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The Salt River Valley a Thesis Submitted in Partial Fulfillment of The University of Nevada, Reno Making the Desert Blossom: The Salt River Valley A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Geography By Katherine J. Heslop Dr. Paul F. Starrs, Thesis Advisor May 2012 Copyright by Katherine J. Heslop 2012 All Rights Reserved THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by KATHERINE J. HESLOP entitled Making The Desert Blossom: The Salt River Valley be accepted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Dr. Paul F. Starrs, Advisor Dr. Jane Davidson, Committee Member Dr. Victoria Randlett, Committee Member Mr. Peter Goin, Graduate School Representative Marsha H. Read, Ph. D., Dean, Graduate School May, 2012 i Abstract “Making the Desert Blossom: The Salt River Valley” analyzes a 1928 mural of the Salt River Valley, a location near Phoenix, Arizona, that was painted by plein aire artist Frank J. MacKenzie. This dramatic painting illustrates the glories and collective experiences found in a productive desert environment reclaimed by intense human handiwork. The Bureau of Reclamation commissioned the mural for the 1929 Ibero-American Exhibition in Seville, Spain. Making the Desert Blossom is by twenty-first century views a paradox, displaying modern reclamation technology, supported by federal subsidies, seeking re- invigoration of the Jeffersonian ideal, bringing yeoman farmers and homemakers to lay claim and settle yet another so-called last frontier in the American West. The American agrarian ideal was never put through a more trying test as it confronted western aridity. Indisputably, irrigation established Phoenix. Amerindian and Anglo cultures each ex- ploited the Salt River to solve the environmental challenges of the vast Valley of the Sun. Although one of the most successful Reclamation Service projects, by the 1950s the Salt River Project had outgrown its primary purpose. The Salt River Project therefore, may be considered an intermediate landscape, providing the framework for transform- ing arid western lands to a modern American urban society. ii Dedication To my family: John, Joanne, and Christopher and To my parents: Alex and Gladys iii Acknowledgements The road that led to the completion of this text started with the discovery of the U.S. Department of Interior, Bureau of Reclamation’s “The American Artist and Water Reclamation” Fine Arts collection that presented approximately 200 impressions of western reclamation projects on canvas. During my two years of research, I collected material from the Smithsonian Archives of Art, Washington D.C.; The National Archives at College Park, Maryland; the U.S. Department of Interior, Washington D.C.; and The Bureau of Reclamation, Denver Archives. Field work and visitation of dam sites included Hoover Dam and Boulder City; Phoenix, the Salt River Valley, the Apache Trail, and the Theodore Roosevelt Dam, Arizona; Glen Canyon Dam and Page, Arizona; and the windy trail to the infamous Hell’s Canyon Dam on the Idaho-Oregon border. I offer particular thanks to Daniel Dzurek of International Boundary Consultants in Washington, D.C., for his archival work at National Archives at College Park, Maryland. Mr. Dzurek retrieved the research materials from the National Archives files related to the1929 Ibero-American Exhibition in Seville, Spain. This material included the still pho- tographs of the forty-acre homestead model displayed at the exhibition. Mr. Dzurek also photographed the mural, Making the Desert Blossom, displayed at the Department of the Interior Building in Washington D.C. I would like to acknowledge: Ms. Rochelle Bennett and Benjamin Reko, Bureau of Reclamation, Denver; Ms. Lauren Lambert, Department of Interior, Washington D.C.; Brit A. Storey, Senior Historian, Bureau of Reclamation; Ms. Marisa Bourgoin, Smithson- iv ian Archives of American Art, Washington D.C.; Patrick Colegrove, Mark Lucas, and Pat Ragains, University of Nevada, Reno; and all the other people who have offered assis- tance along the way. I would especially like to acknowledge the help and patience of my family, John, Joanne, and Christopher. Finally to Dr. Paul Starrs, my advisor, committee members Dr. Jane Davidson, Dr. Victoria Randlett, and Prof. Peter Goin who patiently guided me though the entire academic venture. v Table of Contents Abstract ................................................................................................................................ i Dedication ............................................................................................................................ii Acknowledgements ............................................................................................................. iii Table of Contents ................................................................................................................. v List of Maps ....................................................................................................................... viii List of Figures ...................................................................................................................... ix List of Plates ......................................................................................................................... x Chapter One: Introduction – Stories on Canvas ................................................................. 1 Overview of the Project ...................................................................................... 3 The Salt River Project and Its Physiography ....................................................... 5 Water Reclamation and the American Artist .................................................... 10 Chapter Two: The Culture & Art of Water Control ........................................................... 15 Beginnings . ................................................................................................... 15 Setting the Stage for Federal Reclamation ....................................................... 19 Changing the Face of the West ......................................................................... 23 Notions of Liberty ............................................................................................. 24 The Big Dam Era ................................................................................................ 28 vi “Promoting the General Welfare” .................................................................... 33 “Dam Building Still Had Some Magic Then”...................................................... 41 Extreme Machines in the Garden ..................................................................... 47 Chapter Three: A Challenge-Response-Challenge Spiral .................................................. 52 The Pre-contact: The Hohokam ........................................................................ 54 Pre-contact Irrigation ........................................................................................ 57 Climate Changes................................................................................................ 60 The Spanish and the Period of Exploration 1540-1848 .................................... 72 Promoters and Speculators .............................................................................. 77 Anglo Settlement in the Salt Valley .................................................................. 80 Chapter Four: Salt River Valley Mural, .............................................................................. 91 Stories on Canvas .............................................................................................................. 91 Ten Acres and Independence ............................................................................ 91 Showcasing Reclamation .................................................................................. 92 “The Desert Shall Blossom as the Rose” ......................................................... 100 Technology Transforms the Salt River Valley ................................................. 107 Differences of Opinion .................................................................................... 113 Tempe and Consolidated Canal Systems ........................................................ 120 vii Building the Roosevelt Dam ............................................................................ 123 Conversion to a Multi-Purpose Project .......................................................... 129 Sowing the Seeds of Agribusiness ................................................................... 131 Making the Desert Bloom: A Paradoxical View .............................................. 134 Chapter Five: Epilogue: Remaking . ............................................................................ 139 Plates: Chapter Two ........................................................................................................ 150 Plates: Chapter Three ..................................................................................................... 182 Plates: Chapter Four ....................................................................................................... 183 References ...................................................................................................................... 187 Artwork and Photographs ............................................................................... 187 Maps...............................................................................................................
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