INK MAGAZINE - JANUARY 2024 by Ink Publications

A Guide to Finer Living in Connecticut & Abroad JANUARY 2024

Vol 19 Issue 216 inkct.com

JANUARY 2024

Vol. 19 Issue 216

Feature Stories

Departments

The Artful Bookbinder

Lidija Petrus

Mindful Beauty

Sculpter

Robert Meyer

Metal, Earth & Time

New Haven

Yale Peabody Museum

Brilliantly-Reimagined

26 42

What’s Greg Drinking? - Fox Farm ANNATA. Crusty Old Diver - Tumbling Rocks

"In this life we cannot do great things. We can only do small things with great love." - Mother Teresa Happy New Year 2024! Well, that was a quick trip around the sun. Is it just me or... I kind of doubt that. It’s everybody right? Maybe this seeming compression of time is a result of someone leaving me a voicemail regarding a text that they had sent about an email? Is hyper-convenience getting you down yet? When I was growing up the grown-ups always talked about the cool flying cars we would have and a 20-hour work week to explore our minds creative potential. This positive technology would accentuate our lives and our countless “mundainities” would all take on the shape of a Roomba. The troublesome aspects of day-to-day would just melt away. No more of the repetitive tasks that could be perceived by the human brain as “a drag.” I’m no Luddite, there are many things require automation just maybe not toothbrushes or writing your college thesis? Now, with all the time saved by never needing to set a thermostat or eliminating the hassle of turning lights on and off, one can fend off and block all the robo-calls on your cell while you are at dinner. (Probably to sell you a Roomba.) It would leave one to wonder if all the pesky day-to-day aspects of life were just actually living a life? I started off this writing by looking for famous inspirational quotes. The entire first two pages of my Google search rendered AI generated nonsense. Did great people with great minds exist? Hoard actual books while you are able, they might come in handy. Printed material stands the test of time! Jeffery Lilly

Contributors

founder / publisher

Susan Cornell’s

Laurencia Ciprus - editorial

Carolina Marquez-Sterling - design

Susan Cornell- editorial

Gregory Post - editorial

A Trip Planned over a Lifetime

Sara Drought-Nebel - editorial

John Tolmie - editorial

Rona Mann - editorial

Jan Tormay - editorial

Epic adVANture

Advertising

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Rona Mann - Greater Connecticut six07co@att.net - 401-539-7762 Richard Malinsky - Shoreline richard@inkct.com - 215.704.9273

On the Cover: Robert Meyer, No.14 Steel, Aluminum

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All content of INK Publications including but not limited to text, photos, graphics and layout are copyrighted by Inkct LLC. Reproductions without the permission of the publisher are prohibited. Inkct LLC is not responsible for images or graphics submitted for editorial or by advertisers which are not copyrighted or released for use in this publication.

Inkct LLC - 314 Flat Rock Place Unit F125, Westbrook, CT 06498 - email: submissions@ink-pub.com - visit www.inkct.com No.14 Steel, Aluminum, Automobile Paint, Powder Coated Sphere. 30"H 30"W 11"D. 2022

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Norma Morgan in Context Norma Morgan, Moor Country–Nantucket Island, Massachusetts, 2001, watercolor on paper. The Michael K. and Marian E. Butler Collection.

January 13 – April 7, 2024

Celebrating the work of this Connecticut-born artist, this exhibition considers her dynamic and complex identity as a Black female landscape artist and printmaker working at home and abroad.

Lyman Allyn A R T

M U S E U M

Celebrating the power of art since 1932

625 Williams Street New London, CT lymanallyn.org Exit 83 off I-95

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hen visual artists and writers ho old Lidija Petrus’ beautifully bound d books with pleasing fabric coveerings and disstinctive paperr,, she hopes it willl p e them. inspir As owner of Artful Bookbinder in Glastonbury y,, Connecticut for the last 20 years, Petrus features watercolorr,, ink, charcoal, and pencil sketch books, as well as writing/journaling books and photo albums – all in various sizes. The bookbinding art form, originally designed to protect manuscripts, was really starting to get lost in the twentieth century y,, Petrus said during a telephone interview from her home studio. “The artists were getting older; people were really going for paperbacks…There were fewer and fewer individuals that were going into bookbinding or retaining it. And then there was like a spark. Now I don't know if the Internet did that,” with YouT Yo Tu ube videos. New how-to books and workshops also helped revive the art, she believes. Bookbinding evolved from the 2nd century BCE, when “Hindi scribes began etching religious texts into palm leaves

and binding them togeether with twine between two boards to o form a rudimentary book-like structure” to o protect them from the sun and environmeent, states scarc. library y..oregonstate.edu u. “Buddhist monks y g quickly realized the value of the process and, upon adopting it, became instrumental in introducing it to the Middle East and Eastern Asia. “The art really took off in the Middle Ages when Egyptian bookbinders started to bind papyrus sheets together to create a scroll,” according to bookjelly y..com. THE PROCESS Bookbinding is a four-to-five day process for Petrus. As an example, she described creating a simple 8x8-inch watercolor sketchbook. (The design of the material she has often determines its size, because “you want to catch specific flowers or the difffferent designs” on the front, back and spine.) Petrus cuts the book board and chooses the paper for the watercolor artwork. “And then I start building the book block, which is basically just cutting all the watercolor paper to size” and working with the grain. “If you're working against the grain, the book may not lay straight, may start warping a little bit.”

Next, she starts sewing with linen thread utilizing one of numerous binding styles (Coptic, Long Stitch, Case, Secret Belgian or Japanese Stab), which partially depends on the book’s size. The book is then placed in a machine press, as “the compression tightens up the pages.” Finally, the pieces are glued together. Interior boxes/dust-free sleeves are also added to hold items. “Some bookbinders have a preference for utilizing only book cloth as coverings, while others favor a combination of book cloth and paper,” said Petrus, who opts for the latter. She elects to only work with high-quality materials such as Japanese-and-Italian book

cloths, Italian-and-Japanese decorative papers and Irish-linen thread to bind her books. Companies topping her list for preferred watercolor and all-media papers are Hahnemuehle of Germany, Arches of France, Lana Artist Papers and Stonehenge. Once the components all come together – purpose, design, textures, weight and colors, Petrus said it all falls into place. “Bookbinding takes time if you want to really do it correctly and that's what the art of it is. It teaches you to slow down. It teaches you to think about things.” If customers need a book quicker, she can use thread or ribbon to bind it – without glue. Petrus accommodates

custom orders and will try to work with specific fabrics and materials given to her as long as they have the appropriate textures and are not too thick. Once one learns the steps involved in bookbinding and the correct structure, Petrus said it becomes much easier. What you do with it afterwards, "becomes your piece, your style of bookbinding." She emphasized it’s really important to have the correct tools. Above Clockwise: A Row of Sketchbooks, Rolls of Fabric Used for Book cloths. Pictured with an Italian Crafted Pair of Scissors, Bookbinding Tool Kit Cigar Box Option for Kit. Opposite Page: Italian Papers Organized on a Paper Rack, Components and Tools in the Making of Books Fabric, Linen Book Cloth, Book Board and Bookbinding Tools, Sketchbooks Galore-A Variety Sizes, Fabrics and Paper.

HAPPY ACCIDENT Petrus' bookbinding-and-box business came about by chance after taking a calligraphy class years ago. She and her classmates were required to create a simple book to put their work in as their last assignment. “This art form of cutting paper and material was just fascinating. I loved the different materials. I love all different types of paper, the quality.”

DECORATIVE BOXES Petrus also creates unique boxes in different sizes to hold mementoes, cards and photos. A popular box design is the Concertina or accordion, she said, “which is basically folding paper and placing a book board on each end.” Petrus offers a bridal line with linen inside. "It's very simple, very nice and the ribbon that's tied around it is a light pink-apricot type of thing that brides really like." Her 13x9-inch album boxes (that open two different ways) make beautiful coffee-table displays. Many people are starting to go back to creating family albums by downloading pictures off their phones, Petrus said.

Through trial and error, tearing apart old books to see how they were constructed, researching, buying materials through catalogs and networking, Petrus slowly taught herself the art of bookbinding. Soon, she was teaching classes at libraries throughout the State of Connecticut – until their funding was cut. Petrus then went on to teach classes at her photography studio in Glastonbury until she closed it. Now, Petrus teaches Bookbinding Workshops online via pre-recorded videos and Zoom classes. Petrus said bookbinding has become very popular and individuals want to learn how to do it. “People want to take the workshops to learn all the different types of binding styles.” Fortunately, bookbinding materials are much easier to find now because of Amazon and the many companies that sell everything.

Many times people must first overcome the idea that they’re not creative, she said. “Everyone is creative. It just somehow got knocked out of us when we were young.” Petrus said she continues to learn from other book artists’ amazing works of art, "because the craft is not limited. You can take it to such high levels. That's what I like about it." Born in Caracas, Venezuela to Lithuanian parents, she, her sister (Vy) and her parents migrated to the United States and settled in Hartford, Connecticut when Lidija was five years old. Later, the bookbinder moved to Glastonbury. In addition to selling books and boxes, Petrus’ website features a variety of paper, cloths and tools to make your own creations, as well as fountain/cartridge pens, different inks and stationery, pocket notebooks with alternative leather coverings, Sigikid stuffed animals and inspirational books and cards.

"I'm a big advocate on being positive,” Petrus said. Petrus’ “extremely well-thought out and well-constructed” sketch/painting books and journals make wonderful gifts that enhance people's lives and bring out the best in them, said Barry Ford, co-owner of The Red House Cultural Arts Center at 22 Darling Rd. in Salem, Connecticut, which features these items. The fine art gallery and gift shop only carries handmade products “with an artistic flair” by Connecticut artisans. “The papers that she chooses are very high quality for artists to use…and they're artistically designed, so it was a no brainer for us to carry her products,” said Ford, a former bookbinder. Lidija Petrus was featured with a cat-themed book cover in Catster Magazine in its November/December 2023 issue. For more information about products and upcoming online workshops, go to artfulbookbinder.com or email Lidija Petrus at artist@ artfulbookbinder.com.

Above Clockwise: Material Section of Studio, Art of Handwritten Note-Book by Margaret Shepherd, Along with Italian Stationery, Pilot Fountain Pen with Japanese Ink, Bookbinding-Three Different Binding Styles.

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SHOP 50+ LUXURY DESIGNERS UNDER ONE ROOF

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OUR STORY LIVES ON... Experience the world’s largest Native American Museum and discover the story of the Pequot people, their connection to their environment, hardships and their resurgence.

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2 Forms w/Sphere no.10 Steel, Aluminum Sphere. 25"H 21"W 7"D. 2020

s I walked across the yard toward Robert's studio, the first one to greet me was a cat. A handsome, sleek, black and white feline approached me and kindly escorted me to the studio. He laid down next to the first sculpture I saw in the yard, a rusted, wavy metal rectangular piece atop a white block base like the cat was calling attention. Warm yellow afternoon early autumn sun shone on the doorway as Robert stepped out. After introducing ourselves, I asked about a sculpture next to the entrance—an angular, rusted metal box with a sphere on a tall, rounded black pedestal. Robert also pointed to the ground near it, to other rusted spheres, one small and a larger one, maybe in the sculpture's orbit. Robert said they were not related to the sculpture. He just left them outside to rust! "The sculpture originally had a chemical patina and wax finish for indoor exhibiting. But I wanted to show it outdoors, so I let nature take its course. Because of the existing finish, the rusting creates wonderfully unexpected steel patterns." As we entered the open doors of his studio, Robert began to explain how this had come to be his studio. His partner is realtor and equestrian Judy Danneman. This building used to be a horse barn for many years. Robert showed me how he completely rebuilt it to make it the light-filled, honoring its past structure I see now. I tried to see if I could still smell the hay while listening to the music playing as we talked. The building echoes his work: earthy hay and burlap, rounded horse memories, angular white walls.

newspaper with his picture at age 8, sculpting a "Papier Mache Anamule." He was fortunate to attend school in a district that embraced the arts. He took a course in the Arts and Western Man in his senior year. They took a trip to NYC to the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum, and many smaller museums as part of the class. They went to musicals like Bye Bye Birdie and saw one of the last operas at the original Metropolitan Opera House before it was torn down. Robert played the drums in bands throughout his high school and college days. Robert's first stop after high school was the University of Denver, where he pursued a degree in marketing. That did not hold his interest for long, and he transferred to the University of Colorado to focus on art and architecture. While finishing his last semester at Denver, he took a three-dimensional design class. He created his first actual sculpture, which won a competition and was enlarged to be included in a sculpture exhibit over the summer. "I still have the maquette for that first sculpture!" he says. Robert received a Bachelor of Fine Arts degree from the University of Colorado and a Master of Fine Arts from Rochester Institute of Technology.

He began his professional career as a designer, eventually starting his practice, Meyer Design Associates, in Wilton, CT, creating award-winning reports and communications for Fortune 500 companies throughout the Northeast, Florida, and Chicago. Robert continued to sculpt and create art during this time. In 1998, he decided to leave his 27-year career in graphic design behind and moved to Pietrasanta, Italy, to study marble carving at Studio Sem. Upon returning from Italy, Robert was Buddy the cat on his pedestal. awarded the first of four commissions Robert Meyer's artistry began to take shape as a small for Quinnipiac University, a new ceremonial mace and boy. He is the middle child, with an older brother and presentation pedestal. younger sister. Art and music were a big part of his life growing up. His dad was a salesman for Hallmark His work is in the collection of the Memorial Art Gallery Cards. He was also an artist and musician who played in Rochester. He is a past Trustee of the Silvermine Art the trumpet and drums and was a great singer. His Center and was juried into the Silvermine Guild of Artists mother was the administrator at an art museum, the in New Canaan, CT, in 1992. He is a Founding Member Memorial Art Gallery in Rochester, NY. Robert took of the Katharine Hepburn Cultural Arts Center in Old art classes there as a child. He was featured in the local Saybrook, CT.

2 Forms no.7 Cast Bronze. 10"H 22"W 7"D. 2001, Cast 2002 Private Collection Referenced in text: Woman at Opening - " How calm it made her feel."

Back to the cat, he does have a name, but Robert calls him Buddy. While talking, Buddy was lounging in the sun on a cloth-covered pedestal inside the studio doorway, obviously a favorite sunbathing location. Buddy escorted me to Robert's studio and seemed to know I was a welcome visitor. So, halfway into our interview, I noticed that Buddy was no longer on the pedestal. He was sitting, tall and proud, on the floor next to it. I saw something on the floor near my feet. "Is that a toy mouse?" I asked Robert. He looked down and said, "No…… not a toy mouse!" As he got up, the little field mouse walked a few inches toward the door. Buddy did not move.

2 Forms no.1 Cast Bronze. 8"H 12"W 2"D. 1999, Cast 2000 Collection of Memorial Art Gallery

Robert got a flat tool off the wall, gently scooped up the little mouse, took him outside, and put him on the ground. Buddy still did not move, and the mouse scurried away in the grass. Buddy nonchalantly got back up on the pedestal for the last moving sunlight. A gift, maybe? As Robert put the mouse removal tool back on the wall, I saw the artistic design painted on it. "I paint on everything." He said. "If it is going to be on the wall, whether

23 it is a tool, a plaster hawk, or a piece of art, it is going to have good design!" And all things in the studio have a good design. Whether simple and purposeful or art meant for viewing, everything in the building is by design. He has been here for seven years and has devoted his energy full-time to his fine art since 1998. "I keep a large bin of leftover EPS foam pieces that I rummage through occasionally. I often find forms that interest me. The joy is in playing with them and modifying them. Moving them around until the pieces fit. This process can be so satisfying once I know I have the bones for a good sculpture; I sometimes move on to other ideas scrolling through my head that I need to explore, knowing I will return to finish it later. In this case, I roughed out this sculpture in 2017 and didn't return to it until 2023." − robertmeyersculptor.com Robert loves the personal reaction he gets when a viewer tells him how a sculpture affected them. "I once noticed at an opening that a young woman was sitting in front of one of my sculptures for a long time. When I walked over to introduce myself, she said she loved how calm it made her feel. Perfect. But if someone reacts differently to my sculpture, that's fine, too. That is the way it is supposed to work."

Intersecting Forms w/Sphere no.1 Steel. 34"H 5"W 9"D 2006 Private Collection

Hearing Robert talk about his creations was fascinating as we walked around the studio and yard. However, he hesitates when I ask him about titles or meanings. "I don't so much title my sculpture as identify them. I don't want to get between the viewer and the piece." He says. "I want them to react organically and without influence. I want the sculpture and the viewer to have their relationship." But he loves to talk about the materials he uses, textures, rust, and color. EPS foam, layers of joint compound, fabric, paint, polished aluminum, wood, and steel. Contrast in texture and shape. Everything is intuitive. Though Robert knows where he is going with a sculpture when he starts it, he enjoys the improvisational aspect of creation—adding this, changing that, and embracing the unexpected. He will leave metal outside covered in leaves to encourage his beloved rust (or "time") patina. Fabric, linen, laid onto a sculpture, painted, sanded even. Layers. Then the sphere…. He hesitates and seems to take a breath when looking at the sphere in one of his sculptures. "The sphere adds calm. Balance too, but essentially calm." As I write this, things occur to me. Compelling artists do not overthink things. They work on intuition and feeling. No.14 Steel, Aluminum, Automobile Paint, Powder Coated Sphere. 30"H 30"W 11"D. 2022

3 Forms w/Sphere no.4: Arch II EPS Foam, Cherry Wood, Plaster, Marble, Burlap. 22"H 19"W 5.5"D. 2022

3 Forms w/Sphere no.5 EPS Foam, Plaster, Burlap, Aluminum Sphere, Acrylic Paint. 28"H 24"W 6"D. 2023

2 Forms w/Sphere no.4 Steel. 132"H. 2003

3 Forms w/Disc EPS Foam, Plaster, Canvas, Wood, Steel, Acrylic Paint. 28"H 24"W 6"D. 2023

Sculptor Robert Meyer in his Studio

I look out my window at the rock ledge behind my house. Earthy green moss and brown stain down the side as though poured by the passage of time. I think of Robert's solid, rusted rectangles and boxes. Earth's natural rock ledges. And man's buildings. Houses, tall skyscrapers, roads, train tracks. Movement. Struggle. Work. Creation. Decay. The angular shapes in architecture. The sphere that he adds and says is "calming." The earth itself is timeless. Infinite. Home. The sphere in Robert's sculpture is often reflective, a mirror reflecting the viewer, the shapes and light around it, like the moon. Sometimes mat, absorbing light, emotion maybe, absorbing energy. Creating calm in its infinite nature, regardless of the material or whether it is reflective or absorbing. The philosophy of shape and aesthetic of design are his signature elements. And what it is to be human—a creator, artist, and observer of the human condition on a rotating sphere. It is very freeing to be told by the artist that he does not want to get between the art and the viewer. When I was free to have my relationship with his sculptures, a wonderful exploration and adventure of thought opened up. Seek out Robert's work, and you will have a great adventure, too.

Robert's studio is open by appointment. He is very active in the local arts scene, and his work can be seen at robertmeyersculptor.com. His email is rmsculptor7@ gmail.com Buddy the Studio Cat

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Concurrent Shows: CONGRATULATI TIONS New TALGIA w Elected Artist Memberrs and NOSTA

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www.L LyymeArtAssociation.org 90 Lyyme St., Old LLyyme CT 06371 Gallery Hours: Wednesday–Sunday 10 am–5 pm or by Appointment

Presenting Sponsor

Art:: Susanna DalPonte, On the Edge, pastel; Paul Loescherr,, Waiting for the Evening Train, watercolor; Isabel Lane, Snow Glow, oil.

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In the case of the birth of our second child, this is a literal and figurative expression. I am writing this article only too aware of how lucky and blessed we are to have made it to the finish line. The journey of bringing a human into the world is a daunting one in the best of circumstances. Even factoring in some unforeseen postpartum treatments, we got everyone home happy and healthy. The South County Center for Women’s Health is where both of our little ones came into the world, and enough praise could never be enough to properly show our gratitude for their efforts. From Mystic where we live, it is well worth the 90 mph jaunt down Route 1 in Rhode Island! For this New Year, we are celebrating the culmination of months of patience with a well-earned reward in the form of a farmhouse ale from one of Connecticut’s premier breweries, Fox Farm in Salem, Connecticut. Annata is a unique fusion of art and science in a glass, combining heaping clusters of St. Croix grapes from their Music Valley Road family vineyard with a house yeast culture. The resulting beverage is bright and light, the perfect balance of tart fruit and light white bubbles. This particular bottle was presented as a gift by Kelly Lucas to commemorate the aforementioned birth of the baby boy who has blessed our house. Kelly is a real estate broker for Re/Max Legends in Waterford. She is also a person who, like me, has traveled the craft beverage industry in Connecticut from breweries to vineyards, both socially and professionally. If you need insight into the fierce coastal home ownership market or a good pairing for tacos, she is your gal. Back to the blended bottle in question. This beer has a lot that has to go right before it is ready to make your holiday a little merrier. For one thing, unlike most beers you will sip on throughout the year, the success of a grape harvest is a major factor in what is even possible for this style of libation. If Fox Farms has a down year, with low yield and or quantity of these local grapes to add to the mix, the options are limited. It would mean either scuttling the program for that season or sourcing grapes from a different vineyard which almost defeats the purpose of this particular beverage in general. After the grapes are secured and crushed, there is the question of the house yeast rising to the occasion, pun very much intended. With this many variables to work around, it is no

wonder only the breweries of a certain stature take on the challenge of crafting something unique to the grounds and grains at their disposal. To that effect: Annata, which translates to ‘vintage’, will not be released next year. The early frost in 2023 dealt a devastating blow to many of the state’s vineyards, coastal and inland alike. As a result of that frosty spring day, the white and red grape program that Fox Farm utilizes was pulled and not in the fun harvest sense. I consider it a credit to the seriousness of their dedication to their craft that they did not choose to find alternative sourcing. Their motto is “From the soil come the spoils,” which is clearly something that is undeniable when reflecting upon the amazing diversity of their offerings. Whether it is juicy and hazy ipas, crisp and clean pilsners, or robust porters and stouts, Fox Farm does not miss or disappoint. They are often regarded as one of the best breweries in the state, and that sentiment is as sound as the beers themselves. The tasting room has all the best New England vibes with farmhouse warmth from the repurposed barn space. On-premise or to-go, you owe yourself a trip to Salem. The fact that the beer that I am savoring while writing this will not be available next year due to factors that are so largely out of their control really hits home with me as I soak up the precious first few weeks we are spending together as a family of four. There was a seemingly endless litany going on in my mind during the entire pregnancy. Supplications to take care of my wife and best friend, while pleading for the health and safety of the child to be. Hoping to control something so completely out of grasp. The helplessness of that station in life really drives home the appreciation when you get everything you ask for delivered. How very lucky, how incredibly blessed. No gift could ever be greater than this miracle I am privileged to witness. The world around us is chaotic at times, so savoring every moment of peace and joy is essential to the human experience. I hope that for the New Year you focus less on resolutions that you will feel guilty about abandoning, perhaps instead resolving to be more present and grateful for every single moment. There is no better way to start another trip around the sun. Happy New Year from Ink Publications.

By Laurenccia Ciprus Photograp phs Courtesy of Yaale Peabody y Museum & Centerbrook Arrchitects

T THE YAL LE PEAB BODY MU USEUM:

ark Simon, FAIA, Principal – Centerbrook Architects, painstakingly struck a fine balance between functional access, historical timelines, and sustained legacy when his firm took on a landmark renovation of Yale Peabody Museum. This milestone endeavor – with initial planning beginning in 2006 – is scheduled for a public opening in early 2024. The institution has expanded in a series of growth stages and iterations over the past 150+ years, as an essential cornerstone to the global scientific community, Yale University academics, and the New Haven Community. Once completed, this brilliantly reimagined repository for irreplaceable artifacts of the natural world will reflect both the original intention of the museum as an educational center for both private and public access, while preserving its original legacy for future patrons. The genesis of Yale Peabody Museum mirrors the first pioneering explorations into the world of natural science. A whip smart O.C. Marsh entered Yale in 1856 with unbridled zeal for this unexplored discipline, and convinces his financier uncle, George Peabody to deed him a gift of $150,000. This molecule of an idea was how the Peabody Museum evolved into a legendary institution. Constructed between 1866 and 1876 as the cornerstone of Elm and High Streets in New Haven, Yale Peabody Museum of Natural History continues to hold sway as one of the most significant repositories of specimens from the natural world – with over 14 million essential objects within ten collections – and as a constantly evolving center for educational

excellence in the allied disciplines. O.C. Marsh’s fascination for fossils added an essential component to this odyssey, calling the scientist westward on early digging expeditions. In healthy competition with fellow paleontologist Edward Cope, Marsh is credited with identifying and naming Brontosaurus, Stegosaurus, and Triceratops, pioneering the discipline of Vertebrate Paleontology, and supplying Yale Peabody Museum with the foundation of their vast collection, which currently numbers 80,000+ cataloged specimens. As the original plans for the first museum were far more ambitious than what was built, Yale Peabody Museum expanded its footprint within a second phase expansion post World War One – at last providing a home for Marsh’s iconic Brontosaurus, plus additional artifacts which had been previously in storage for years. Another significant milestone on the Peabody’s evolutionary timeline was in 1931, with the installation of The Age of Reptiles – a stunningly intricate 110 foot-long by 55-feet wide mural – illustrating evolutionary life. Created by Artist Rudolph F. Zallinger – then a Senior in the School of Fine Art – the Zallinger mural spans 362 million years of catalogued life; winning the artist a Pulitzer Fellowship of art. These images became indelible memories for countless visitors, with the museum a destination for thousands. A trip to Yale Peabody has been a rite of passage for regional school children and a first inspiration for countless academics to pursue the

Rudolph can be seen sketching the mural on the right opposite the Brontosaurus. The public’s perspective of dinosaurs was greatly impacted by Rudolf Zallinger’s 1947 fresco painting at Yale Peobody Museum, which was included in Life Magazine’s “The World We Live In” series and eventually released as a book.

fields of natural science. Mark Simon reflected, “Fifty percent of the parents of Yale students fondly remember visiting the museum over the years. In contrast, during our planning and assessments, we realized that less than fifty percent of Yale students themselves had toured the existing facility. It is a critical goal to bring the museum to more patrons.” Indeed, access became a major driver in master planning the project – with even greater emphasis now that admission is permanently free to the public. This is thanks to a $160 million lead gift from alumnus Edward Bass, with his gift providing the initial funding for the renovation. Overall goals included: • Doubling existing exhibition space. • Increasing comprehensive collection storage and access for both students and researchers. • A major effort to expand educational opportuni ties for public programming with the addition of a study gallery and additional classrooms. The community contributed its signature to the project, with ten percent of the wall notes for the exhibitions written by local community members. Physical access has also been improved, with every detail factored in. The main entrance and lobby are brighter and better equipped to accommodate patrons. Improvements and upgrades include four new entrances – with a dedicated portal for school buses and safer crossing patterning from parking areas. Handicapped accessibility is increased as well. There is better circulation around the exhibition spaces. Every demographic has been brought into the conversation by adding two large elevators, quiet areas, state-of-the-art inclusive restrooms, wellness spaces, and water fountains. Multi-lingual interactive features within exhibitions assisted listening devices are available, and ample seating accommodations are added within each exhibition space. The effect in the soaring state-of-the-art Central Gallery is stunning. Refreshed and reimagined, the existing collection on dis-

play and new surprises are presented majestically in this contemporary and well-lit space. The preservation of existing elements of millwork and architectural details are thoughtfully integrated into this unique footprint, along with innovatively designed exhibition cabinetry. The added space affords additional specimens to marry into the mix. One standout is Poposaurus – discovered in Utah at the turn of this century – an early crocodilian species. Its discovery links the creature to a fascinating timeline when dinosaurs and crocodile ancestors roamed the earth during the Triassic Period. Familiar faces from the museum were refreshed and brought into alignment with the latest research and technologies. Brontosaurus the actual physical holotype – the original example of the species in existence, which has graced the main exhibition hall for decades – received an updated look. When the museum was painstakingly disassembled for the renovation, nine dinosaurs, including Brontosaurus and Stegosaurus, were shipped to Research Castings (RCI) in Ontario, CA, in late 2019. As the world experts in restoring and replicating dinosaur bones for exhibitions, RCI reworked and revitalized Brontosaurus. The tail was remounted, ribs were aligned, and several vertebrae were added. Safely back in New Haven, the creature is seemingly reanimated, with an elevated tail that now soars in Burke Hall of Dinosaurs – a stunning statement backdropped by the Zallinger mural. The mural is now freshly cleaned and vibrant, with restoration and cleaning painstakingly completed under the intrepid direction of conservator Mariana Di Giacomo. The public now has a better overall view of many other beloved exhibitions. Experienc-

39 ing the Irish elk and the Otisville Mastodon at a more accessible eye level brings their collective sense of movement and scale to greater appreciation. Again, thanks to the technical genius of RCI in Canada, both creatures were cleaned, remounted, and repositioned with dramatic results. Sustainability was another critical component addressed in this project. The introduction of living plants is now part of the interior landscape in the Central Gallery for the first time. Thanks to a generous contribution from the Marsh Botanical Gardens, specimens such as thick-trunked cycad – which remain unchanged over thousands of years – lend context to the dinosaurs’ narrative – such as the Tylosaurus and Archelon in hot pursuit just skimming the vegetation in vignette. Water consumption was an additional factor, with rainwater systems that allow water to be added to the ground versus runoff. There is a 50% reduction in energy consumption, improved insulation, and an upgraded heating system for recycling waste heat. Low-toxicity materials and coatings were utilized on the project, plus increased natural lighting, and LED lighting was introduced wherever possible. Connectivity between past and present has been addressed innovatively, with many deft surprises woven into the new experience. These range from small to colossal. Local New Haven architect and internationally renowned artist Mohamad Hafez installed a piece entitled “Eternal Cities,” to enhance the

museum’s Babylonian collection. 3D-printed replicas of ancient Babylonian artifacts comingle within the piece, with Hafez deftly creating a historic timeline between ancient Mesopotamia and present-day Syria. One a much larger scale, achieving a connectivity to Peabody Museum’s vast collections has presented ongoing challenges to both students and scholars. The issue has now been addressed. The West Campus with 20,000 square feet of expanded storage space now provides a permanent facility for the museum’s anthropology and natural science collections to facilitate study and research within a comprehensively vast climate-controlled space. There were also accommodations made for 17,000 archival records, with everything from field notes and photographs to ephemera, and books contributed by Yale Peabody affiliated researchers since the date of the institution’s inception. Many of these irreplaceable artifacts which are now housed in easily accessible and well catalogued high-density shelving, have been out of reach to date; scattered over multiple locations. This long-term endeavor to achieve open accessibility, opens opportunities for deeper investigation and inquiry in an unprecedented way for current and future generations. Follow the project and plan your 2024 visit to Yale Peabody Museum at Peabody Evolved: https://peabodyevolved.yale.edu

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or my entire life, every time I’ve seen an RV on the road, I’ve said I want to try that, go cross country, and visit our national parks and historic sites. Someday, but “someday” is not like Sunday or Monday. “Someday” never happens unless you make it happen. There was international travel as the years passed, but we overlooked the US. My husband and I have never camped. Sure, there was pitching a tent in the backyard with the kids where we could opt out. And, there were sailing vacations which, as we discovered, were remarkably similar to RVing, but the summer of 2023 was the year to hit the road with a 33-day cross-country adventure.

This three-part feature will cover: 1.What one needs to know to plan such an adventure. 2.The first half is the northern portion of the loop (Connecticut to Wyoming). 3.The second half is the southern part (Utah to Connecticut). But how to begin? We weren’t ready to plunk down well over $100,000 for a smaller RV, mainly because who knew if we’d enjoy this new lifestyle. Instead, we rented. Many companies do so. Some rent their vehicles (Cruise America and Escape Campervans, for example), and those rent owned RVs, much like an Airbnb (RVShare, RVezy, and Outdoorsy, for example).

43 We went with RVezy only because we saw a camper van with the right specs for us (where the vehicle was located, price, dog allowed, etc.). Ideally, we would have flown out to Minneapolis, Denver, or Fargo, rented and provisioned from there, but our 15-pound Puggle cannot fly, so we had to start and end in Connecticut. Yes, we covered a few thousand extra miles for the pup’s sake. For any dog who loves car rides, this is the ride of a lifetime! We met the owner (termed a “host,” much like in the Airbnb world) and “toured” the Winnebago Solis 59PX as soon as we put down the deposit – way back in November for an August/September trip the following year! From then on, there was plenty of communication with her, so we knew what to pack and how systems worked. (We also watched tons of YouTube videos, everything from head and shower operations to how to empty their contents). The second step is to devise a route. The app “Roadtrippers” worked well to work out a route and identify points of interest and campsites, although you need to subscribe to the Pro version to have enough waypoints for a more extended trip. There are also other benefits, such as discounts if you use them. A one-year subscription runs for $14.99. Our route shown below on the map, is how our voyage appears on Roadtrippers.

pretty competitive. I don’t know how often we hit “Enter” when the reservation window opened, six months to the second, and another camper still snatched up a coveted patch of land. We planned everything knowing we would be hopping around a lot, weren’t spontaneous, and had absolute-must parks and sites to visit. You certainly can wing it and boondock*, but researching and landing places on the fly can be challenging without the internet on much of this camping route. We were both astonished by how often and for how long we were without cell service on the road. *Boondock: To camp without hookups to electricity, water, or sewage. You can boondock in many ways, from staying overnight in a business parking lot to camping on public lands. Cabela’s Sporting Goods, Cracker Barrel restaurants, and Walmarts are among the many businesses that allow their parking lots to be used but check with management before moving in. In some ways, departing from the Nutmeg State was easier than flying to a pickup location, as there’s only so much you can carry on a plane. It was nice to be able to hit the ground running (or driving) with items such as his & hers bear deterrent spray (not allowed on planes), a propane stove, lanterns, coffee maker, folding kayaks, camp chairs, sleeping bags and pillows, wine, 50 granola bars, and ready-to-eat meals.

There are some caveats, however. If you’re planning your trip in the winter for the summer, Roadtrippers uses winter conditions and may show that particular roads are closed. Always verify routes and distances with Google Maps. Roadtrippers does have a feature to let you know if your RV cannot use a road due to height, propane, and other restrictions. It can also estimate your fuel consumption by inputting your miles per gallon. Next, you must set up an online account with Recreation.gov for reservations and campground information and the National Park Service website (www.nps.gov) for more detailed information. Many states have websites where you must set up an account for their state parks. Yellowstone is confusing as you must go through Recreation.gov and YellowstoneNationalParkLodges.com, depending on the lodge or campground. All these accommodations have different booking timelines – anywhere from four months to a year or more in advance. Most importantly, you need to make reservations early if you want a guaranteed site, and even then, the reservation process can be

We learned of Harvest Hosts early in the planning process. Harvest Hosts is an RV membership program that allows travelers to overnight at unique locations, including farms, wineries, breweries, attractions, churches, museums, and other cool spots. The $99 yearly fee gives members unlimited access to stay overnight at any one of over 4800 locations across North America. You are requested to support the hosts by purchasing their products or services. There’s even a Golf+ upgrade to stay at over 450 golf courses. We stayed at the Groundhog Winery in Punxsutawney, PA, the Peacock Road Family Farm in Laingsburg, MI, the 4e Winery in Mapleton, ND, and the Atlas Ad Missile Silo in Wilson, KS. We ended up with lots of wine, a surprisingly excellent vegan/vegetarian dinner, and a tour of a missile silo, including education on the rocket and nuclear missile defense program. While some hosts are better than others, Harvest Hosts membership is highly recommended! Another absolute recommendation is the Guidealong app. Guidealong, formerly known as GyPSy Guide, is audio commentary automatically triggered by your location using your phone’s GPS. Wherever you are, whichever direction you’re driving, you’ll hear

44 the stories and tips to make the most of your trip. This covers wildlife, history, geology, where to pull off for photos, where to take a nice walk, driving and parking directions, everything, and the suggestions and entertainment by the narrator are remarkable (though with a few Dad jokes thrown in). One of the best features is that the driver controls the trip rather than a traditional tour guide who directs the trip. You can stop where you want and for as long as you want. Having paid local tour guides for day and half-day trips, it’s pricey. We purchased five tours: Arches and Canyonlands; Beartooth Highway; Black Hills, Mount Rushmore, and Badlands; Rocky Mountain National Park; and Yellowstone & Grand Teton. By bundling, we spent less than $150. Since we were with the dog and had no intention of spending every second of the day with her, we picked up a Waggle Pet Monitor. We thought it would allow us to dine out and hike trails that do not allow dogs. Note: There are very few options for dogs visiting most national parks. Some allow pets to go only where your car can, including parking lots, campsites, and lookouts. We wanted to hike the national parks! In theory, the smart device constantly monitors your vehicle’s temperature, humidity, and power status and alerts you via text and email in real-time. The monitor, which requires a subscription, works via a built-in Verizon cellular network, so no WiFi is needed. The plan failed. The national parks often have zero cell service, so Waggle was often useless.

Since you can’t spend every day hiking and driving, and since we love kayaking in Connecticut, we picked up two Tucktec folding kayaks. The vessels stored easily are lightweight (21 pounds for an 8-foot yak, 28 pounds for a 10-foot) and inexpensive compared with other “origami” type kayaks. Tucktecs do not replace our traditional hard-shell kayaks. Still, they performed pretty well and got us out on the water on Lake Superior, Sylvan Lake in Custer State Park, three different lakes in the Grand Tetons, and a lake in Hoosier National Forest (Indiana). The Grand Teton’s adventures were probably the best in a lifetime—bucket list material. Wrapping up how to plan an RV adventure, stay tuned for next month’s issue, where we will cover two imperative planning topics, dining and documenting, and get on with the adventure!

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TUMBLING: REVEALING THE INNER BEAUTY OF ROCKS By John Tolmie | Crusty Old Diver Though a small geographical footprint, Connecticut is rich in geological variety making the Nutmeg state a prosperous rockhounding experience within our borders. Hundreds of antiquarian mines, most of which are now shutdown, remain a temptation for the bravest of the rockhounding community. However, there are safer and more enjoyable areas to ﬁnd beautiful nuggets to bring home. With winter embracing our state, rockhounding is a perfect hobby to still enjoy the outdoors continues indoors where rockhounding is taken to the next level, revealing the beauty of your picks come to life in a rock tumbler Connecticut is famous for its neverending supply of Garnets, a bloodred gem found along riverbanks and the Long Island Sound shoreline. These highly sought after gemstones are from the Triassic age layer, or schist, that have appeared on the surface due

to the major rivers of the Connecticut Valley carving deep into the granite crust. A popular site to gather garnets is the accessible riverbank just north of the Comstock Covered Bridge traversing the Salmon River in Colchester. There, my wife, and I have found handfuls of the gem, however, it is extremely

rare to ﬁnd one larger than an un-popped corn kernel. However, we have found other gemlike stones in that area, perfect for tumbling.

Collecting Rocks for Polishing The majority of rocks in this article were found along rivers and the shoreline within the borders of Connecticut or just over the line in Rhode Island. There are no rules for collecting in these areas. Just be aware where you are collecting so as not to trespass on private property. Pick stones that are as smooth as possible with the absence of cracks, voids, or holes, this is important when entering the polishing stage. As seen the photos of the grit stages, akin to sanding wood from an abrasive finish to a smooth surface, polishing rocks in a tumbler will move through a series of grit media. The larger grit media can get lodged in recesses and come loose in the finer stages causing unwanted scratches on the final product.

Equipment and Preparation As a ﬂedgling rock tumbler, it is advised to go with the legal electric double drum six-pound capacity polisher. The set up is durable, affordable and allows the user to separate comparable stones together according to hardness. Example: polishing turquoise with granite will cause the softer turquoise to be pulverized and reduced to a tiny nub by the harder granite. The motion in the rubber tumbler barrels simulates the natural action of ﬂowing water or ocean waves. Beaches and riverbeds contain rocks and pebbles smoothed by water and the abrasive sand it carries. As rocks grind upon one another with constant water or sand in the mix, they begin to round and smooth. Although this is a constant process, it does not naturally polish the rocks. This is where the polishing grits come to work.

Polishing and Patience The following process will be repeated four times, starting with Step 1 course grit through Step 4. The most popular and trusted polishing grit package is Polly Plastics Rock Tumbler Grit and Polish. This package comes with ceramic media acting as a cushion between the rocks during the ﬁnal polishing stage which increases the contact area between rocks and can smooth out the tumbling action. The cylindrical shape helps the rocks roll as opposed to slamming into each other. It lets the ceramic absorb the impact instead of the other rocks. Increasing the contact area has the added beneﬁt of delivering grit to these areas so it can aid in grinding. Follow this step with each successive tumble through the grits

1. Fill the rock tumbler about 3/4 full of rocks. 2. Put in 2 tablespoons of grit for each pound of rock. (since this whole tumble process is repeated 4 times, change from course step 1 grit to each finer grit ending on step 4 polish). 3. Fill with water just below the top of the rocks. 4. Secure the lid, making sure the gaskets are clean and tight. 5. Let tumble for seven days per grit. 6. Rinse the rocks outdoors in a colander and use a soft brush to clean the grit completely before moving on to a finer stage. 7. IMPORTANT: DO NOT EMPTY THE GRIT INDOORS or SINK DRAINS the grit will clog drainpipes. 8. REPEAT each grit with the final stage adding the ceramic media. Check your local toy or hobby store before purchasing your tumbling equipment online. My local hobby store had all I needed. Best of luck in your Rockhounding Adventures!