When I started looking into the Millard Sheets Studio, I thought they primarily decorated buildings and spaces designed by others. What I have learned, however, is how important architectural designs were to the studio’s work. Sheets oversaw the architects who designed most of the banks where his studio’s mosaics, murals, and paintings appear, but he also oversaw the creation of other innovative urban spaces, built around community.
In 1962, Millard Sheets designed a downtown mall for his hometown of Pomona. By closing off a few streets, building fountains (like the one above) and adding sculptures, stone planters, and pebbled street, the mall turned a normal street into a pedestrian walkway, a mixed-use commercial space that welcomed shoppers, diners, and community events, from music to festivals to parades. (There is a nice history of the birth, death, and rebirth of the Pomona Downtown Mall here; this of course echoes a lot of what has gone on in New Urbanism planning in the Jane Jacobs-and-later era, and may have its apotheosis in the new, upscale creations like the Grove.)
This fountain demonstrates the marriage of Millard Sheets’ favorite themes — horses, nature — with this urbanist, community-driven desire. Nothing specific in the image speaks of history, but its location speaks to the importance of the Pomona community to Sheets, and the elements speak of friendship — two horses, not one; flowering branches of spring, not a lonely winter landscape.
In terms of preservation, this mosaic shows some of the ravages of being outside, with the calcinated California hard water constantly running; the pedestrian mall section was reopened to cars, and now the fountain sits a bit isolated. But the history the mall represents is still a powerful sign of the Sheets studio’s urban vision, one rooted in the history of California as they understood it.
Pingback: The Latest: AAA Westways Feature on Saving the Art of Home Savings « The Arenson Blog
Pingback: Image of the Week: Panorama of Pomona Valley, in the new home of AMOCA
Pingback: The Case for Preservation in Pomona (and for Communication from Chase Bank) | The Cultural Civil War