“Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it…was like photographing a photograph.”

-Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey.”

Texaco Laundromonument, West Wendover, Nevada

Multimedia

14 x 30 x 40’ (approx.)

9/9/13, 5:09 pm

“TOP LOA” is emblazoned vertically in dimensional wood crimson letters on one of two yellow-beige rectangular pillars in a room filled with machinery, human figures, liquids, and fabric. This same type spells out other enigmatic messages spread throughout this interior space—“THANK YO, ”TOP LO D,” and “2 35 L B B.” West Wendover’s Texaco Laundromonument, like these messages, is at once cryptic and familiar, a zone of repetition and routine that nevertheless embodies a character all its own.

The Laundromonument’s cubic interior space is divided into three distinct sections, defined and reinforced by the two aforementioned pillars and enclosing walls, two freestanding rows of high-capacity washers and dryers, and three evenly spaced groupings of rectangular fluorescent light fixtures, whose bulbs’ inconsistent hues reveal their various vintages. The floor, like the room itself, is spatially regimented by a grid of beige tiles. These are punctuated at irregular intervals by drains, which like the doors of the washers, function as safeguards against flooding, tools for cleaning, membranes between the terrestrial and the aquatic worlds of the Laundromonument. Walls, pillars, ceiling, and floor, all hover in the same imitation vanilla tone, vibrating harshly against the red of the tables and the wooden lettering dotting the wall surfaces.

Rows and columns of mighty “SpeedQueen Drying Tumblers” and “Commercial washers” line two sidewalls and stand back to back in two rows in the center of the room. Nearly all of the machines are engaged, engorged with quarters and clothing, spinning at mechanically equal speeds. Despite their kinetic likeness, their contents differ, igniting a tension between seriality and divergence. Their tone, a grinding low bass note, causes the floor to tremble gently underfoot.

The front and back walls are each punctured by large, glass windows on either side of swinging glass doors, which look out in the front on the gas station beyond, and in the back toward the highway. Above the front door, the Laundromonument’s scarlet letters spell “THANK YO,” and over the back, they read “WELCOME,” facing off in an eternal dialogue of polite exchange. “WELCOME” is bestowed, then, upon those who exit, not to the Laundromat itself, but to the rest of their fresh-smelling lives.

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I was born in Abilene on April 27, 1981 when the bluebonnets are in full bloom, raised on the Frying Pan Ranch northwest of Amarillo, the first cattle ranch to be fenced with barbed wire. I’ve lived all over this great state of ours and currently reside in Lubbock, where I attend Texas Tech University, the same school where my mother and her father graduated and my cousin Will Rogers’ statue graces the entrance. My Grandparents, Tom and Wilma Eudy farmed, ran a ceramics shop and still live in Turkey, where my mother was the first San Antonio Rose in the annual Bob Wills day parade and Miss Hall County 1971. At 102 years of age my great grandmother, Ila Slack, is the oldest living graduate of West Texas State University, taught every subject in one room schoolhouses across the panhandle and still resides in the Timber Creek area of the Palo Duro Canyon in the house my Great Grandfather built where my grandmother is currently watching over her in her last few days with us.

My mother claims I was on a horse before I could walk, bareback with no reins, and my earliest memories are of riding with my father and mending that old barbed wire. My cousins at the C Bar C still compete in the chuck wagon cook-off at the Cowboy Symposium every year where you can hear the story of another cousin, Quanah Parker, last chief of the Comanche. I think that says a lot about who I am. Cowboy, Indian, artist, musician, rancher and farmer all in one. That’s really why I’m out here, to keep the history alive and dig a little deeper. “What greater gift can we give our children than the sense of identity, the knowledge and strength of our ancestors and the inspiration to live good lives?” I’m learning to speak the language of the Cherokee and Comanche, learning the stories of the Cowboy philosopher poets, studying the pictographs and petroglyphs. There are a lot of things left to be found. This place is a lot older than previously thought.

I can remember riding in a covered wagon at the Texas Sesquicentennial and still have the red bandana commemorating that day. I’m very honored to be able to have a voice in the Texas Biennial. It takes a special person to be a Texan, and Texas is a special place. I hope to keep that tradition going. I leave you with the words of Red Steagall:

“When my ride is over
my final race is run
plant me so I face the morning sky
let my spirit join the red tail hawk
and circle down the wind
that way I know this cowboys soul won’t die
and I saddle up my pony in the light of early dawn
and I ride the lonesome prairie till the daylight is all gone
I roll out my bed to a coyote lullaby
close my eyes and dream
beneath a wide West Texas sky.”

~Till next time, Bristen Lee Phillips

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Land Arts of the American West is participating in the TX★13 Texas Biennial by submitting special reports during our 2013 field season. Daily posts will be created by the participants from anything they are working on that day or from the past. Posts will go online when we have signal. All posts can be viewed here and from the rotation schedule below.

Ted Carey — 5 Sept 2013 — Goblin Valley
Jennifer Elsner — 6 Sept 2013 — Rozel Point
Kyle Griesmeyer — 7 Sept 2013 — Rozel Point
Bristen Lee Phillips — 8 Sept 2013 — Wendover
Jana La Brasca — 9 Sept 2013 — Wendover
Jaclyn Pryor– 10 Sept 2013 — Wendover
Ted Carey — 11 Sept 2013 — Wendover
Jennifer Elsner — 12 Sept 2013 — Wendover
Kyle Griesmeyer — 13 Sept 2013 — Wendover
Bristen Lee Phillips — 14 Sept 2013 — Wendover
Jana La Brasca — 15 Sept 2013 — Mormon Mesa
Jaclyn Pryor– 16 Sept 2013 — Mormon Mesa
Ted Carey — 17 Sept 2013 — Mormon Mesa
Jennifer Elsner — 18 Sept 2013 — Point Sublime
Kyle Griesmeyer — 19 Sept 2013 — Point Sublime
Bristen Lee Phillips — 20 Sept 2013 — Point Sublime
Jana La Brasca — 21 Sept 2013 — Cebolla Canyon
Jaclyn Pryor– 22 Sept 2013 — Jackpile Mine / Madrid
Ted Carey — 23 Sept 2013 — Lubbock

Jennifer Elsner — 2 Oct 2013 — Marfa
Kyle Griesmeyer — 3 Oct 2013 — Marfa
Bristen Lee Phillips — 4 Oct 2013 — Marfa
Jana La Brasca — 5 Oct 2013 — Marfa
Jaclyn Pryor– 6 Oct 2013 — Marfa
Ted Carey — 7 Oct 2013 — Hueco Tanks
Jennifer Elsner — 8 Oct 2013 — Hueco Tanks
Kyle Griesmeyer — 9 Oct 2013 — Cabinetlandia
Bristen Lee Phillips — 10 Oct 2013 — Cabinetlandia
Jana La Brasca — 11 Oct 2013 — Cabinetlandia
Jaclyn Pryor– 12 Oct 2013 — Cabinetlandia
Ted Carey — 13 Oct 2013 — Plains of San Agustin
Jennifer Elsner — 14 Oct 2013 — Plains of San Agustin
Kyle Griesmeyer — 15 Oct 2013 — Plains of San Agustin
Bristen Lee Phillips — 16 Oct 2013 — Plains of San Agustin
Jana La Brasca — 17 Oct 2013 — Plains of San Agustin
Jaclyn Pryor– 18 Oct 2013 — Plains of San Agustin
Ted Carey — 19 Oct 2013 — Mimbres River
Jennifer Elsner — 20 Oct 2013 — Mimbres River
Kyle Griesmeyer — 21 Oct 2013 — Mimbres River
Bristen Lee Phillips — 22 Oct 2013 — Mimbres River
Jana La Brasca — 23 Oct 2013 — Chiricahua Mountains
Jaclyn Pryor– 24 Oct 2013 — Chiricahua Mountains
Ted Carey — 25 Oct 2013 — Chiricahua Mountains
Jennifer Elsner — 26 Oct 2013 — Chiricahua Mountains
Kyle Griesmeyer — 27 Oct 2013 — Twin Buttes
Bristen Lee Phillips — 28 Oct 2013 — Twin Buttes
Jana La Brasca — 29 Oct 2013 — Lubbock

Full listing of posts at https://landarts.org/category/field-reports/2013-texas-biennial/