237/365

VWh.jpgToday’s photo isn’t technically all that great (it was overcast and the light wasn’t very good) but it gives you an idea of what Slab City’s residences are like. There is so much creativity in this poverty-stricken, off-grid “squattersville,” that it’s not much of a stretch to think of it as one big art installation.

236/365

rangei.jpgSlab City’s the Range from a different perspective. The center of nightlife in a remote “squattersville” that is often referred to by locals as “the last free place in America,” the Range is a free outdoor venue that provides residents and visitors (Slab City was prominently featured in Sean Penn’s 2007 film Into the Wild) with regular concerts, plays and poetry readings. To read more about this colorful and bizarre community of societal dropouts, click here.

235/365

IMG_8906Just down the road from Salvation Mountain is Slab City, an off-grid RV settlement comprised of an eclectic and highly-eccentric mix of snowbirds, hippies, veterans, drug addicts, retirees, and anarchists. Situated on the site of an abandoned WWII Marine barracks, this lawless and fee-free community (no fees equal no water, electricity or sanitation services) is home to about 2500 people during the winter months while only about 200 much-hardier souls stick around for the summer when desert temps can reach 120 degrees. Both Salvation Mountain and Slab City (including its open-air nightclub The Range, pictured here) were featured prominently in Sean Penn’s 2007 film Into the Wild.

234/365

GiLj.jpgAnother look at a very small portion of Leonard Knight’s Salvation Mountain, the spectacular manifestation of one man’s artistic vision and faith.

233/365

IMG_8948Among my many stops while out and about near the Salton Sea last week was a quick visit to Salvation Mountain. The creation of the late Leonard Knight, an artist who lived and worked in the desert for nearly 30 years on what is now widely regarded as a folk-art masterpiece, Salvation Mountain is a spectacular three-story mound of adobe adorned with colorful pastoral designs and biblical quotations.

The heart motif in this photo wasn’t there the last time I visited and, while it’s evocative of Leonard’s work, it appears to have been added recently. Either way, it’s good to know that there are people, whether they be visitors or the full-time caretakers who now live at Salvation Mountain, who value Leonard’s work enough to preserve and even embellish it.

If you’re interested in viewing either of my two photo essays about Leonard’s elaborate outdoor art installation and assemblage, they begin here and here.