Our buddy Dennis McBride, the Curator of History at the Nevada State Museum not only saved our Saturday programs with his canny foresight but he also wrote up this wonderful recap of all the events:

A Successful Weekend

On October 22-24, the Friends of Classic Las Vegas hosted its second annual Mid-Century Modern event. Co-sponsored this year by the Architectural and Decorative Arts Society, the El Cortez Hotel, Retro Vegas, VeryVintageVegas.com, the Metro Arts Council of Southern Nevada, and RAFI Planning, Architecture, and Urban Design, Mid Mod Marvels proved once more the enduring popularity of mid-century modern living.

The weekend started with a swank affair Friday night at the Morelli House, maybe the best known Mid-Century Modern landmark in Las Vegas, owned and restored by the Junior League. League members dressed in period clothing, provided tours of the house, and hosted a meet-and-greet reception for Mid-Century aficionados. The Nevada State Museum supplied a series of photographs of mid-century Las Vegas from the Jay Florian Mitchell Collection to round out the evening. With plenty of wine and nibbly things, the evening gave a hint of the fun yet to come.

Saturday included two panel discussions and the Las Vegas premier of the film, William Krisel, Architect, a documentary detailing the career of famed mid-century architect Bill Krisel. The Las Vegas National Golf Club on Desert Inn Road, around which Krisel and his partner, Dan Palmer, built their iconic Paradise Palms residential development, hosted Saturday’s events.

The first panel—Mid-Modern Architecture, Design, and Las Vegas--included architectural historian Alan Hess; Las Vegas architects George Tate and Robert Fielden, and Dr. Robert Tracy from UNLV’s School of Architecture. Following a slide show of mid-century architectural images from the Nevada State Museum, Tate, who has been working in Las Vegas for more than 50 years, entertained the audience with anecdotes and first-hand accounts of his work in mid-century, while Fielden, Hess, and Tracy provided historical, philosophical, and aesthetic perspectives.

The second panel of the afternoon—The Las Vegas News Bureau in the Mid-Mod Era--detailed the history of the Las Vegas News Bureau and its 60 years of promoting Las Vegas through visual media. The panel included Brian “Paco” Alvarez, curator for the News Bureau; Don Payne, former Bureau manager; and Darren Bush, Bureau photographer. Alvarez provided two slide shows of the News Bureau’s most famous and iconic images.

The film which followed the panels on Saturday—William Krisel, Architect—has been eagerly anticipated for some time. Krisel and his partner, Dan Palmer, were among the most influential architects in Mid-Century America. Palmer and Krisel were Mid-Century populists who brought the formerly elitist architecture to a mass market through construction of thousands of affordable middle-class homes. It was Krisel, more than any other architect long after he and Palmer split, who made Mid-Century Modern style and design popular.

The Mid Mod Marvels weekend wound up on Sunday with a four-hour tour of some of the finest of Las Vegas’s Mid-Century neighborhoods. After wrecking the bus on the way out of the parking lot of the Reed Whipple Cultural Center—which required everyone to debark and re-board—the tour got underway, led by architectural historian Alan Hess and Mid-Modern realtor “Uncle Jack” LeVine.

The tour passed through such 1950s-60s neighborhoods as Paradise Palms, Marycrest, Glen Heather and McNeil Estates, the Las Vegas Country Club, and the notorious Scotch 80s. Along the way there were three open house stops. While Hess put these Las Vegas neighborhoods into a historical and architectural perspective, Uncle Jack provided an entertaining monolog of intimate stories and anecdotes of the neighborhoods, of the people who lived there, and of their historical importance in the development of Las Vegas.

With two successful Mid-Century Modern cultural and educational events under their belt and with a widening circle of sponsors, we hope the Friends of Classic Las Vegas can keep up the momentum and turn these weekends into an annual event.

We hope you had a great time, too!

 Special thanks to Clay Heximer for providing the pictures.

From Dennis McBride at the Nevada State Museum, Las Vegas:

The April 24 opening reception for the Mid-Modern Las Vegas exhibit at the Nevada State Museum was a hit, drawing more than 130 people. The exhibit had been eagerly anticipated by Las Vegas’s community of Mid-Modders, as well as architects, historic preservationists, and realtors. The museum’s docents served a buffet from Mid-Century Modern dishware and several of them dressed the part. Many of those who attended the reception also dressed from the 1950s and ‘60s. Among the notable guests were realtor “Uncle Jack” LeVine; artist and Mid-Mod collector Diane Bush; Atomic Age Alliance founders Mary-Margaret and Carey Stratton, whose restored home in Paradise Palms was featured in the exhibit; Las Vegas Night Beat publisher Bill Schafer; realtor “Downtown Steve;” and curators from the Las Vegas Springs Preserve and the University of Nevada, Las Vegas.

In addition, Bill Mitchell, his wife, Barbara, and son Scott flew in for the reception from Florida and New Jersey: Bill is the son of Jay Florian Mitchell, whose historic photographs of Mid-Century Las Vegas compose most of the exhibit. Steve Cochran, grandson of Mid-Century Las Vegas designer and builder Lee Cochran, attended with his family. Lee Cochran’s 1964 Mason Manor home development is featured in the exhibit; homeowners from Mason Manor were also on hand to meet the Cochran family and talk about the history of their homes.

Scott, Barbara and Bill Mitchell

Ray and Steve Cochran

Mid-Century Modern Las Vegas is the last big exhibit the Nevada State Museum, Las Vegas will present before its 2011 move into a new building at the Las Vegas Springs Preserve.

Nevada State Museum, Las Vegas Director David Millman and Mid-Century Modern buff

Diane Bush studies the Pyrex

Studying more of the Exhibit

Dennis McBride and Tom Dyer

"Uncle" Jack Levine with some of his favorite buildings

Dateline:  Las Vegas

Guest Blogger:  Dennis McBride, Curator of History, Nevada State Museum, Las Vegas

When Lynn asked me to guest blog about the Nevada State Museum’s upcoming Mid-Century Modern Las Vegas exhibit, she wanted me to share how I chose the images that will be exhibited, and how I decided what examples of Mid-Century domestic and decorative arts to use in the cases.

Museum patrons who see finished exhibits don’t know what goes into building displays--they either like what they see or they don’t, and that depends upon how well or how badly the curator has put everything together. I work with a great deal of intuition, but once in awhile--accidentally, it seems--I work deliberately. Lemme see what I can tell you about our new exhibit.

To be frank, I didn’t know very much about Mid-Century Modern architecture and style until the Lynn and the museum sponsored the Mid-Century event last October 3. I got hooked, and wanted to do something with material that no one had seen before, or had not seen in more than a generation. The museum has in its archives the photograph collection of J. Florian Mitchell, who was renowned as a photographer in New York in the 1920s, ‘30s, and ‘40s, before coming to Las Vegas in the early 1950s.

When I came to work here in 2007, part of my self-appointed task was to reorganize the photo collection and make it more accessible. When I dug through Mitchell’s thousands of prints and negatives in the museum’s vault, I was astounded at the breadth of his Las Vegas subjects, which included images photographers ordinarily wouldn’t care much about recording. In addition to hotels, casinos, and Las Vegas celebrities, I found images of long vanished shopping centers, banks, motels, restaurants, schools, and government buildings. Nearly all of these were taken in the 1950s and ‘60s, during the height of the Mid-Century Modern movement. I saw images that gave me an entirely different idea of what Las Vegas once looked like, and how perfectly it fit into the Mid-Mod style for a relatively brief period of time. How could I publicize these photos in a way that would inspire Las Vegans to look at their city’s past in a different way? Motivated by Lynn’s enthusiasm, I started planning a Mid-Century Modern exhibit of Las Vegas’s past.

With so many images to choose from, how would I pick what best represented Las Vegas architecture in the 1950s and ‘60s? Lynn made an initial search through the collection, and I made a second and third, mining the negatives for what I thought people might like to see. Rather than choose images of familiar landmarks, I largely chose photos of buildings that are either vanished or so changed that their present appearance bears no resemblance to the original. For example, the original McCarran International Airport today seems mysterious, alien, and beautiful in its Mid-Modern simplicity. The original rotunda of the Las Vegas Convention Center seems far more substantial than the present stack of boring blocks. Maude Frazier Hall at UNLV sits behind its lawn looking cool, elegant, and more inviting than the gravel lot that replaced it last year. With these and other images, I’ve tried to show that Las Vegas then was far more architecturally daring and beautiful than it is today.

So far, so good for the images--but I also wanted the exhibit to ground patrons in that period in a way that two-dimensional images cannot. I needed artifacts that people could relate to personally. I decided to include an exhibit of Mid-Century “domestic and decorative arts.” Think dishes, pots and pans, utensils, ashtrays, vases, cook books and recipe boxes. How would such objects convey a sense of Mid-Century modernity? Through their shape, their material, and their use. When people think of the 1950s and ‘60s from this perspective, they think of Pyrex, Tupperware, and Melmac; they think biomorphic, boomerangs, parabolas, rounded squares, domes; they think pink, turquoise, and chartreuse. We took those shapes and colors as the frame for the exhibit hall, and then I went on a six-month search through Goodwill, Salvation Army, Savers, and whatever yard sales I drove by for exhibit items. I built a case of colorful melamine dishware; fanciful Pyrex casseroles, carafes, butter dishes and nested bowls; bright orange Tupperware measuring spoons; a set of Russel Wright’s American Modern dishes in chartreuse, with their strange biomorphic shapes; a vintage Teflon-coated sauce pan with a sweeping lid; a garish green-and-gold leaf dish from a California pottery; and a black, understated Hyalyn pottery bowl.

These are artifacts to which people can relate: Grandma cooked green-bean casseroles in a Pyrex bowl just like that Moon Deco piece with the big red dot; Mom kept a pair of Scandinavian Modern candlesticks just like those on the sideboard in her dining room; my uncle, who smoked Chesterfields, kept an ashtray like that on his nightstand; we thought nothing of eating chicken rolled in bleached white flour and fried in Crisco.

That’s how we did it, and we hope you like it. Mid-Century Modern Las Vegas will be the last major exhibit the Nevada State Museum presents before its move in 2011 to new digs at the Las Vegas Springs Preserve.

The Neon Museum is about to get a big boost from the City of Las Vegas.

From the La Vegas Sun:

Spread over two lots in downtown Las Vegas, gated behind chain-link fences, sit more than 150 pieces of vintage Vegas. The relics belong to the Neon Museum, which has been collecting old signs since 1996 and showcasing them throughout the city and at its Neon Boneyard.

But with no place to adequately display its vast collection, the Neon Museum for years has been forced to operate on an appointment-only basis.

That will change with construction of the Neon Boneyard Park, which gets under way on Monday.

The park will be located on the corner of McWilliams Avenue and Las Vegas Boulevard and will back up to what is now part of the Neon Boneyard. The project has been nearly five years in the making, Public Works Project Manager Gina Venglass said.

The $1.9 million improvement project will include development of the half-acre park and paving part of the Neon Boneyard for a parking lot. The Bureau of Land Management funding the project.

When the park is completed, Venglass said, visitors will find landscaping, benches, picnic tables, a stage and informational kiosks.

A sign made up of replicas of old neon letters will welcome visitors to the new park.

The company building the sign, Federal Heath, chose iconic letters from the old Horseshoe, Desert Inn, Caesars Palace and Golden Nugget signs to spell out the word “neon” in LED lighting.

“It’s not going to be a park that visitors drive across town to use. It’s really supposed to work hand-in-hand with the Neon Museum for visitors to use,” Venglass said.

The park will be located along the section of Las Vegas Boulevard that was recently designated a National Scenic Byway and is at the heart of the Las Vegas cultural corridor.

The corridor includes a concentration of the city’s cultural institutions such as the Las Vegas Natural History Museum, Lied Discovery Children’s Museum, the Old Las Vegas Mormon Fort State Historic Park and the Reed Whipple Cultural Center.

“I think it’s a great example of how supportive the city is of the Neon Museum project and the cultural development of the downtown area,” Neon Museum Director of Operations Danielle Kelly said.

Because the city is resurfacing parts of the Neon Boneyard and moving signs in the process, it gave the museum the opportunity to bring its signs to the future fully-functioning museum, Kelly said.

The Neon Boneyard will move across McWilliams Avenue, behind the restored La Concha Motel lobby, which will serve as the visitor center.

The change will allow the Neon Museum to better serve visitors, expand public hours and operate under a general admission format, rather than visitors making appointments for tours, Kelly said.

In light of the construction, the Boneyard is closed to the public temporarily but will reopen in the spring for modified tours. The new facility should be up and running by the summer.

“So many great things are happening down here in the cultural corridor and downtown. We hope that the park is part of that,” Kelly said. “It’s is all a part of continuing to put energy into this area for people in the whole community to get some here and get to know their museums.”

The Downtown Cocktail Room is the watering holes for those work downtown and those who live downtown.  Michael Cornthwaite and his fiancee, Jennifer Harrington, are doing their part to make Fremont East a viable part of the community.

Our buddy, Johnny Kats, caught up with them a few days ago:

To accurately gauge the viability of downtown Las Vegas, specifically the Fremont East entertainment district, watch Michael Cornthwaite. If he can't make it happen down there, everyone should beware.

The owner of Downtown Cocktail Room just off the corner of Fremont Street and Las Vegas Boulevard, Cornthwaite is pressing forward with plans to lure at least 20 boutiques, art galleries and various creatively fertile shops to the shuttered Fremont Medical Building on Sixth and Fremont streets. Set amid musty exam spaces, check-in and check-out counters, and a vaguely haunting X-ray room will be a collective known as Emergency Arts. This puzzle-piece project might be open as early as March 1 if Cornthwaite can fill the 20 spaces positioned snugly on the three-story building's bottom floor.

He's confident it will happen. As of this afternoon, Cornthwaite has secured 15 tenants, including a café at the entrance — where the medically needy once assembled is now where you might pick up a nice pastry. Cornthwaite and his fiancée, Jennifer Harrington, are partners in Emergency Arts with landowner El Cortez. They are giving themselves a year to "make it work" on Fremont East. If they fall short, well, Seattle's a nice city. So is San Francisco. It would be a shame for the city to lose these two downtown devotees and visionaries, but the clock is ticking. Even Harrington's own gallery, Henri & Odette, which once taking up residency nearby on Sixth and Carson, will move into the Emergency Arts project.

During our 30-minute interview Monday in the KUNV studios at Greenspun Hall on the UNLV campus, Cornthwaite talked at length about Emergency Arts, but also let opinions and thoughts on other Vegas-tied issues flow as freely as his shoulder-length hair:

• On working with El Cortez: "El Cortez is anchor of the entire (Fremont East) district. Their customer demographic is an older demographic, and frankly it is getting too old. It needs a younger demographic, and I think they're doing very well. El Cortez is the coolest hotel down there; the Cabana Suites are beautifully designed. ... It's a nice situation, and they are very supportive. ... When we had the (Las Vegas) Farmers Market (on Fremont Street), they supported that. They put flyers in the envelopes with the employees' paychecks, things like that."

• On the fate of the moribund 7-Eleven building on the corner of LV Boulevard and Fremont Street, a space that has been sitting unoccupied since the convenience store closed in 2006: "Since I started building (DCR), there have been two signed leases on that space, one of which was really never executed. The first, money was never collected and they just vanished, literally. ... But about a year and a half ago a group came in, showed a lot of interest, signed a lease and actually worked on the space. They demo-ed the adjacent space, so now we've got two spaces that are connected to each other for one, giant 5,700-square-foot space with a 36-foot ceiling inside. Unfortunately, they couldn't get their resources together, either. It was supposed to be like a live music venue, they were going to build a mezzanine level, but it was a fairly expensive project for the area, a $1-$2 million project. You know, they were about $300,000-$400,000 along, with no doubt they were going to be able get the money together. That was mid-2008, when everything started to fall apart. The Hive, is what it was called. It had lots of potential, and it could have worked out, but it's just been an unfortunate situation."

• On the fate of Neonopolis, which sits kitty-corner from DCR on the corner of Fremont and Las Vegas Boulevard: "Nobody has any doubt of the importance of Neonopolis in connecting Fremont Street Experience with Fremont East. That's the only way it could happen. But I take a little bit of a different approach in that scenario. I never wanted to connect the Fremont Street Experience with Fremont East. I wanted Fremont East to be locals-driven and have a locals-based clientele. I wanted a buffer between us and the Fremont Street Experience."

• On Rohit Joshi, who fronts Wirrulla Hayward, the development company that owns Neonopolis: "The gentleman involved in Neonopolis (Joshi) is a wonderful salesman. He has been to the club one time, and he has an amazing skill. I've had several meetings with him, and he has a very positive approach and he gets you feeling really good, and you walk out and you're feeling really good for about two minutes. Then you realize, something just happened but you don't know what it was, and of course nothing ever happens."

• On the proposed Star Trek Experience, which reportedly was on line to move into Neonopolis in May but has not actually moved in at all: "Nothing's going on. It's not going to happen. I would stake my bar on it."

• On CityCenter: "It's beautiful, it's an amazing architectural marvel. It's what I would love to see, what I miss in a vibrant city, and that's what we're trying to bring downtown, into the core of our city. I've heard them say that it's non-themed, but it's a city-themed casino. It's themed as a city. The really smart consumer won't buy into that. Who can afford to shop there? I'm not going to Tom Ford to buy a $650 shirt.

Thanks to Allen Sandquist for letting use his photo.