contact sheet, portrait of Polly Cowan by Mary Morris Steiner, 1958
And by strange coincidence - which I do not actualy believe in - the other day I received a packet of photos from the estate of Mary Morris Steiner Lawrence, who died in 2009. The package came on Monday the 21st, which means it could have been sent from San Francisco on the 18th. Close enough.
Mom raised me to believe in reincarnation and communicating with spirits. It was not something she spoke about with any but a few close friends, and with me. The story of her death is interesting, though, in this light. She called me about a week before she died. I was living about three hours away from Manhattan, in the Catskill Mountains of NY. She summoned me to the city to go with her to her bank so she could transfer my share of some heirloom jewelry to a safe deposit box we would open in my name. She had had her jewelry appraised and evenly divided amongst the four children. She didn't want us to have to pay inheritance tax on it when she died.
I thought she was being ridiculous. She was only 63, her health was perfect, she was fine. Great. But I went. I asked her why. She wasn't about to die. She said, "Oh, Liza, you and your sister think I'm going to live forever, but when my time comes, I will go."
We made the exchange. I spent the night. Meanwhile, for the past couple of weeks I had been horribly - for me- depressed. I couldn't seem to shake off some kind of dread and sorrow that I didn't understand at all. It had been triggered by watching the TV movie Sybil about child abuse. But I hadn't been abused, of that I'm certain. On the contrary, my childhood had been filled with love, stability and good times. But that movie touched some nerve and I couldn't shake it.
I talked about it with mom, told her about some other stuff that was going on in my life, stuff about friends, work, the usual. She told me that although she knew it was impossible, she wished we could live together again.
The next morning we spoke about reincarnation and communicating from beyond the grave. This was not an unusual topic for us, but in hindsight it was poignent. The very last paragraphs we spoke, as I waited to catch a cab to the train station, were about how she would try to communicate with me after she died.
I never saw her again. A few days later there was a fire in my parents apartment and they both died.
And yes..she did communicate with me. I had lucid dreams for weeks afterwords in which we would chat. I would say, "mom, this isn't a dream, right?" and she'd say, "No, it's not a dream. I'm here." When those stopped, I would see her in the mirror, looking at me from what should have been my reflection. Or a photo of me would turn into a photo of her. Then it all stopped.
These days, she rarely communicates. When my daughter Willa was born, mom would visit us through the twinkly lights above the crib. I told this to my brother Geoff one day when he was visiting. He laughed. All the lights in the house flickered, sputtered, went out. Then came back on.
Some days she leaves me a little token. Nothing, really. A pen found in the wrong place at the right time. Stuff like that. Or she directs a packet of photos to be send on the anniversary of her death.
Here's to all the ancestors we have lost. No matter when.
Polly Cowan. Photo by Mary Morris Steiner. November 1958.
Today we occupied Burlington. Hope you can make it next time. Love, Us.
Early 20th Century postcard, City Hall Park, Burlington Vermont. Site of the Occupy Burlington actions and General Assemblies. Postcard from Cowan Ephemera Archive. Adaptation:CowanDesign.
This Op-ed was written by Marlene McCurtis & Cathee Weiss, producers of the Wednesdays In Mississippi Documentarty Film.
Set in the middle of the civil rights era in Mississippi, The Help depicts the relationship between two groups of women-- middle class white southern women and their black maids. At the end of the day, it is a piece of fiction, one writer’s interpretation of the complexity of racial relationships in the south. Yet, during this same time period there were real-life black and white women in Mississippi quietly, and some times not so quietly, working hard to dismantle the dehumanizing Jim Crow system. These women were obsessed, not about their toilets or polished silver, but rather about the abject terror incited by such racist stalwarts as the White Citizens Council and the Ku Klux Klan. They were determined to do what they could to help create a more just society for themselves and their children. A few years ago we discovered a story about a few of these very real and committed Mississippi women. As documentary filmmakers, we felt compelled to add their story to our shared history. It is the story of an amazing, yet little known organization called Wednesdays in Mississippi.
During the summer of 1964 under the banner of Wednesdays in Mississippi, over 400 women, both black and white met behind tightly drawn curtains to discuss how they could support the civil rights movement. These were middle class women—white women who did have ‘help’, yet could clearly see the cruelty and the untenable nature of the segregated system. They were also black women who were not maids, but who were business owners, schoolteachers, nurses and librarians. They all were women with power and the will to invoke change.
Dorothy Irene Height and Polly Cowan, co-founders of WIMS. From the WIMS website
These revolutionary meetings were organized by Dorothy Height, the head of the National Council of Negro Women and her close friend and colleague, Jewish political activist, Polly Cowan. Dorothy and Polly were northern, yet they knew women all over Mississippi were working to support civil rights.
The summer of 1964 was Freedom Summer. Thousands of Northern college kids came into Mississippi to set up Freedom Schools and register people to vote. That same summer Wednesdays in Mississippi brought black and white women from the north into Jackson to meet with their southern counterparts. Here’s how it worked: every week a team of women from a different northern city flew into Jackson. They came in undercover, as respectable ladies- wearing white gloves and pearls. They went into the heat and terror of Jackson, often against the wishes of their families, sometimes with great risk to their personal safety. Their goal was to listen to and support the women of Mississippi who sought peaceful and lasting change.
Fannie Lou Hamer, Dorothy Height and Polly Cowan
While in Mississippi these northern women met with women like Elaine Crystal, a Jewish woman who decided, “to stop playing bridge and be a part of some thing that made a difference.” Elaine helped form Mississippians For Public Education and fought to keep the public schools opened. And women like Jane Schutt, who was an active member of the integrated organization Church Women United and served as the chair of the Mississippi Advisory Committee to the US Commission on Civil Rights. When in December of 1963, the Klan burned a cross on Jane’s yard, she decorated it with Christmas lights and kept right on working for racial equality.
In the black community they found women like Clarie Collins Harvey. A prominent businesswoman, Clarie had the economic freedom to boldly stand up to racist policies. She started WomenPower Unlimited, a grassroots organization to support young civil rights workers in the state and to register black voters. Clarie also developed the Chain of Friendship, an informal network of white women outside of Mississippi who supported the efforts of women fighting for integration inside the state. Jessie Mosley was another mover and shaker in the black community. A professor’s wife, she started the first chapter of the National Council of Negro Women in Mississippi in the 1950s. While her husband’s courses at the Jackson State University “were often observed by members of the Klan or White Citizen’s Council”, this didn’t deter Jessie. She was a huge supporter of Wednesdays in Mississippi and worked closely with Fannie Lou Hamer and other women activists to develop Head Start programs.
Throughout the 1960’s Dorothy Height and Polly Cowan continued to work through Wednesdays in Mississippi (which later became Workshops in Mississippi) to join black and white women together. They spread throughout the state helping women work together to develop everything from home ownership projects for low-income families to community-based farm co-ops.
In the end, it doesn’t seem fair to place the burden of truth on just one story, like The Help. Wednesdays in Mississippi offers another perspective on this “truth”. As those who were involved in this project are now reaching their 70s, 80s, and 90s, it is crucial that their story like so many others from that time be documented before they’re gone. The truth will be found when the stories of those on the front line and in the living rooms, those who were the backbone of the movement are told. Wednesdays in Mississippi is just one of those many stories.
To find about more about Wednesdays In Mississippi and other women in the movement, please check out the following links:
http://www.history.uh.edu/cph/WIMS/
http://www.facebook.com/pages/Wednesdays-in-Mississippi-Film-Project/266953138296
http://jwa.org/teach/livingthelegacy
http://www.sites.si.edu/exhibitions/exhibits/freedoms_sisters/main.htm
http://www.nps.gov/mamc/index.htm
http://seesaw.typepad.com/blog/2010/04/wednesdays-in-mississippi.html
The Frozen Butcher at Essex Farmers Market. Photo Liza Cowan
The Frozen Butcher
photo Liza Cowan
Using contemporary technologies, this small, family-run, Vermont business brings their farm- raised, organic beef to local farmers markets. The refrigeration in their mobile shop, aka the truck, is powered by Solar Energy. Yes, the panels on the top of the truck are solar. So they can run all day and not burn any fuel. Cool, eh? And the meat is delicious too.
Snug Valley Farm
East Hardwick, VT
Silkscreen Mural by Iskra Collective. Maglianero Cafe, Burlington VT
Once in a while, I come across a place or an event that renews my faith in Burlington Vermont. Today, I ventured into Maglianero Cafe, which has been open for just six weeks, in one of my favorite culs-de-sac in Burlington's post industrial South End.
Housed inside of the former Burlington Wholesale Grocery building, which fronts on Maple Street, the cafe is owned by the partners at JDK, one of Burlington's most prestigious PR firms. The building also is home to the Iskra Print Collective, who made the gorgeous screenprint murals inside the cafe.
Burlington Grocery Company, Maple Street, Burlington, VT.1933, photo by L.L. McAllister.
My regular readers will know what a huge fan I am of Burlington's industrial architectural history. So you can imagine my delight in finding this old warehouse re-imagined as a cafe. The interior is large. Huge, even, with various spaces that flow into each other, yet can be separated for various large or small functions.
The bar and a portion of Maglianero Cafe, Burlington Vermont. Photo Liza Cowan.
The iced coffee was delicious and refreshing, served with style and the only kind of warmth I wanted on such a hot day, by Maggie, the barrista.
Maggie at Maglianero Cafe, Burlington Vermont
The theme of the Malianero cafe is bicycles. They have bike parking and even have showers for cycling commuters - which invokes another old passion of mine, community bath houses. (Another time, dear reader, I might post an essay I did on Bath Houses and community bathing in early 20th Century New York City)
Manager Jesse Bladyka, at Maglianero Cafe.
Silkscreen Mural (detail) by Iskra Print Collective, at Maglianero Cafe, Burlington VT. Photo Liza Cowan
Exterior of Maglianero Cafe, Burlington VT. You can still see the faded painted sign for Burlington Grocery Co.
Maglianero Cafe
47 Maple Street
Burlington VT 05401
802.861.3155
Trumpet Vine Flowers photo by Liza Cowan
photo by Liza Cowan
Farmers Markets, Burlington, VT. Community building, great food, great for the environment, supports local farmers, AND retail theater at it's best.
Farmers Market, South Burlington Vermont photo Liza Cowan
screen capture from Healthy Living Website.
Screen capture: Healthy Living/South Burlington Facebook Page
Burlington, Vermont. Farmer's Market, June 2011. Photo Liza Cowan
City Hall, Burlington Vermont. Saturday Farmer's Market. All through the summer.
Perfect Saturday morning event in Burlington Vermont. There are several excellent Farmers Markets around town, and in South Burlington and Shelburne. Each one has a micro regional flavor. But in all of them Vermont organic farmets display their produce and flowers, local small bakeries bring their breads, cookies, tarts. Organic beef, chicken, turkey, all raised practically right around the corner. Tibetan tea and momos, hand blended oils, maple syrup, wine. Home made root beer, candles. And a bit of craft, art and music in the mix. Good times.
NO Lockheed, poster, What Will Lockheed Bring, by Liza Cowan, 2011
On May 12th The New York Times ran an article about Burlington Vermont activist group, No Lockheed, and the struggle to prevent a partnership between the city and the war profiteer arms dealer Lockheed Martin.
I'm a part of the group and the story featured two of my 14 agit prop No Lockheed posters.
Burlington Vermont Community YMCA, circa 1940. Postcard.
Here's my weblog premiere. A promo for the totally wonderful Art Is My Weapon scarf by the amazing TMNK, The Me Nobody Knows. The scarf will be at SmallEquals soon, and available at the smallequals online store.
Nobody was just featured in Vibe Magazine, so get your flair and remember you saw Nobody first at Pine Street Art Works for his solo show in September 2009.
Objects To Paint, 1910 Coloring Book, The Saalfield Publishing Co. NY, Chicago
From the vaults at the Liza Cowan Ephemera Collections (formerly known as Pine Street Ephemera Collections.) A coloring book from 1910. Enjoy.
Objects To Color, detail, girls face, cover.
Fire Engine
Fire Engine, detail
Ring-Round-A Rosy. 1910, Coloring Book
Ring Round A Rosy, girl, detail, 1910
Comic Book, detail. Four Color Process. From 4cp.posterous.com a blog by Half Man Half Static
My regular readers know I've been a bit obsessed with making and or blogging about large scale reproductions of fragments from printed ephemera, particularly chromolithography, stone lithography and other early to mid 20th Century color-print processes.
Mid 20th Century Needle book. Detail. Liza Cowan ephemera collections.
I recently discovered the blog 4CP (four color process) by John Hilgart, the blogger known as HM/HS Half Man Half-Static, A Curator of lost items. (Great name, by the way.) HM/HS writes in an early early essay In Defense Of Dots: The lost Art Of Comic Books:
"Who is responsible for this art? At the level of a square inch of printed comic book, no one was the creative lead. 4CP highlights the work of arbitrary collectives that merged art and commerce, intent and accident, human and machine. A proper credit for each image would include the scriptwriter, the penciller, the inker, the color designer, the paper buyer, the print production supervisor, and the serial number of the press. Credit is due to all of them, to differing and unknowable degrees, for every square inch of every old comic. The hand of fate created this art, and it guides our hand as we search for 4CP images: We move a tiny Ouija board pointer across mid-Century comic books, looking for beautiful ghosts."
Comic Book, detail. Four Color process. From www.4cp.posterous.com
Jell-O booklet. Chromolithography. Detail. Liza Cowan ephemera collections.
"However, in the decisive, paradoxical twist, four-color process created a form of depth even as it fought against illustrative realism. Whereas contemporary reproductions of mid-century comic art are truly closed and flat, old comic books are visually leaky and deep. Four-color dots perforate the flat surface of the universe, opening onto nowhere – some uncharted cosmos."
Detail of Comic, 4 Color Process, from www.4cp.posterous.com
Early 20th Century seed packet, stone lithograph. Liza Cowan ephemera collections
Comic book detail, four color process, from www.4cp.posterous.com
Read the whole essay HERE and make sure to spend some time in the 4cp archive for amazing images and really well thought out and well written articles.
If You Are Squeamish. Rubber stamps/paint/old window. Words by Sappho, window © Liza Cowan 1999
This painting cracked and broke in 2001, during a move. I just found the only photo I took of it. I used rubber stamps for the text, and even though I used waterproof ink, I found I had to paint over the lettters with black paint. the panes are translucent, but I placed a white foam core board behind so the letters would be legible.
