The Return of the 'Desert Cross': A Celebration of Art and Homecoming

Last week, the Churchill Arts Council hosted a significant event resonating with artistry, memory, and a deep sense of homecoming. The celebrated ceramic masterpiece Desert Cross, by John Mason, a Fallon native and international art figure, was formally welcomed back to its rightful place in Fallon, Nevada. The evening was filled with heartfelt stories, memories, and an appreciation for Mason's artistic career and connection to the community.

Ted McDonald, chairman of the Churchill Arts Council, opened the event by recognizing the significance of the evening. "The Desert Cross is where it's supposed to be—where it will be respected and revered," McDonald said. "As a retired physician who has had the opportunity to see what the insides look like, when I see the alcove, I see the cavity that the heart rests in. So right now, the Desert Cross is where it's supposed to be."

As the Churchill Arts Council approaches its 40th anniversary, the return of the Desert Cross marks a pivotal moment in its history. McDonald reflected on the council's growth and evolving mission. "This building and this organization are like a flower—opening up to the public, to artists, and to the community," he said.

The Desert Cross, which had been removed from Oats Park without authorization by a former director, was most recently housed at the Lilley Museum at the University of Nevada, Reno. It was returned to Fallon through the efforts of the Mason family, UNR President Brian Sandoval, Mayor Ken Tedford, and the City of Fallon team.

Born in 1927 in Madrid, Nebraska, John Mason moved to Fallon as a child and grew up on a farm near the Truckee Canal in Hazen. Andrew Perchuk, deputy director at the Getty Research Institute, said Mason's rural upbringing shaped his artistic vision, as he often explored the landscape and carved objects from the natural clay and soil of the Great Basin.

"John never forgot Nevada," Perchuk said. "He told me stories about growing up on a farm here, riding horses. That's why he wanted to donate the Desert Cross—in recognition of his happy childhood."

Sean Rowe, City of Fallon attorney who assisted in the return of the Desert Cross, said that despite struggling with illness as a teenager, Mason's time in Fallon nurtured his creativity. Influenced by teachers George Jurgens and Tom Haskel, Mason explored photography, music, and writing. "John wrote a column in the Fallon Eagle, one of our two newspapers at the time, giving insight into the happenings of the high school, introducing teachers, and highlighting school events. The writing is straightforward, clear, and often includes a bit of wry humor or mischief," Rowe said.

After graduating, Mason moved to Los Angeles, where he became a pioneering figure who revolutionized ceramics by transforming functional pottery into monumental sculptural art. "He transformed ceramics from small objects and pots to sculptures that could rival anything in size and ambition," Perchuk said. "He was so ahead of his time that it took decades for his work to be truly recognized."

Mason was known for his innovative techniques, such as using industrial tools like bread mixers and fish-packing humidifiers to shape massive clay forms. His pieces often reflected the geometric beauty of the desert and the interplay of light and texture, making them uniquely tied to his roots.

The Desert Cross, donated to the city of Fallon in the 1960s, is one such work. Created during Mason's transition from functional ceramics to sculptural art, it embodies the expansive spirit of the West. "The Desert Cross reflects the textures and light of the desert. It speaks deeply to this region and its people," Perchuk said.

In his remarks, Mayor Ken Tedford shared how he was first impacted by art. He described a getaway trip to San Francisco with his former wife, where they stumbled upon the San Francisco Philharmonic Orchestra playing an outdoor concert. "It stopped me in my tracks. We stood there in the light of the San Francisco afternoon with the artists, the audience, and their instruments, and for a fleeting moment I was called into an artistic, cultural presence. It grabbed me and stopped me. My takeaway from that moment was that great art changes the way you encounter your world," Tedford said.

UNR President Brian Sandoval highlighted the collaborative effort behind the sculpture's return, sharing that the Nevada Board of Regents voted unanimously to approve the transfer. "This is more than just an artwork; it's a piece of shared history," Sandoval said.

Vernita Mason, John Mason's widow, attended the event and expressed gratitude to the Fallon community for honoring her husband's legacy. During a video shown to the audience, she read from the congressional recognition given on the occasion of Mason's retirement, underscoring his lasting influence on the art world.

The Desert Cross will remain in the alcove Valerie Serpa created for it during the building's restoration. It will serve as a symbol of the community's rich artistic heritage, inspiring future generations to explore their creativity while staying connected to their roots.

Tedford explained that for the community of Fallon, the return of the Desert Cross represents not just the reclamation of a work of art but the restoration of a piece of the town's cultural identity. "It is a familiar piece called by different names—whether the Desert Cross or the Mason Cross. Whatever it was called, it is an X that marks this space as a place where art and viewer meet at a crossroads. Where artists and audiences intersect in a conversation about the arts," Tedford said.

Pictured: Top right, X marks the spot. Fallon Mayor Ken Tedford and UNR President Brian Sandoval.

Center right: CAC Chairman Dr. Tom McDonald with visitors at the event. 

Center left: Mason and his cross featured in New York Times display. 

Bottom right: Pat Getto and Michon Mackedon.