Ice Cave

Date: Fri, 17 Apr 1998 12:10:47 -0500
From: Jeff McSpadden
Great interview about the 'mythos' aspects of the Denver airport. For those who have been there, it is a strange place. I snipped the stuff below about the artwork also. Note the Mayan ruins part. I was amazed to find a 3/4 scale mayan ruin, INSIDE THE AIRPORT! I am still looking for a photo, if you know of one, let me know. Also, let me know if you can find a map. The airport construction was scandalous and much of the information has been suppressed. For those who missed the earlier post, see I bet I could change the Peruvian Mi-go base scenario to modern Denver pretty easily! What was the name of the Peruvian scenario in either Cthulhu classics or Cthulhu casebook?

Some other links about this obvious mi-go base:

Here are a few of our favorites:

A 30-foot-high fiberglass blue mustang is the first piece of art people will see as they come into the airport via Peña Boulevard. Made by well-known New Mexico artist Luis Jiminez, the rearing horse has eyes that shoot out laser-like beams of red light. Near the carousels in the baggage claim area, check out the two whimsical suitcase gargoyles by Terry Allen. They go by the name "Notre Denver." Also in the baggage claim area are two colorful murals painted by Denver artist Leo Tanguma, a Chicano activist-artist whose general procedure is to involve the community in creating his murals. Across the main terminal from Tanguma's murals is Gary Sweeney's "America, Why I Love Her," two big photomural maps of the United States with the artist's small framed snapshots of odd bits of Americana - ever seen the Frog Fantasies Museum in Eureka Springs, Arkansas? - tacked onto the appropriate locations. Sweeney used to work as a baggage handler for Continental Airlines. On Denver's spot on the map, he included a little sign that says: "You are here … but your luggage is in Spokane." Needless to say, not everybody was amused, especially when glitches in the automated baggage system caused multiple delays in the airport opening date. On the balustrade at the top of the escalators that connect level five and level six in the main terminal are 28 glossy, vibrant ceramic vases by

internationally known ceramist Betty Woodman. Although Woodman has exhibited widely in the United States and Europe, this was her first public commission. One of our favorite pieces is the interior garden created by Michael Singer in Concourse C. These mossy ruins are visible from below as you exit the train and from above in the concourse. Artists have worked on the floors of DIA in several places, including the main terminal and Concourse B, so if you watch where you're walking, you'll see pictographs, fossils and more inlaid in the terrazzo floor. In the food court areas in Concourse A you'll notice colorful tile patterns that appear to be abstract - but go up the escalator, take a look from above and you'll see that they form foreshortened figures of people. Barb McKee and Darrell Anderson collaborated on this project.

Finally, on the way out of the airport you may notice a line of rusted farm implements. It's not that there wasn't time to clean up - this is part of an art project created by Sherry Wiggins and Buster Simpson to acknowledge that agriculture was historically one of the primary uses of the land on which DIA was built. Curious passersby can get a brochure that identifies and locates the art at DIA in the information booths in the main terminal and in concourses A and C.

Date: Fri, 17 Apr 1998 12:51:25 -0500
From: Jeff McSpadden
I hate to respond to my own posts, but I tracked down the 'offical' Denver airport site at there are pdf maps of the airport, better pictures of the artwork, and QUICKTIME video of the interior. You can't ask for more than that! The artwork will take some digging, but the photo of the 30' tall mustang with lasers for eyes is worth it. Below is a snipped description of the garden/mi-go temple.

PROJECT DESCRIPTION: The work for Concourse C includes the disign of a 5,000-square-foot interior garden with sculptural and architectural elements as well as a 7,000-square-foot inlaid stone pattern drawing for the main floor. Materials for the garden include wood, stone, individually cast cement panels and plant material. The walls of the garden space are 15-feet high and are constructed at an angle, separating them from the walls of the concourse building. The wall of the concourse is seen through a specifically designed wooden trellis. The use of an irrigation system provides an opportunity for water as an element of the design. Layers of patterns and combined elements repeat throughout the design of the garden and floor implying a process of discovery and an accumulation of meanings.

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