section (right, bottom) on display in UAMA’s Restored exhibition.
Conservator Laura Rivers spent months cleaning it and using a microscope and small dental tools to reattach tiny paint fragments piece by piece.
Work restoring the painting went on for about 2.5 years before it was ready to be back on exhibit.
Woman-Ochre on display in UAMA’s Restored exhibition.
The Exhibition: Tucson 2022-2023
“I believe art should be where everyone can see it.”
After an exhibition at the Getty, Woman-Ochre returned to its Tucson home.
Mark Rothko’s Green on Blue (left) and other mid-century works on display in UAMA’s Abstract Perspectives in Mid-Century Art exhibition. You can also see Woman-Ochre (centerpiece of the Restored exhibition) through the doorway on the right side of the photo.
Phillip and I got to see the Restored: The Return of Woman-Ochre exhibition, as well as Abstract Perspectives in Mid-Century Art, which displayed art from de Kooning’s contemporaries, showing the context of his work.
Phillip walks by “Number IV” by Morris Louis, 1957, at UAMA.
Restored wrapped up today, but the Woman-Ochre painting itself will remain on display at UAMA. It will return to museum’s second floor in a gallery that has been renamed the Manzanita Ridge Gallery in honor of the antique store owners who were crucial in its journey home.
Via Manzanita Ridge Antiques on Facebook.
More to Watch + Listen to about Woman-Ochre…
The Thief Collector: Documentary about Woman-Ochre’s theft and the secret lives of the crime’s main suspects. I got to see a screening with my friend Laurel at UA in October. I’ve wanted to recommend it, but there wasn’t really anywhere you could see it. Now it’s finally available to rent or buy on Amazon! (Not endorsing Amazon but glad this gripping yet thoroughly entertaining doc is getting out there!)
The Recovery: 10-minute video by the Arizona Republic.
Agave has been cultivated in the Tucson area for hundreds of years.
While tequila might be the most widely known product made from agave (a.k.a. the century plant or maguey), it’s certainly not the only one! Different species of the plant are distilled into different spirits, collectively called mezcal.
Native peoples would also use agave to make food, medicine, and even rope. They developed farming techniques to maximize the plant’s adaptability and drought-resistant qualities, so they could grow it where other crops wouldn’t thrive.
Mural of Mayahuel, the agave goddess, by Rock ‘‘CYFI’’ Martinez.
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