Marfa, Tx

On New Year's Day, everything in town is closed. I spend the day lazily at the hotel, a welcome break from many
weeks on the road. One of the most important forces in Marfa is the legacy of the late Donald Judd and the Chinati
Foundation. The following day, I resolve to take in some of the local culture.

The Chinati Foundation is the deeply-pocketed endowment which continues the Judd tradition of providing permanent
exhibition space to artists. The foundation administers tours of work by Donald Judd, Dan Flavin, John Chamberlain,
Richard Long, Claes Oldenburg, Roni Horn, and other art world heavies.

This building was once an internment camp for German prisoners of war. Now, it houses an exquisite collection of
aluminum boxes by Donald Judd.

You've been warned!

The exhibition begins humbly, in a small room with four, exquisite works in metal.

But once one leaves this room, and emerges in a vast space filled with luminous sculpture, all pretense of humility
vanishes.

For someone who had only seen Judd's work in a museum, and not been particularly fond of it, the art is a revelation.
My views on the artist are turned on their head. The sculptures are of the highest order.

Some prisoner instruction has been allowed to remain, an unintended irony in this well
regulated museum. A serious problem with viewing art today, particularly sculpture, is
the mania for preservation enforced on patrons by most modern galleries. Chinati is no
different. In fact, my guide stated that according to Judd's wishes, it was one of the foun-
dation's aims to preserve the work "permanently". A nice idea, I guess, but an impossible
one nevertheless. For the sake of the illusion of permanency, visitors are hustled through
the room under the watchful eye of some young hipster who, in my case, made no secret
of her disdain for the whole affair. It is a bit of a crime not to be allowed to spend more time
with the work, or to view it alone. After a scant 20 minutes, I am ushered outside, where
I'm given another 20 minutes to tour the rest of the grounds.

Across a vast field of grass, one encounters another major installation by Judd,

which consists of poured concrete forms arranged in a grassy field.

The severity of the geometry of the sculpture is softened by the protean elements of the sky and the surrounding
grasslands....

...while each step forward reveals unexpected visual pleasures.

I think that allowing someone to look at but not touch sculpture is akin to holding a plate of food beneath the nose
of a starving person. I run my hands across the rough concrete.

Again, the unpredictable surfaces of the sculptures soften their conceptual rigidity,

...as do biological processes, such as the residue of dripping water on the back surface of this construction. About
two-thirds of the way along my tour of the piece, a foundation employee informs me that the facility is closing. One
hour before sunset? What a spectacle these things must be under a setting sun.

I hop in Brünhilde and head into town to peer through the window of another Chinati building not featured on my "tour".

Inside are several nice Chamberlain sculptures.

Just past the gallery, I stumble upon the Marfa Theater.

The space tastefully retains much of its distressed character.

Beyond the theater is Godbold, Inc.,

a mill serving the large ranching presence in the Marfa area.

Another vehicle of noteworthy dereliction.

It's a beautiful paint job.

Other examples of metal in distress can be found on the water tanks of Godbold, Inc.

It's been a long afternoon, so I take a break at Padre's.

Inside, it's classic Texas.

Lone Star and pool. Or in my case, Shiner.

I watch the sinking sun, thinking about the brilliant artwork I've just seen, eating a burger.

After lunch and a few drinks, I continue my tour.

Beside this innocuous building,

I discover another ghost of Judd. A true pioneer, Judd came to Marfa in the 70's and began buying up real estate,
some of which he used as studio space.

One of several of Donald Judd's studios in Marfa, Tx. After the walk, I take the bike east, along Highway 90. A mile
out of town, I encounter a small herd of Pronghorn.

Noticing me, they head off into the distant plain.

30 miles to the west, near Valentine, Tx, is Prada, Marfa.

Prada Marfa is a site-specific installation, underwritten by Ballroom Marfa. When it was first constructed, the work 

was graffitied, shot, and some of its shoes were stolen. These days, the bottoms of the shoes and handbags have 

been removed, and motion detectors installed. The bullet holes remain.

The price of business in West Texas: dust and tumbleweeds.

The ride back to Marfa takes about 20 minutes. As I pull in to the hotel, I realize that 

I really like it here.

Marfa, Tx

Just past Fort Davis I receive my second speeding ticket of the trip, this time for doing 87 in a 70. I negotiate the
ticket down to 85 which saves me $40. Pulling into Marfa, the sun is setting. It's New Year's Eve and freezing
when I check in at the Hotel Paisano.

Luckily, there's a fire going in the courtyard beside the fountain. I take an immediate liking to the place.

After putting my luggage in a comfortable room, I order an Oban and retire to the fire. Soon, I'm joined by my friend
from New York and some guests of the hotel. In the end twenty of us ring in the New Year with whiskey and cham-
pagne. I make a few friends and possibly one enemy as well. The next morning I explore the town.

On first appearances, with only a population of 2100 people, the town can seem quiet.

But Marfa doesn't reveal all of its secrets at once. The Masonic Temple, across the street from the Hotel Paisano.

The conveyance of choice...

...parked beside an aged Coca-Cola sign.

The view facing east.

The name Judd echos through the streets of Marfa. Clarence Judd Architectural...

...shares a building with Quintana's Barber Shop.

Crossing the tracks in Marfa, Tx.

Much sophistication of design exists in present day Marfa. I take some in at the Austin St. Cafe, where I have lunch.

The entryway to the cafe,

and one of the dining rooms.

The food was as delicious as the decor, and the hospitality was equally excellent. The

proprietors, Jack and Lisa, open the cafe just one day a month. It's a pretty good schedule

if you can manage it. After lunch, a nap at the hotel was in order.

It's a short walk, past the Presidio County Courthouse,

to a city landmark, the historic Hotel Paisano.

Position "A1".

All roads lead to the courtyard of the Hotel Paisano.

For much of its history it was known as the only fine hotel between San Antonio and El Paso.

Many distinguished guests have lodged at the hotel, including James Dean, Elizabeth
Taylor, and Rock Hudson, all of whom stayed here during the filming of Giant. More
recently, both "No Country for Old Men" and "There Will Be Blood" were filmed in Marfa.

After a lazy day with no riding to speak of, I have dinner at the Jett, then retire to the fire for a drink.