tag:blogger.com,1999:blog-56259788599102842832024-03-04T23:22:51.015-08:00ecoartspaceUnknownnoreply@blogger.comBlogger133125tag:blogger.com,1999:blog-5625978859910284283.post-80982055350853435532020-02-02T12:04:00.000-08:002020-02-04T12:18:10.231-08:00<span style="color: #444444;"><span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Please join us on our new website and blog at: </b></span></span></span><br />
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<span style="color: #444444; font-size: x-large;"><span style="font-size: medium;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><a href="http://www.ecoartspace.org/">http://www.ecoartspace.org</a></b></span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-68334849181373735422020-01-02T12:19:00.000-08:002020-01-13T19:26:01.812-08:00Happy New Year! 2020<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In 1997, I conceived of <i><b>ecoartspace</b></i> as a place where visitors could learn about the <i>principles of ecology</i> through immersive environments created by artists. I then published one of the first websites online with a directory of artists addressing environmental issues. In 1999, I met Amy Lipton and we decided to join forces working from both the east and west coasts while operating under the umbrella of SEE, the Social and Environmental Entrepreneurs in Los Angeles, a 501c3 fiscal sponsor. </span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2019 marked 20 years that we have been curating art and ecology programs, participating on panels and giving lectures internationally. When Amy and I began doing research in the 1990s, there were not many artists yet working in and with nature. We spent many years educating curators and arts institutions on earth and ecological art from the late 1960s through the 1990s. The movement has evolved from an interest in earth as artistic medium, to working with scientists collaborating on conservation and restoration efforts, to a more DIY, in your own backyard, community arts or social practice in the 2000s. </span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Combined, Amy and I have curated over 60 art and ecology exhibitions, many that were outdoors collaborating with artists doing site works. We have worked with well over one thousand artists from across the country, some internationally. This past year<i><b> </b></i>we have spent time reflecting on the work we have completed and had conversations on how to move forward.</span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">We are preparing to make an announcement soon and wanted to let all of our fans know today that we are not finished with this work! The start of this decade offers us renewed perspective and there are many projects that we want to continue working on including in-depth video interviews with pioneering eco artists, ACTION GUIDES presenting replicable social practice projects, and curating exhibitions. </span></span></span><br />
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<span style="font-size: large;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>ecoartspace</b> wishes you all a very inspiring 2020!!!</span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Patricia and Amy</span></span></span><br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-26274317327078804992019-11-28T07:45:00.000-08:002019-11-28T09:29:37.170-08:00Sant Khalsa: Prana: Life with Trees<div class="separator" style="clear: both; text-align: left;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">This past summer Griffith Moon Publishing in Santa Monica launched the book <b><i>Sant Khalsa: Prana: Life with Trees</i></b>. The subject of trees has been a focus of Khalsa's work for nearly five decades. Included are her earliest landscapes, photographs of the Santa Ana Watershed, sculptures and installations of works inspired by her research on air quality, and documentation of her life changing experience planting more than 1,000 trees in 1992 for a reforestation project in Southern California. </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">The book was inspired by a series of one person exhibitions presented at the Museum of Art and History in Lancaster, California in 2018, titled <i>The Forest For the Trees</i>. Included are essays by Betty Ann Brown and Colin Westerbeck, and interview excerpts with Khalsa conducted by Patricia Watts, founder/curator of <i>ecoartspace</i> in 2017. </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">Sant Khalsa</span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"> is an artist and activist. She is Professor of Art, Emerita at California State University, San Bernardino and resides in Joshua Tree. </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">You can purchase the book through Griffith Moon <a href="https://griffithmoon.com/santkhalsa/">HERE</a> or Amazon <a href="https://www.amazon.com/Sant-Khalsa-Prana-Life-Trees/dp/0999845268/ref=sr_1_fkmr0_1?keywords=Sant%20Khalsa%20Prana&qid=1574962046&sr=8-1-fkmr0&fbclid=IwAR1GLaElLy1GO59ZVdetbC1SvUGkz0LDXYqI5OYrK-LmYAmAqgaUiXd_XR8&pldnSite=1">HERE</a>. </span></span></span></div>
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-74870280597668526892019-05-26T10:55:00.000-07:002019-05-26T11:01:14.672-07:00Ulrike Arnold's Earth paintings at the Yucca Valley Arts Center<div class="separator" style="clear: both; text-align: center;">
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<b><i><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Ulrike Arnold: Cosmovisions</span></span></span></i></b></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">May 4 - July 28, 2019</span></span></span></div>
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Ulrike Arnold from Düsseldorf, Germany has created paintings made from soils, mud and clay, from all five continents over more than thirty years. This series from 2017 is the first time she has made paintings with soils from the Yucatán. Arnold feels it was a way for her to discover the genuine colors of the peninsular region, and what it means to put oneself in a deep relation with the Earth, a region that the Mayas’ have known and tilled for thousands of years. Arnold combines a diversity of the chromatic shades of the mud and clay, as well as meteorite dust, a material that has traveled millions of miles through space, to create her pictures that are the place. </span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Approximately 65 million years ago a gigantic sidereal rock with a diameter of 10 kilometers, consisting of minerals and metals, was passing through space at an incredible speed. This meteorite called Chicxulub hit the earth near Merida, Mexico, presently known as the Yucatán. The meteorite left a crater with a diameter of 200 kilometers and reduced everything that came in its way to rubble and ashes. What once was a vast place full of life now became a wasteland of destruction. The air was full of harmful gases and contaminating space debris. Giant sea waves devastated the coasts, and millions hectares of forest were lost. These extreme phenomena ultimately erased 75 percent of the flora and fauna of that time. </span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The word “COSMOVISIONS,” means a VIEW OF THE WORLD that a person or a society displays in order to interpret the place where it resides—to make the place accessible or to become familiar with it—anchored in a specific time and at a certain place. The word can also be traced back to the German expression “WELTANSCHAUUNG,” which refers to a range of perceptions, ideas and concepts that a human being has with respect to the world’s existence, reality or constitution. </span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Curated by Patricia Watts </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjihlDu08itGDAjORGfK7USZCyFrRjjsE5VCfbZohzB5ifkGCZsI_amqeKZDZlnyW5WqybdaBGymVqhTr7Anetb1IyYSrYxm_5nexbYc8irKOObaN8zbRnN6W4XMIFFZjZ967XL5NDg9F0/s1600/59556937_10157446594282033_6203295366683557888_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjihlDu08itGDAjORGfK7USZCyFrRjjsE5VCfbZohzB5ifkGCZsI_amqeKZDZlnyW5WqybdaBGymVqhTr7Anetb1IyYSrYxm_5nexbYc8irKOObaN8zbRnN6W4XMIFFZjZ967XL5NDg9F0/s640/59556937_10157446594282033_6203295366683557888_n.jpg" width="640" /></a></div>
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<span style="font-size: x-small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-size: small;"><b> From left to right: </b>Monica Lynne Mahoney, Patricia Watts, and Kate Temple. </span></span></span></span></div>
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-36658258737865364542019-05-06T18:45:00.004-07:002019-05-06T18:52:28.122-07:00Black Light Talk and Tour of Bowman exhibition on April 20th<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">On April 20th at The Landing gallery in Culver City, <b>Patricia Watts</b> invited astronomy curator <b>Jay Belloli </b>and physicist <b>Dennis Harp</b> to give a black light talk and tour of Richard Bowman's fluorescent paintings of scientific imagery. The selection of twenty works were primarily from the 1970s when the artist was making his Dynamorph series. It was revealed by a family member during the talk that Bowman had indeed held a black light party of several paintings with his students in Palo Alto in the 1970s. This aspect of the work seems intriguing today, however, as a serious student from the Institute of Art in Chicago, and a Bay Area abstract painter, black lighting his work was only experienced on the down low. Many critics got that Bowman was a good painter and this his use of fluorescent pigments was not simply a gimmick, but a provocation of the deeper concepts he was exploring with regard to nuclear physics. It was a great turn out and the audience had lots of questions for Jay and Dennis as they got to know his work through the lens of science rather than art for art sake. Some people felt that they did not like looking at the paintings for very long under the black light, and that it was a relief to enjoy the paintings as they are in daylight, which also changes hues as the light changes throughout the day. Bowman felt that the fluorescent pigments emitted an actual energy, which was confirmed by Harp as fact, if only on a very low frequency. Bowman's work is about making the invisible visible, what artists today are doing to illustrate climate science in aesthetic terms. The artist was definitely ahead of his time, and offers artists today a pioneering take on exploring the sciences through painting. </span></span></span><br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-47798102798145431992019-02-11T11:43:00.002-08:002019-04-25T18:14:09.947-07:00Richard Bowman: Radiant Abstractions<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygy-zSBdoGwxHmQI-zpromHc8-qNw9sORSmuu9NxQ5LWJYB-obAOBLMx4uw-DeNrd8AweNMkTSpYotHlz4TTO_nJ5lP2eTtGa7x5nbtwTBusrrnCTIDBsPccW5DbHUChXrRfAw-KIiYA/s1600/Photo-Joshua_White-jwpictures.com-2411.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygy-zSBdoGwxHmQI-zpromHc8-qNw9sORSmuu9NxQ5LWJYB-obAOBLMx4uw-DeNrd8AweNMkTSpYotHlz4TTO_nJ5lP2eTtGa7x5nbtwTBusrrnCTIDBsPccW5DbHUChXrRfAw-KIiYA/s640/Photo-Joshua_White-jwpictures.com-2411.jpg" width="640" /></a></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i>Richard Bowman: Radiant Abstractions</i> opened February 2nd at The Landing gallery in Culver City (Los Angeles), curated by Patricia Watts. Watts has been working with artists estates in the Bay Area since 2014 and has published a <a href="https://issuu.com/wattsartpublications/docs/richardbowman_issuu">monograph</a> on Bowman (1918-2001), a pioneering artist who decided in the early 1940s, while on a trip to Mexico, that he wanted to paint the elemental relationship between the earth and the cosmos. His first series, called Rock and Sun, was painted in a style inspired by Surrealist painters who resided in Mexico at the time, including Gordon Onslow Ford. He continued this series until 1950 when he became enthralled with early scientific imagery being published, such as cloud chamber photography </span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">visualizing the passage of ionizing radiation. He then chose to combine abstract expressionism with scientific exploration. In 1973, Bowman published an article in the MIT peer-reviewed academic journal <a href="https://www.jstor.org/stable/1572843?seq=1#page_scan_tab_contents">Leonardo</a>, describing his twenty-three years of "Painting with fluorescent pigments of the Microcosm and Macrocosm." He continued painting these works through the 1990s, for at total of fifty years. Series titles included: Kinetograph, </span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Macromicrocosmos, </span></span></span>Kinetogenics, Environs, Dynamorph, and Synthesis. <i>Radiant Abstractions</i> will conclude on April 27, 2019.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fWeHdOCBSjvgwLKawRpSjuVNquan2XCj15M89MAzbuBIGDsmgrRwsg81xx3zKaqMs7MZDYYx7QSlqfLXsTBw-IH_KnVRTYvLq_XJJdYXx5JaE7mL5xzKBXOfKC9TlCst6MMD1UQJPEU/s1600/Photo-Joshua_White-jwpictures.com-2441.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fWeHdOCBSjvgwLKawRpSjuVNquan2XCj15M89MAzbuBIGDsmgrRwsg81xx3zKaqMs7MZDYYx7QSlqfLXsTBw-IH_KnVRTYvLq_XJJdYXx5JaE7mL5xzKBXOfKC9TlCst6MMD1UQJPEU/s640/Photo-Joshua_White-jwpictures.com-2441.jpg" width="640" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"> </span><b>Dynamorph 25, 1968, acrylic and fluorescent acrylic on canvas, 51x 64 inches, Richard Bowman Estate</b></span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-87179197361338812052019-01-23T20:28:00.002-08:002019-01-23T20:29:22.544-08:00Joan Jonas: Moving Off the Land review in Artillery magazine<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYTd39aSk_gPqVmPmj_1KmodtjyjMz3TYv2h63gl8UHTLb4ndWgo3Gea7CCP3WNecRW1_YTDIAIveDCyCH56Kw4zgHfbKh-OovpJAMBASgjtOJpDyrMG6LENsmKHoXbJG7vxXtbYpYHc/s1600/Screen+Shot+2019-01-23+at+8.23.19+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="620" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYTd39aSk_gPqVmPmj_1KmodtjyjMz3TYv2h63gl8UHTLb4ndWgo3Gea7CCP3WNecRW1_YTDIAIveDCyCH56Kw4zgHfbKh-OovpJAMBASgjtOJpDyrMG6LENsmKHoXbJG7vxXtbYpYHc/s400/Screen+Shot+2019-01-23+at+8.23.19+PM.png" width="400" /></a></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Read a review of <i><b> </b></i></span></span></span></div>
<div style="text-align: center;">
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i><b>Moving Off the Land</b></i>, </span></span></span></div>
<div style="text-align: center;">
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">a performance by Joan Jonas </span></span></span></div>
<div style="text-align: center;">
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">at Fort Mason Center for Arts and Culture</span></span></span><br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">on January 19th </span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">by <i>ecoartspace</i> founder, </span></span></span></div>
<div style="text-align: center;">
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Patricia Watts, </span></span></span></div>
<div style="text-align: center;">
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><a href="https://artillerymag.com/moving-off-the-land/?fbclid=IwAR3PssPDxOKbLu-enLphj8mjVO-Kf-ntiajqxIiwk6gOuV33SKi8ubD0rtE">HERE</a>. </span></span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-27479099138484636272018-11-01T19:35:00.001-07:002019-07-04T17:36:03.691-07:00Field to Palette: Book Release<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirAVUPCl1ZMso_A2FMz0H_EtRBq8kaiabyzloAJG5CJzMmaxfucVg-Q7vjalExsau7T_Lw4z5v-dmSsJaWTq1bsRtNMWatMRQAC2tpSAQCYE8ZzjlpWhqveseLn8SBD-6Zi-e_co9CpRQ/s1600/45182191_10156108807441379_6639905833436053504_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="590" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirAVUPCl1ZMso_A2FMz0H_EtRBq8kaiabyzloAJG5CJzMmaxfucVg-Q7vjalExsau7T_Lw4z5v-dmSsJaWTq1bsRtNMWatMRQAC2tpSAQCYE8ZzjlpWhqveseLn8SBD-6Zi-e_co9CpRQ/s400/45182191_10156108807441379_6639905833436053504_n.jpg" width="312" /></a></div>
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.crcpress.com/Field-to-Palette-Dialogues-on-Soil-and-Art-in-the-Anthropocene/Toland-Noller-Wessolek/p/book/9781138297456?fbclid=IwAR2dJn1PTt4BWwSD7ZDnlydfeTZaIfP1T9jab4hp53pph696yx1iYQ8w8Jg"><i>Field to Palette: Dialogues on Soil and Art in the Anthropocene</i></a> is an investigation of the cultural meanings,
representations, and values of soil in a time of planetary change.
The book offers critical reflections on some of the most
challenging environmental problems of our time, including groundwater pollution, desertification, and biodiversity
loss. At the same time, the book celebrates diverse forms of
resilience in the face of such challenges, beginning with its
title as a way of honoring locally controlled food production
methods championed by "field to plate" movements worldwide. By
focusing on concepts of soil functionality, the book weaves
together different disciplinary perspectives in a collection of
dialogue texts between artists and scientists, interviews by the
editors and invited curators, essays and poems by earth scientists
and humanities scholars, soil recipes, maps, and DIY experiments.
With contributions from over 100 internationally renowned
researchers and practitioners, Field to Palette presents a set of
visual methodologies and worldviews that expand our understanding
of soil and encourage readers to develop their own interpretations
of the ground beneath our feet.</span></span></span><br />
<br />
<b><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Edited by Alexandra Toland, Jay Stratton Noller and Gerd Wessolek. </span></span></span></b><br />
<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Published by CRC Press </b></span></span></span><br />
<br />
<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>ecoartspace</i> was invited by Alexandra Toland to contribute a piece for Field to Palette back in 2014. The book is sectioned by soil function, and included in Function 3 titled <i>Interface: Soil as site of environmental interaction, filtration and transformation</i> is an interview with Mel Chin by founder Patricia Watts, and NYC Director Amy Lipton. Titled <i>Don't Worry, It's Only Mud</i>, the interview includes excerpts from their discussion with Chin in 2015 in the East Village </span></span></span><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">on his soil projects such as Revival Field and Operation Paydirt/The Fundred Dollar Bill. Both Watts and Lipton have curated exhibitions of artists addressing how food is grown, distributed and consumed, many who are included in Field to Palette. Watts recently curated a public art sculpture <i><a href="https://vimeo.com/189592923">Cloud House</a></i> by Matthew Mazzotta, and the exhibition <a href="http://hybridfields.blogspot.com/"><i>Hybrid Fields</i></a> in 2006, which included Laura Parker and Matthew Moore, who are both interviewed in the book. Tattfoo Tan and his <i>Black Gold</i> was included in the <i>ecoartspace </i>SOS Action Guide in 2014, a project also featured in the book. Lipton curated <a href="http://www.liptonarts.com/foodshed-art-and-agriculture-in-action/"><i>FoodSHED: Agriculture and Art in Action</i></a> in 2014 including Linda Weintraub, one of the book's contributors<i>;</i> <i>It's the End of the World As We Know It </i>(And I Feel Fine) in 2013, including Aviva Rahmani, also a contributor<i>; </i>and <a href="https://www.wavehill.org/arts/exhibits/jackie-brookner-nature/"><i>Jackie Brookner: Of Nature</i></a>, a retrospective at Wave Hill in 2016, the subject of one of the feature essays in Field to Palette. </span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-47291841393090609312018-10-26T10:20:00.000-07:002018-11-28T10:31:27.567-08:00Amy Lipton interviews Mary Mattingly and Jean Shin at the Rubin Foundation<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbBIHQmGD6M_nHdEczgaErRC9KarBwUNLqJjTC3VVeSC2gzlxEZCArwXRvHnvIbpicad_tWx6NCiNIMwssHfaQ2YJXj3s47BRmslBBqoKCC4q6hZf0dMGTdLZJ8Z5yq52E8tBKfi_uwpw/s1600/MMswale.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="641" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbBIHQmGD6M_nHdEczgaErRC9KarBwUNLqJjTC3VVeSC2gzlxEZCArwXRvHnvIbpicad_tWx6NCiNIMwssHfaQ2YJXj3s47BRmslBBqoKCC4q6hZf0dMGTdLZJ8Z5yq52E8tBKfi_uwpw/s640/MMswale.jpeg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-size: small;"><span class="">On October
17, 2018 Amy Lipton interviewed artists Mary Mattingly and Jean Shin at the Rubin
Foundation’s 8th floor gallery as part of the current exhibition </span><a href="https://www.sdrubin.org/blog/uncategorized/sedimentations-assemblage-as-social-repair-exhibition-opening-june-21-6-to-8pm"><i class="">Sedimentations: Assemblage as Social Repair</i></a><span class="">. </span></span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-size: small;"><span class="">From the Rubin Foundation press release: “The title of the exhibition alludes
to the late artist Robert Smithson’s essay “A Sedimentation of the Mind: Earth
Projects,” in which he associates the shifting of the earth with flows of
thought, positing that the “mind and earth are both in a constant state of
erosion…ideas decompose into stones of unknowing, and conceptual
crystallizations break apart into deposits of gritty reason.” The featured
artists employ strategies of reuse in their art making, incorporating found and
repurposed materials, from accumulation and assemblage to the construction of landscapes
and discrete objects. The works reference a multitude of timescales and
politics. - Sara Reisman</span></span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span class="">Included in the exhibition is<a href="https://www.nytimes.com/2016/09/22/arts/design/mierle-laderman-ukeles-new-york-city-sanitation-department.html?login=email&auth=login-email"> MierleLaderman Ukeles</a>, NYC Sanitation Department Artist in Residence since 1976. The original plan was to interview Ukeles during the exhibition since <i>ecoartspace</i> has been in a conversation
with Mierle to include her in our video archive. However, she was unable to attend, so Lipton decided to focus on Ukeles' work in her interview with Mary Mattingly and Jean shin instead. Together they discussed Ukeles art-as-maintenance manifesto
and in particular her 1979 performance work “Touch Sanitation,” and
her 1983 work “Social Mirror." Lipton also focused the discussion on the viability of such projects that require long term maintenance (site workers, ongoing care, repair, etc.). She asked Mattingly
and Shin if maintenance issues also applied to their own work. The answer was a resounding yes. Both artists are based in New York City
and have done substantial long-term public art projects, so the lineage from
Mierle Ukeles practice is present and influential.</span></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span class=""><a href="http://www.marymattingly.com/">Mary Mattingly</a> founded a floating food forest on a barge in New York
called <i>Swale</i>. Lipton had the opportunity to visit Mary aboard Swale before it’s
completion in 2016 in Verplanck NY. Now floating on New York’s waterways, this important project
is considered a community resource artwork. The barge is 130-by-40-foot and contains a
forest garden of edible and medicinal plants, including blackberries,
blueberries, strawberries, dandelions, stinging nettle, comfrey, chamomile and
more. Filtered rainwater and water from New York’s rivers hydrate the plants.
Visitors are welcome to come and pick items for free, and are also encouraged to
bring food items of their own. It’s illegal to grow public food in public
spaces in New York City, so Mattingly keenly moved her project to the water. </span></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span class=""><a href="http://www.jeanshin.com/">Jean Shin</a> makes
site-specific installations that transform everyday objects into elegant
expressions of identity and community engagement. Her work is distinguished by
a labor-intensive process and immersive environments that
reflect collective issues that we face as a society. As an accomplished
artist practicing in the public realm, she also realizes large-scale,
site-specific permanent installations commissioned by major public agencies on
the federal level (US General Services Administration) as well as local city and
arts for transit programs (New York City’s Metropolitan Transit Authority and
Percent for the Art programs, etc.). Shin recently completed a landmark
commission for New York City MTA’s Second Avenue Subway at the 63rd Street
station. </span></span></span></span></div>
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<b><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span class="">Below are
some of the questions Lipton asked Mattingly and Shin during their live interview:</span></span></span></span></b></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i class=""><span class="">Thinking about the title Sedimentations, my
thoughts are about geologic time and the larger picture regarding our eco
system and its potential healing. How do you think about sedimentations?</span></i></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i class=""><span class="">How do you see your work in regards to the
exhibition title of “social repair”? Is working with community an important
part of social repair for each of you?</span></i></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i class=""><span class="">Regarding issues of re-use and waste in your
artwork, -what really is waste when it comes to food, as opposed to mining and
resource extraction? </span></i></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i class=""><span class="">How working collaboratively with community
transforms waste from commodities into art and consciousness raising?</span></i></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span class="">A video recording
of this interview will soon be available as part of the ongoing <i>ecoartspace</i>
interview archive. See <a href="http://ecoartspace.blogspot.com/2018/09/ecoartspace-video-archive.html">HERE</a></span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYQWPytY2W_O5-EgsNDpQImOBQ5sc9PH3EM9wajzrS9bakvOov4YLJ3a6OBwcoIGvaNIfoZYlwAorY1TY-M8oL5d55FOQPEitG4XqRCdHaTczvnD0-tE1ucELnqHGHPqtDzaMUZlgG3wI/s1600/RubinTalkgroup.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="425" data-original-width="640" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYQWPytY2W_O5-EgsNDpQImOBQ5sc9PH3EM9wajzrS9bakvOov4YLJ3a6OBwcoIGvaNIfoZYlwAorY1TY-M8oL5d55FOQPEitG4XqRCdHaTczvnD0-tE1ucELnqHGHPqtDzaMUZlgG3wI/s640/RubinTalkgroup.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-family: "verdana" , sans-serif;">From Left to Right: Jean Shin, Amy Lipton, Mary Mattingly and Sara Reisman</span></b></span></span></span></td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-64688352664595701612018-09-20T16:07:00.000-07:002018-11-28T19:25:24.602-08:00ecoartspace video archive<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEeFqKlt89ygnV4yWLnH015HKnB8ryvefT8fqFNf4F3PGbHFtYqKHPISBavdXQkvGsogu5_DU4CpxlpYIhJ69KTqa2NTthLdZHegQdp_v4Iwttf_2aYWZzfpkRfrhkz4fblRECbOVJm4M/s1600/Screen+Shot+2018-11-26+at+3.35.33+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="887" height="605" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEeFqKlt89ygnV4yWLnH015HKnB8ryvefT8fqFNf4F3PGbHFtYqKHPISBavdXQkvGsogu5_DU4CpxlpYIhJ69KTqa2NTthLdZHegQdp_v4Iwttf_2aYWZzfpkRfrhkz4fblRECbOVJm4M/s640/Screen+Shot+2018-11-26+at+3.35.33+PM.png" width="640" /></a></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Over the last decade, <i>ecoartspace</i> has captured twenty-eight video interviews with pioneering artists who address environmental issues through the visual arts. The first interview took place in Delhi, India, with ecological artist </span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>Mary Miss,</b> </span></span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">who was there to create a site-work in a historic park. </span></span></span><i>ecoartspace</i> founder, Patricia Watts, who </span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">was also in Delhi presenting a paper at the <a href="https://www.48c.org/">48c </a>symposium, invited Miss to do an interview</span></span></span> while they sat amidst her artwork <a href="http://marymiss.com/projects/roshanaras-net/"><i>Roshanara's Net</i></a></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">, a temporary garden of medicinal plants—ayurvedic
herbs, trees and bushes. The following year, in 2009, Watts interviewed three more artists who were included in her show <i>Terrior</i> at the Marin French Cheese Factory in Petaluma, California including <b>Mark Brest van Kempen</b>, <b>Judith Selby Lang</b>, and <b>Philip Krohn</b>. The following year in 2010, Watts interviewed New York artist's <b>Christy Rupp</b> and <b><a href="https://www.youtube.com/watch?v=l0DyGZNtgpA&t=86s">Jackie Brookner</a></b>; Amy Lipton interviewed <b><a href="https://www.youtube.com/watch?v=oZWJSyuzHBQ&t=2s">Patricia Johanson</a></b>. In 2011, while traveling in New Mexico, Watts interviewed <b>Dominique Mazeaud</b> and <b>Chrissie Orr</b>. In 2012, Watts interviewed <b>Susan Liebovitz Steinman</b> in Berkeley and <b>Bonnie Sherk</b> in San Francisco. She also flew up to Seattle that same year to interview <b><a href="https://www.youtube.com/watch?v=tePqv3IncpQ">Buster Simpson</a></b> and <b>Beverly Naidus</b>. And, Amy Lipton interviewed <b>Betsy Damon</b> in New York. In 2015, in the East Village, New York Watts and Lipton interviewed <b>Mel Chin</b> on his work with soils for the upcoming publication <a href="https://www.crcpress.com/Field-to-Palette-Dialogues-on-Soil-and-Art-in-the-Anthropocene/Toland-Noller-Wessolek/p/book/9781138297456">Field to Palette</a>. And, in 2017, Watts went on a cross country driving trip and interviewed <b>Roy Staab</b> in Wisconsin, <b>Billy Curmano</b> in Minnesota, <b>Frances Whitehead</b> in Ohio, <b>Basia Irland</b> in New Mexico, <b>Kim Abeles</b> and <b>Sant Khalsa</b> in California, and flew to Philadelphia to interview <b>Diane Burko</b>. This year, Watts had the opportunity to go abroad and interviewed <b>Ruri </b>in Iceland, and <b>Tim Collins</b> and <b>Reiko Goto</b> in Scotland. Over the summer Watts also interviewed <b>Mags Harries</b> and<b> Lajo Heder</b> in Boston; and, this fall Amy Lipton interviewed <b>Mary Mattingly</b> and <b>Jean Shin </b>in New York. </span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">These interviews are approximately two hours in length and cover information on the artists youth, inspirations, education, mentors, and summaries of all their major projects. They can be made available for research upon request and are also available to be edited for special exhibitions for a fee. </span></span></span><br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #333300; font-size: 100%;"><span style="font-family: "arial";"><span style="color: #333300; font-size: 100%;"><span style="font-family: "arial";"><span style="color: #333300; font-size: 100%;"><span style="font-family: "arial";"></span></span></span></span></span></span><span style="color: #333300; font-size: 100%;"><span style="font-family: "arial";"> </span></span></span></span></span><br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #333300; font-size: 100%;"><span style="font-family: "arial";">Edited video excerpts with Patricia Johanson, Jackie Brookner, Buster Simpson, Bonnie Sherk, and Diane Burko can be viewed online via Youtube<a href="https://www.youtube.com/user/ecoartspace/videos?sort=dd&view=0&shelf_id=0"> <b>HERE</b></a>. </span></span></span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-70311953082184241662018-07-19T14:14:00.000-07:002018-11-28T19:13:29.961-08:00Curatorial Residencies<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJOhaytNlUFc3l2NExS6b6eixE1l0FZwXULcf1V6UtIUsMhLZpApmoLi_LPMxIQFtZKo2z1NIMU0YFK4B6wCHB21KbDEXBm5Y2TDY5S7AgFsvFpS_QHfE_btjunTZQDQRE8kCqfLS4mpc/s1600/DSC06023.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJOhaytNlUFc3l2NExS6b6eixE1l0FZwXULcf1V6UtIUsMhLZpApmoLi_LPMxIQFtZKo2z1NIMU0YFK4B6wCHB21KbDEXBm5Y2TDY5S7AgFsvFpS_QHfE_btjunTZQDQRE8kCqfLS4mpc/s640/DSC06023.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7mapUpZx9NCwyG7tBOOh7-62Uh4Wl8aZHc4h-lnrNFIkmf6tqUOvCXiKAezjJRxMwtTwqJ6M7byrlO5ynvbCPZLUf8XSTA6eA2JIm2dIzSLK75LQGDyynorBpEq0ZShSlBMNhyphenhyphenIn4CD4/s1600/DSC06086.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7mapUpZx9NCwyG7tBOOh7-62Uh4Wl8aZHc4h-lnrNFIkmf6tqUOvCXiKAezjJRxMwtTwqJ6M7byrlO5ynvbCPZLUf8XSTA6eA2JIm2dIzSLK75LQGDyynorBpEq0ZShSlBMNhyphenhyphenIn4CD4/s640/DSC06086.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">In April and in June this year, I've attended two curatorial residencies that have given birth to two new projects for <i>ecoartspace</i>. In April, I spent three weeks in Ireland at Cill Rialaig in Ballinskelligs on the Celtic Sea of County Kerry. I set out to write an essay on my perceptions of nature over fifty years, considering childhood memories of my grandparents farm in Missouri, and driving Route 66 from Arizona to Missouri each summer to visit them. I wanted to consider what were the baseline shifts in nature that I had experienced in my lifetime. However, there was something about this place, on the wild Atlantic, one of eleven certified dark sky reserves in the world, which had me thinking on a much larger scale. I quickly scrapped my idea for an essay and decided to write a book instead. I layed out twelve chapters and began filling them in. The book also has to do with my relationship with nature, however, I decided I wanted to share distinct environmental concepts that I've found transformational in my own life. So, I created a framework for contemplating one's relationship with the natural world that references artists work. I also had a deadline for an exhibition proposal while I was there, for another curatorial residency, and decided that the book could also be the framework for an exhibition, with artists' installations providing spaces for contemplation for the concepts in the book. I'm not giving much information here, obviously, because I did not complete the book in those three weeks. I'm planning to continue writing it this year, with the goal to finish and go to print by the end of 2019. I'm also seeking a venue for the exhibition for 2020. The title for both the book and the exhibition is <i>Epochal Change</i>. </span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_rvrXOHP9NPWmcHd3bkBKUgReTrCiYZQLZDV5R19SmxI39QWZ9xC9irvC_EQ5otP1Xv6FUnDcpJgp8gacxDz-idu9JjP_dH-wu_aEyJSf9kFJsodnztH1fpEloBUHWPEyrX-fsrHuMqk/s1600/DSC06081.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_rvrXOHP9NPWmcHd3bkBKUgReTrCiYZQLZDV5R19SmxI39QWZ9xC9irvC_EQ5otP1Xv6FUnDcpJgp8gacxDz-idu9JjP_dH-wu_aEyJSf9kFJsodnztH1fpEloBUHWPEyrX-fsrHuMqk/s640/DSC06081.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQfBHHB3QXM2uLK3qSpondAv1AHKH6KXwhvE-1HWb4YTqJPLaudFzuA5rJWhsgPqRFcjYV7kpIIYxgbYWe3FJsEE8_AWnk9hPxs7607bNxh8Cid_TqP6o_CP9VvzMYvfAwwrdvxaRyoSw/s1600/IMG_1800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQfBHHB3QXM2uLK3qSpondAv1AHKH6KXwhvE-1HWb4YTqJPLaudFzuA5rJWhsgPqRFcjYV7kpIIYxgbYWe3FJsEE8_AWnk9hPxs7607bNxh8Cid_TqP6o_CP9VvzMYvfAwwrdvxaRyoSw/s640/IMG_1800.jpg" width="640" /></a></div>
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<span style="color: #444444;"><span style="font-size: small;"><b><span style="color: #444444;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://cillrialaigartscentre.com/residencies/">Cill Rialaig</a> is a pre famine village that layed in
ruins, abandoned for nearly half a century. A former publisher Noelle Campbell-Sharp and a
local community group bought the site, </span></span></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b><span style="font-size: xx-small;">set up a Trust and began rebuilding it as an artist's retreat in 1992. Each cottage has it's own kitchen and living room, separate bedroom and bathroom. The views are spectacular. I highly recommend applying.</span></b> </span></span></span></h2>
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiAPYh0bK4Rh2IrSKRyor1vUIfiXpm47OMMRoSn2_dImKxkxJpx1ra93SPb9_01_07LUoIIUi6m5TWru3YEo6yJRsqJYkBcuB8oGM9hLdluiCSXgFXGliIqPjg5ZhaJ9Z8L6vwEoEjg4U/s1600/IMG_3513.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiAPYh0bK4Rh2IrSKRyor1vUIfiXpm47OMMRoSn2_dImKxkxJpx1ra93SPb9_01_07LUoIIUi6m5TWru3YEo6yJRsqJYkBcuB8oGM9hLdluiCSXgFXGliIqPjg5ZhaJ9Z8L6vwEoEjg4U/s640/IMG_3513.jpg" width="640" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">My second residency was in June for three weeks at <a href="http://www.marblehouseproject.org/">Marble House Project</a> in Dorset, Vermont</span></span><span style="font-size: small;"><span style="color: #444444;">. Much to my surprise, I was selected as one of approximately 56 people from over 650 applicants for 2018. For this residency, while continuing to develop the concepts for my book, <i>Epochal Change</i>, I decided to focus on yet another book. </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">It occurred to me while in Ireland, that between me and my <i>ecoartspace</i> partner <a href="http://www.liptonarts.com/">Amy Lipton</a>, we have curated over fifty exhibitions and dozens of programs. </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><i>ecoartspace</i> was conceived in 1997 after I had worked on a museum in development on the creative process in Santa Monica, California. I curated my first ecological exhibition in 1998, titled <a href="http://home.earthlink.net/%7Eperroudburns/sculpturemag1.html"><i>Art and Nature</i></a>, and in 1999 curated <a href="http://home.earthlink.net/%7Eperroudburns/escondidophoenix.html"><i>Escondido Phoenix</i></a> right before meeting Lipton in Germany to view the exhibition <i>Natural Reality</i>. During that trip we decided to collaborate from both coasts to curate art and nature exhibitions. It has been over twenty years now that <i>ecoartspace</i> was conceived and in 2019, it will be twenty years that Amy and I have collaborated as nonprofit partners. Amy and I have each selected 20 exhibitions that we are writing about for the book, and will also include information on all of our programs and lectures. </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">During my residency in Vermont, I was able to scan exhibition photographs and invitations, and begin developing text from archived press releases and blog posts.</span></span></span> Publication is planned for early 2020.</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;">Patricia Watts, founder/curator, ecoartspace </span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444; font-size: x-small;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><a href="http://www.marblehouseproject.org/residencyprograms">Marble House Project</a> is a multi-disciplinary artist residency program that offers both individual and family residencies, as well as culinary and curatorial residencies. They operate from April through October, with six sessions lasting three weeks each. All residents live under the same roof, and have separate studios on the grounds. There is a marble quarry swimming pool and barn for yoga and events. And, there is an organic garden that you can harvest from to make meals together each night. Idyllic.</span></span></b></span></span></h2>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-48626466752127689092018-03-08T12:01:00.000-08:002018-11-26T12:02:25.698-08:00Vast and Vanishing: Diane Burko at Rowan University<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8etPpQrFp9Vvu0OiTfKMkXvIgGDDcsg_dxg3r8RbwHe0hWFfh2GXk7t_P0FctuTOqjxnSpYLmLKDXy1Xc3KbV7Y2WYqqqIXgQTZGsWkicY9jy724jAGjrrWIWAZN-Uf2kDLQb1K1ONBo/s1600/IMG_3051.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8etPpQrFp9Vvu0OiTfKMkXvIgGDDcsg_dxg3r8RbwHe0hWFfh2GXk7t_P0FctuTOqjxnSpYLmLKDXy1Xc3KbV7Y2WYqqqIXgQTZGsWkicY9jy724jAGjrrWIWAZN-Uf2kDLQb1K1ONBo/s640/IMG_3051.jpeg" width="640" /></a></div>
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<span style="color: #444444;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">For the exhibition <a href="https://sites.rowan.edu/artgallery/_docs/diane-burko_web-catalog_rowan-university.pdf"><i>Vast and Vanishing</i></a>, ecoartspace was commissioned by Rowan University Art Gallery in Glassboro, New Jersey to create a short video of painter <a href="https://www.dianeburko.com/vast-and-vanishing">Diane Burko </a>discussing her glacial paintings. Included were excerpts from an interview conducted by ecoartspace founder Patricia Watts with Burko at her home/studio in Philadelphia in November 2017. Diane Burko's paintings portray the art and science of climate change, as well as offer the artist a form of activism in making her art. The exhibition runs March 8th through April 21st and is curated by Mary Salvante, Rowan University Art Gallery, Director.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiyrcChoQlWJfz_wrMGvIF_OvlT3fw4AHwVMD2_-NP-608Tsniip9B85RKWSAWAax6Hy9ha-a6ieerm33Iwczfwj82u4k-LCjJFZgpinFvSGWzEJQnqJU_psvCpqBDyM-TzWarlT-cT1E/s1600/ECOARTVIDEO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiyrcChoQlWJfz_wrMGvIF_OvlT3fw4AHwVMD2_-NP-608Tsniip9B85RKWSAWAax6Hy9ha-a6ieerm33Iwczfwj82u4k-LCjJFZgpinFvSGWzEJQnqJU_psvCpqBDyM-TzWarlT-cT1E/s640/ECOARTVIDEO.jpg" width="640" /></a></div>
<span style="color: #444444;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br /></span></span></span>
<span style="color: #444444;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Link to ecoartspace video archive <a href="https://www.youtube.com/user/ecoartspace/videos?shelf_id=0&view=0&sort=dd">HERE</a></span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-21798671248515701442018-01-28T12:04:00.000-08:002018-11-26T12:22:59.164-08:00Contemplating OTHER Installation<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: large;"><span style="color: #444444;"> </span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: large;"><span style="color: #444444;"> Brigitta Varadi</span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: large;"> Linda Gueste</span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: large;"> Alicia Escott</span></span></span><br />
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<span id="goog_1760062305"></span><span id="goog_1760062306"></span><br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-50840112724348746492017-12-26T09:40:00.001-08:002018-01-30T15:23:10.143-08:00Contemplating OTHER at Gallery Route One in Point Reyes<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKiRta5w-a9PCc-d8_X6vbtf94pX3Qt3WQYHkUpalQRrUhXZzdxzJBE7fMxMPUZ3AhePPcl9JEOJh17abCU9zwIdt6kettZQ3Z7bARTCqt7yRspYyW2EnEqVj7jDOO2o4zXMQLSYmM_Q/s1600/Screen+Shot+2017-11-30+at+2.55.20+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="884" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKiRta5w-a9PCc-d8_X6vbtf94pX3Qt3WQYHkUpalQRrUhXZzdxzJBE7fMxMPUZ3AhePPcl9JEOJh17abCU9zwIdt6kettZQ3Z7bARTCqt7yRspYyW2EnEqVj7jDOO2o4zXMQLSYmM_Q/s640/Screen+Shot+2017-11-30+at+2.55.20+PM.png" width="640" /></a></div>
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<b><span style="font-size: small;"><i><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Contemplating Other: I know you are, You know I am</span></span></span></span></span></i></span></b><br />
<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><a href="https://galleryrouteone.org/">Gallery Route One</a>, Pointe Reyes Station, California</span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Reception Thursday December 21st from 3-5pm</span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Exhibition runs through January 28, 2018</span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><br /> Includes painting, sculpture and video contemplating the human/animal
relationship, </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">while addressing confinement, wildness, and husbandry. Includes Alicia Escott, </span></span></span></span></span></span><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Linda Guenste and </span></span></span></span></span></span>Brigitta Varadi. Organized and curated by Patricia Watts, founder of ecoartspace, in collaboration with </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Gallery Route One (GRO) in Point Reyes, California.</span></span></span></span></span><br />
<br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Our human relationship with animals has dramatically altered over time. As world</span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> populations continue to rise and as wild spaces are reduced due to human </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">encroachments, our heightened interactions with animals expand our awareness </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">of both ourselves and other. As individuals, our consciousness of the boundaries </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">between humans and animals ultimately determines our own fate as a species. </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Having become dependent on animals for psychological and nutritional needs, </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">human beings don’t often know where the self ends and the other begins. </span></span></span></span></span><br />
<br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span style="font-family: "arial" , "helvetica" , sans-serif;">In 2015 the New Zealand government
formally recognized animals as sentient </span></span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span style="font-family: "arial" , "helvetica" , sans-serif;">beings by
amending animal welfare legislation, an enlightened
perspective. This</span></span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span style="font-family: "arial" , "helvetica" , sans-serif;"> amendment acknowledges that animals
experience both positive and negative </span></span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span style="font-family: "arial" , "helvetica" , sans-serif;">emotions, including pain and distress, as humans do. Shockingly,
however, the </span></span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span style="font-family: "arial" , "helvetica" , sans-serif;">British government recently voted not to
transfer parts of EU legislation into UK </span></span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span style="font-family: "arial" , "helvetica" , sans-serif;">law, parts
that recognize animals as sentient beings, a not so
enlightened perspective. </span> </span></span></span></span></span><br />
<br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Historically, it has been posited that animals live “on the surface” and do not engage </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">in self-reflective thought. They likely did not have the ability to process events or </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">have memories like those of humans. Their lives were considered a series of situations, </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">one after the other, instead of an intellectual endeavor. And, we were told, they </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">lacked critical reflection and were not able to differentiate objects from people. </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">These theories have been considered as facts.</span></span></span></span></span><br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><br /> The three artists in Contemplating OTHER arrive at their subject from different </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">perspectives and use diverse media, while they all reflect on the human-animal </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">relationship in their art. <br /> </span></span></span></span></span><br />
<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><a href="http://aliciaescott.com/home.html">Alicia Escott</a> places herself in the role of animal, physically cloaking herself in </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">sheets of found plastics, upon which she has delicately painted wild animals. </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">She then places herself in nature for documentation. Her work takes the form </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">of photographs, video performances, and installations.</span></span></span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><a href="http://www.lindaguenste.com/"> Linda Guenste</a> makes vivid paintings that reflect her experiences of finding the </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">remains of abandoned corrals scattered throughout the Great Plains states of </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">America. There, cattle were historically rounded up in small groups and loaded </span></span></span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_4n-j _3cht fsl" data-testid="event-permalink-details">onto trucks, then hauled off to slaughter. </span></span></span></span></span><br />
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</span><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://brigittavaradi.net/">Brigitta Varadi </a>works with raw sheep
wool to present an aesthetic element of </span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">farming
practices, in which animals are marked with
color-coded paints to </span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">identify ownership. Her paintings remind us
that animal husbandry links us </span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">humans with animals
psychologically as well as for our dietary survival. </span></span></span></span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-12701297826760075242017-07-01T09:34:00.002-07:002017-07-01T19:29:55.955-07:00Re/Imagine: How Artists Interpret the World<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><span style="color: #343434; font-family: "arial"; font-size: small;">Curator Amy Lipton was invited to
present on the work of ecoartspace at the </span><span style="color: #343434; font-family: "arial"; font-size: small;">The <a href="https://www.brown.edu/academics/creative-arts-council/"><span style="color: #343434; text-decoration: none;">Brown Arts
Initiative</span></a> (BAI) <span style="mso-bidi-font-weight: bold;"> <i>re|ACT:
symposium on arts and environment</i></span><i> </i><span style="mso-bidi-font-weight: bold;">March 3 & 4, 2017 </span>at the
Granoff Center for the Creative Arts, Brown University.</span><span style="color: #343434; font-family: "calibri"; font-size: 16.0pt;"><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="color: #343434; font-family: "arial"; font-size: small;">The symposium initiated the BAI and brought together cutting
edge artists, curators and scholars whose work engages with the multiplicity
of environments in which we live. From the natural environment to data
mediascapes to sonic </span><span style="font-size: small;">ecologies, re|ACT showcased the latest arts practice and research that reacts to and with the environment.<br /><br />A consortium of six art departments and two affiliated programs representing the performing, visual and literary arts at Brown University, the BAI is designed to foster an interdisciplinary environment where faculty, students, artists and scholars in a wide range of fields from across the campus and around the world can learn from and inspire one another. <br /><br />Lipton was invited to participate on a panel titled, re|IMAGINE: How Artists Interpret the World. Visual artists and curators who respond to the world around them, whether they view environments as politicized, natural or social. <br /><br />Each panelist discussed their individual practices, which had a common theme—how the making of art can be a tool for social and cultural change. David Buckland described his organization, Cape Farewell, which has sponsored expeditions involving more than 350 artists calling attention to climate change. Seitu Jones shared his public installation work in his hometown of St. Paul, MN, including The Community Meal, a mile-long, outdoor dining experience that connected over 2,000 residents through locally sourced, healthy food. Amy Lipton related how she and Patricia Watts, co- founders of the ecoartspace gallery without walls, have paired artists with scientists, engineers, architects and botanists, using “art as a pathway towards a more sustainable and resilient future.” Paul Villinski spoke of repurposing the detritus of his neighborhood into artwork evocative of flight and building a self-contained ecosystem in his studio that nurtured live butterflies, recurring imagery in his work. <br /><br />Asked by moderator Anne Bergeron if artists have a responsibility to engage in political or social action, the panelists agreed that responses will vary by individual, but each must reflect on this personally. “It takes time to come to that place [of artistic activism],” said Lipton, “but it’s urgently needed.” Villinski invoked President Barack Obama: “We are the first generation to feel the impact of climate change, and the last to be able to do anything about it.” <br /><br />“Leave your community more beautiful than you found it.” —Seitu Jones<br /><br />See <a href="https://sites.google.com/a/brown.edu/bai-symposium2017/panelists">Panelists</a> page for more information on the individual panelists. #BAI2017 </span></span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJ1ymQRi7Fyu_lsV07FLbqLok408HyxPqFLNQlA1_zK7CxSXv2uFHFsvXaeHIXVPX_DzYgdVKgRrvg5FXIkY0i3A8rYnoQe6aQhk5XbF0HVQD-KDFrXyUrIgbDdDefscDmWGzkXNiVFw/s1600/IMG_3101.JPG"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJ1ymQRi7Fyu_lsV07FLbqLok408HyxPqFLNQlA1_zK7CxSXv2uFHFsvXaeHIXVPX_DzYgdVKgRrvg5FXIkY0i3A8rYnoQe6aQhk5XbF0HVQD-KDFrXyUrIgbDdDefscDmWGzkXNiVFw/s640/IMG_3101.JPG" width="640" /></a><br /><br /><br /> <br /><br /><br /> </span></div>
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</style>amy liptonhttp://www.blogger.com/profile/04445973844738146808noreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-82008224098702796072017-02-27T17:36:00.002-08:002017-03-01T04:50:15.644-08:00Care as Culture: Artists, Activists and Scientists Build Coalitions to Resist Climate Change<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGCwIP7SNSffLfsfVl-vYuEhGoXMGEGfbsxbKsA-qxxKWKyJpulkGTruCg9LgSiNC89sqDJc9yQoG-RjUb72wsvpoNLq4mmKrupYm-BrVST_VsV6enWUAHjuIaZvNyPnGiqKrmO73Wqpo/s1600/Screen+Shot+2017-02-27+at+7.11.36+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGCwIP7SNSffLfsfVl-vYuEhGoXMGEGfbsxbKsA-qxxKWKyJpulkGTruCg9LgSiNC89sqDJc9yQoG-RjUb72wsvpoNLq4mmKrupYm-BrVST_VsV6enWUAHjuIaZvNyPnGiqKrmO73Wqpo/s640/Screen+Shot+2017-02-27+at+7.11.36+PM.png" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "calibri";"><br /></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "calibri";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-size: xx-small;"><span style="font-size: xx-small;"><span style="font-size: small;">On February 12, I participated as a panelist/respondent on “Care as Culture: Artists, Activists and Scientists Build Coalitions to Resist Climate Change, A Convening Around the Peace Table.” This event was held at the Queens Museum in conjunction with the exhibition <a href="http://www.queensmuseum.org/2016/04/mierle-laderman-ukeles-maintenance-art">Mierle Laderman Ukeles: Maintenance Art</a> and took place at the large circular “Peace Table,” a centerpiece of her large retrospective exhibition<span style="font-family: "arial" , "helvetica" , sans-serif;">. </span>Our afternoon of discussion brought together a group of artists, activists, and scientists. One goal of the roundtable was to brainstorm methods for coalition building across these disciplines, to effectively multiply the power to confront an environmental, political, and spiritual crisis in our increasingly antagonistic time. Questions posed were; “How can we create a broad cultural movement to combat the policies of a new administration intent on dismantling many of the safeguards that reduce the effects of climate change?” “How can successful coalitions be introduced, and the urgent ways artists can begin the process of coalition building” and “what prevents us from working together and how can we advocate for change?”<br /><br />The presenters included Newton Harrison, The Natural History Museum, Natalie Jeremijenko, (absent) and Mary Mattingly. Respondents included Carol Becker, Francesco Fiondella, Allan Frei, Hope Ginsburg, Alicia Grullon, Klaus H. Jacob, Amy Lipton, Lisa Marshall, Jennifer McGregor, Aviva Rahmani, Jason Smerdon, and Marina Zurkow. Newton Harrison presented on the concepts, outcomes, and collaborations that were part of “A Vision for the Green Heart of Holland” 1995. The Harrison Studio consists of Helen Mayer Harrison (b.1929) and Newton Harrison (b.1932) who are among the earliest and the best known ecological artists. Working with biologists, ecologists, architects, urban planners, and other artists, the Harrison Studio initiates collaborative dialogues to uncover ideas and solutions that support biodiversity and community development.<br /><br />Speaking on behalf of the collective The Natural History Museum was co-founder Beka Economopoulos. In her presentation “Tactics for the Trumpocene” she addressed the museum’s latest work to build coalitions between scientists, Indigenous communities and museum professionals. The Natural History Museum’s mission is to affirm the truth of science. The museum is a project of Not An Alternative, a collective of artists, scientists, historians, theorists, and activists. Launched in 2014, The Natural History Museum is a mobile and pop-up museum that offers exhibitions, expeditions, educational workshops, and public programming. Unlike traditional natural history museums, it makes a point to include and highlight the socio-political forces that shape nature.<br /><br />Artist Mary Mattingly presented “Swale,” an experiential public space and artwork on New York’s waterways that provides access to free food through perennial urban agriculture along with coalition members Lindsay Campbell, Dariella Rodriguez, Bram Gunther (Co-Director of the NYC Urban Field Station), and docents from the Youth<span style="font-family: "calibri";"><span style="font-family: "arial" , "helvetica" , sans-serif;"> Ministries for Peace and Justice: Brandon Kane and Anthony Lespier. Mattingly is an artist who takes societal consumption and ecological crisis as points of inquiry. Working with community members ranging from scientists to engineers, students, and neighbors, she co-creates sculptural ecosystems in urban spaces. Mattingly is engaged in questions about how art can influence policy and strengthen the commons.</span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "calibri";"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><span style="font-size: xx-small;"><span style="font-size: xx-small;"><span style="font-size: medium;"> </span></span></span></span><span style="font-size: 13pt;"><o:p></o:p></span></span></span></span></span></span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-size: small;">Panelist/Respondents included Carol Becker, Professor of the Arts and Dean of Faculty at Columbia University School of the Arts; Francesco Fiondella from the International Research institute for Climate and Society at Columbia University’s Earth Institute; Allan Frei, climatologist and Deputy Director of the CUNY Institute for Sustainable Cities; Hope Ginsburg, artist; Alicia Grullon, artist and founder of Percent for Green, Bronx, NY; Klaus H. Jacob, geophysicist and Professor of Environmental Science at Barnard College; Amy Lipton, Director/Curator at ecoartspace; Lisa Marshall, community organizer for Mothers Out Front, NY; Jennifer McGregor, Director of Arts and Senior Curator at Wave Hill, Bronx, NY; Aviva Rahmani, artist and visiting professor at Stony Brook University, NY; Jason Smerdon, Associate Research Professor at Lamont-Doherty Earth Observatory of Columbia University and Marina Zurkow, media artist and faculty member at ITP/Tisch School of the Arts.<br /><br />The convening took place over the course of 3 plus hours and gave time after the presenters for respondents to speak, address the posed questions and add to those questions. It was a day where dire concerns for the future were expressed, while simultaneously the uplifting wit, energy, knowledge and spirit of the participants proved to be an affirmation of like-mindedness and shared ideas towards coalition building, which had been expressed as a goal of the gathering. Having participated on many such panels, my hope is for continued dialogue. The group resolved to stay in communication beyond the event.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-size: small;">Amy Lipton</span></span><br />
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<!--EndFragment-->amy liptonhttp://www.blogger.com/profile/04445973844738146808noreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-75779911016235029282017-02-26T15:46:00.000-08:002017-02-27T18:29:43.280-08:00Curator-in-Residence, St. Mary's College of Maryland<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNZKhcP7gITqWXXz3ASysvNmugA9orJ5EsroGkninvJF0G6N8JX1i4Jv0ujeNlXcl7kJ_5v4BHgLV6NLtlVn7IUIcM5RT12WnrpEkYka1No6FVa20tpTE_grOcjH3ferThrIGa2NypEGU/s1600/DSC01459-copy1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNZKhcP7gITqWXXz3ASysvNmugA9orJ5EsroGkninvJF0G6N8JX1i4Jv0ujeNlXcl7kJ_5v4BHgLV6NLtlVn7IUIcM5RT12WnrpEkYka1No6FVa20tpTE_grOcjH3ferThrIGa2NypEGU/s640/DSC01459-copy1.jpg" width="640" /></a></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">This is not my first residency, however, curators are not often invited to occupy space that is traditionally made available to artists. Last year, visual artist Sue Johnson, Professor of Art and Director of the Environmental Studies program and Artist House Residency at St. Mary's College of Maryland, sent me an email and invited me to come out for a week, a month, or as long as I needed/wanted.</span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"> I had included Johnson in an exhibition over a decade ago titled <i>Bug Eyed: Art, Culture, Insects</i> (2004), </span></span></span>and was flattered that she invited me. This seemed like a great opportunity to spend time on a campus, interacting with college students, to give a lecture and a workshop, and possibly teach a summer session. We hammered out some dates, titles, and descriptions for my programs, and here I sit now at the <a href="http://www.smcm.edu/art/artist-house/about-artist-house/">Artist House</a> on Mattapany Road in St. Mary's City, home of Maryland's first colonial settlement and the first capital of Maryland. </span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I arrived on February 6th and started prepping for an Art & Ecology lecture and an Art & Food workshop, creating Keynote presentations and curating video clips to share. I could tell right away that the students here--being embedded in a farming culture in rural Maryland, and with environmental science and biology programs on campus--were naturally interested in the <span style="font-family: "arial" , "helvetica" , sans-serif;">interstices</span> of humans and nature. For my lecture on Feb. 22nd, I presented <a href="http://windsockcurrentspresido2005.blogspot.com/"><i>Windsock Currents</i></a>, an installation I produced on Crissy Field <span style="font-family: "arial" , "helvetica" , sans-serif;">in</span> the Presidio in 2005,<i> </i>and <i><a href="https://vimeo.com/189592923">Cloud House</a>, </i>my more recent curatorial public art endeavor in Springfield, Missouri. I presented the evolution of <i>ecoartspace</i> and our activities such as the <a href="https://www.youtube.com/user/ecoartspace">video archive</a> (presented interview with Buster Simpson) and <a href="http://ecoartspaceactionguides.blogspot.com/">Action Guides</a> (presented Eve Mosher's <i>HighWaterLine</i>). I also shared a short video on painter John Sabraw, providing an example of the remediative art that will be the focus of my Summer session I've proposed titled <i>Debris Fields: Aesthetic Solutions to Industrial By-products</i>. Attendance was over 100 including students and community members who stayed seated until the end; a resounding success as I am told!</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCdWn_T-E27eVXti9CDhG4uNk8eOg89EkXUFZ8jiXd6Q7yyKWowUggnghlTiphaD7kE2LPSayAbi0kOxPjoOLNUQPeZl2ymEO9RAtI-_wjBiZ8CUgRB4vCD3iPKX4Lm2LaLW7Ssru3rDE/s1600/16865119_10154527706066379_3333021378347522448_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCdWn_T-E27eVXti9CDhG4uNk8eOg89EkXUFZ8jiXd6Q7yyKWowUggnghlTiphaD7kE2LPSayAbi0kOxPjoOLNUQPeZl2ymEO9RAtI-_wjBiZ8CUgRB4vCD3iPKX4Lm2LaLW7Ssru3rDE/s640/16865119_10154527706066379_3333021378347522448_n.jpg" width="640" /></a></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">On Saturday Feburary 25th, I presented a six-hour workshop on art and farming, starting off with performative artworks from the 1970s including:<i> FOOD</i> restaurant in Soho by Gordon Matta-Clark and Carol Goodden; <i>Making Earth</i> by Newton Harrison; and <i>The Farm</i> an alternative school by Bonnie Sherk. I also presented <i>Exchange Values</i> by Shelley Sacks, an artist from the UK whose work inspired me to focus on art and food production after meeting her in 2005. And, I</span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"> presented works by a few of the artists in my 2006 exhibition <a href="http://hybridfields.blogspot.com/"><i>Hybrid Fields</i></a> presented at the Sonoma County Museum, including: Susan Steinman's <i>Sweet Survival</i>; Laura Parker's <i>Taste of Place</i>; Temescal Amity Works S<i>onoma Preserves</i>; Wowhaus' <i>Tree, Trust, True</i>; and Matthew Moore's<i> Green Roof</i>. More recent works that were shown included: <i>The Waffle Shop</i> in Pittsburgh; Lauren Bon's <i>Not-A-Cornfield</i>; Amy Franceschini's <i>This is</i> <i>Not a Trojan Horse</i>; and Matthew Mazzotta's <i>Harm-to-Table</i>. We discussed how food miles are calculated and the challenges that this model presents. And, before breaking into two groups to brainstorm potential projects for St. Mary's City, I took them down a "darker" path to examine the work of Hugh Pocock, <i>MyFoodMyPoop</i>, and Jae Rhim Lee's <i>Mushroom Burial Suit</i>. We also watch segments of the documentary <i>The Real Dirt on Farmer John</i> an artist/farmer who comes close to losing the family farm, and excerpts from the play <i>Map of My Kingdom</i> about the transfer of farm land. </span></span></span> </span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">I've been here three weeks now, with five more to go. I'll be giving a talk to an environmental economics class<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>February 27th<span style="font-family: "arial" , "helvetica" , sans-serif;"> (tomorrow),</span> and another talk to a sculpture class on March 22nd. I've also been invited up to Baltimore to speak to an Urban Farming class taught by Hugh Pocock at the Maryland Institute of Contemporary Art on March 20th, as part of his Sustainability and Social Practice program. Looking forward to experiencing the change of season, from winter to spring, here in the land of oysters on the Potomac River in the Chesapeake Bay, </span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">the largest estuary in the USA</span></span></span>. </span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Patricia Watts </span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-27410000393883654732016-10-12T16:44:00.001-07:002016-10-17T09:59:05.160-07:00Art-in-Nature: Enchantment Wrap Up<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCQoYlK86Q6WRmS8pQgnth6aA9jJONJ5Wg7hKUOxw0nx58j22Vdafc1lORFwfuRAHywfel8uAQLNpjMVio7i2gL7HttPMbTFu9UndOM_YQSmNt_cnth3WqOy7Og7KvMgvDrmXxAj_QuQ/s1600/DSC03690.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCQoYlK86Q6WRmS8pQgnth6aA9jJONJ5Wg7hKUOxw0nx58j22Vdafc1lORFwfuRAHywfel8uAQLNpjMVio7i2gL7HttPMbTFu9UndOM_YQSmNt_cnth3WqOy7Og7KvMgvDrmXxAj_QuQ/s400/DSC03690.jpg" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The Moving Clouds</i> (performance) by Minoosh Zomorodina</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Within You and Without You</i> (terrace site-work) by Faith Purvey</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvo1jAxNTSntB79VpNXK8t9orI1iyWWIYDKJVQw4ZNv2RLg8jNl9tzsocaf1NxduVnBLhpxqNN1bK_XY-wQ6vJ-ttbaIsBR_nLeKYpt5ArTGaqLHzHKYNTQPC8FviTqx3zVr4tCvb_20M/s1600/DSC03623.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvo1jAxNTSntB79VpNXK8t9orI1iyWWIYDKJVQw4ZNv2RLg8jNl9tzsocaf1NxduVnBLhpxqNN1bK_XY-wQ6vJ-ttbaIsBR_nLeKYpt5ArTGaqLHzHKYNTQPC8FviTqx3zVr4tCvb_20M/s400/DSC03623.jpg" width="400" /> </a></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="_5yl5"><i>Park Pool Province</i> </span>(poolside fence work) by Karen Reitzel</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsF4x6DxSeOKoUFaerbofQmTEaed8H8EZ8x6ARG540bL8SGImbOS1zhRQt8qScgAvVHoMiDyfmwMNZNENMamT60yny7azCCoPSDc7lXv5eK7whmJG2xw3BetSFqbz0hThkIYxJLoz2DCo/s1600/DSC02899.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsF4x6DxSeOKoUFaerbofQmTEaed8H8EZ8x6ARG540bL8SGImbOS1zhRQt8qScgAvVHoMiDyfmwMNZNENMamT60yny7azCCoPSDc7lXv5eK7whmJG2xw3BetSFqbz0hThkIYxJLoz2DCo/s400/DSC02899.jpg" width="400" /></a></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i>Clo<span style="font-family: "arial" , "helvetica" , sans-serif;">ud Chamber </span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">(aviary site<span style="font-family: "arial" , "helvetica" , sans-serif;">-work) by Ben Allanoff</span></span></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i>Enchantment: a feeling of great pleasure, delight</i><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>; the state of being under a spell or magic; a feeling of being attracted by something </i><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>interesting, pretty, something that holds your attention.</i> </span></span></span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">This month marks the closing of <i>Enchantment</i> at Peter Strauss Ranch in Agoura Hills, California. Three temporary site<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>works were installed in May and the final performance was on Saturday September 10th. Each artist was <span style="font-family: "arial" , "helvetica" , sans-serif;">provided</span> an honorarium by <i>ecoartspace</i> to cover materials and incidentals. It was the fourth successful collaboration between <i>ecoartspace</i> and the National Park Service (NPS); the others, <a href="http://windsockcurrentspresido2005.blogspot.com/">Winds<span style="font-family: "arial" , "helvetica" , sans-serif;">ock Currents</span></a> at Crissy Field in the Presidio (2005), and at the Grand Canyon South Rim Artist-in-Residence Program (<a href="http://ecoartspace.blogspot.com/2009/08/ecoartspace-west-report-from-grand.html">2009</a> <span style="font-family: "arial" , "helvetica" , sans-serif;">and</span> 2012). </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><a href="https://www.nps.gov/samo/planyourvisit/straussranch.htm"><b>Peter Strauss Ranch</b></a>
is home of an enchanting oak woodland that was inhabited for thousands
of years by the Chumash people, and later as part of the Rancho Las
Virgenes after Spanish Colonization. The
modern Pool and rustic Terrace were built in the 1940s when Warren
Shobert and Arthur Edeson purchased the ranch and transformed it into
Lake Enchanto, an amusement park and retreat. Lake Enchanto closed in
1960.</span></span></span><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
Peter Strauss purchased and restored the ranch in 1976 and lived on site
until 1983. The ranch was then sold t<span style="font-family: "arial" , "helvetica" , sans-serif;">o</span> the Santa Monica Mountains
Conservancy, and the National Park Service purchased the ranch in 1987
as part of the Santa Monica Mountains National Recreation Area. It is
located in the Triunfo Creek drainage. </span></span></span></span></span></span></div>
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<b><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">About the works:</span></span></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><b><i>Cloud Chamber: Memories, Dreams and Reflections</i></b> by <a href="http://www.benallanoff.com/">Ben Allanoff </a>transformed an existing aviary structure originally built by <span style="font-family: "arial" , "helvetica" , sans-serif;">a</span> former owner Harry Miller, a pioneering automotive engineer who used the ranch as a weekend retreat in the 1920. For this site, Allanoff cut biomorphic shapes from sheet metal and hung them from the top of the wire cage, a symbolism of the birds that once resided there. The reflective shapes were strikingly architectural, while "evocative of the spirits or energies that animate our world and our individual psyches that cannot be grasped," stated the artist.</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><b><i>Park Pool Province</i></b> by <a href="http://karenreitzel.com/">Karen Reitzel </a>in<span style="font-family: "arial" , "helvetica" , sans-serif;">cluded</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">two fabric panels <span style="font-family: "arial" , "helvetica" , sans-serif;">tied to</span></span> the fencing around an abandoned circular cement pool<span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">constructed</span> with</span></span> </span></span>hand-dyed strips of silk scarf material. One depict<span style="font-family: "arial" , "helvetica" , sans-serif;">ed</span> two prancing poodles and poison oak leaves on aqua blue silk that later f<span style="font-family: "arial" , "helvetica" , sans-serif;">aded to w<span style="font-family: "arial" , "helvetica" , sans-serif;">hite</span></span>, and the other depicted a helicopter with swimming poodle-shaped clouds on fleshy pink colored silk<span style="font-family: "arial" , "helvetica" , sans-serif;">, which</span> could be seen from the adjacent terrace. The artist was inspired by the sites history of leisure, pleasure, and artifice, and <span style="font-family: "arial" , "helvetica" , sans-serif;">the</span> contemporary condition of partly re-natured, drought-stricken lands in close proximity to encroaching development.</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><b><i>Within You and Without You</i></b> by <a href="http://www.somewhere-land.com/">Faith Purvey</a> located on a terraced hill overlooking the circular pool was an ascending triang<span style="font-family: "arial" , "helvetica" , sans-serif;">ular </span>pathway made <span style="font-family: "arial" , "helvetica" , sans-serif;">with</span> burlap and orange fabric trim. Participants climbing the hill entered a perceptual shift of the mind and an eventual meditative vantage space at the crest. Alluding to the rising stair paths found on Mayan Temples, the artist made use of the sites archaic architectural qualities to position her viewers to feel as though they had stepped into the distant past--whether meditating on 8,000 years of Chumash habitation, or the mysterious disappearance of the Mayan civilizations. </span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b><i>The Moving Clouds</i></b> performance on Saturday, September 10th, by <a href="http://www.rahelehzomorodinia.com/">Minoosh Zomorodinia</a>, was sited in front of the aviary where she engaged visitors along a path while they passed through on their way to the <a href="http://www.tinyporchconcerts.com/">Tiny Porches</a> monthly concert series. Dressed in all white, including her hijab, with several layers of shiny silver Mylar sheeting overlaid, the artist performed a series of per<span style="font-family: "arial" , "helvetica" , sans-serif;">sonal </span>ritual actions <span style="font-family: "arial" , "helvetica" , sans-serif;">including</span> repetitions of walking, marching, and jumping to animate her concerns for the changing climate. The reflective material was used to visually connect with nature, land, and the physicality of the human body, while re-creating the sounds of the oceans. </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="color: #444444;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><b>Special thanks</b> goes to Ranger Tori Kuykendall who invited <i>ecoartspace</i> to curate this summer art-in-the-park program, and to Ben Allanoff who suggested <i>ecoartspace</i> to Tori and laid the groundwork for <i>Enchantment</i> to happen. Thanks to the artists Karen Rietzel, Faith Purvey and Minoosh Zomorodinia for their thoughtful installations, and again to Ben Allanoff for his dedication to making art-in-nature and his additional installation made with Park staff along with volunteers from Santa Monica College and inmates from Malibu Conservation Camp #13. The playful sculpture made from cut fallen trees on <span style="font-family: "arial" , "helvetica" , sans-serif;">Santa Monica Mountains R<span style="font-family: "arial" , "helvetica" , sans-serif;">e<span style="font-family: "arial" , "helvetica" , sans-serif;">creation Area</span></span></span> property is titled <i>Wood/Trees</i>, and was designed <span style="font-family: "arial" , "helvetica" , sans-serif;">and </span>guided by Allanoff as a collaboration to amplify the creative energy and spirit of trees.</span></span></span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgS9w2rCZGAX8XfJJqpCQujn6dyBYQRz10DJGj0QP8s2UAFc1-1-l5uF-W2GIgOa9bak7BqcilBBqW3pmB1e-zYBgnqItYQiZ2oRz4a5oys4TVjNyVkmrE4wbGnSUZ4KkMCkzawe0RCZ4/s1600/Wood+Trees+-+wide+%25281024x438%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgS9w2rCZGAX8XfJJqpCQujn6dyBYQRz10DJGj0QP8s2UAFc1-1-l5uF-W2GIgOa9bak7BqcilBBqW3pmB1e-zYBgnqItYQiZ2oRz4a5oys4TVjNyVkmrE4wbGnSUZ4KkMCkzawe0RCZ4/s640/Wood+Trees+-+wide+%25281024x438%2529.jpg" width="640" /></a></div>
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-36990600333061810962016-08-28T10:51:00.001-07:002016-08-28T11:22:35.824-07:00Jackie Brookner, Of Nature: A Retrospective at Wave Hill<div class="separator" style="clear: both; text-align: center;">
<span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Lg-ZBSmgM58sBivvW19NcJC2es9SwP_zET9cq-ErgwHiXw30a_ZaGJF58TnWaP4nsHUURaUM4cSSRRTnfYDKzugYLP_N3GMmhsbq1cKSBIyREMrydSUgIlG1DycD-u2Hd1Zr7eHnXAM/s1600/WH+BROOKNER+invite.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Lg-ZBSmgM58sBivvW19NcJC2es9SwP_zET9cq-ErgwHiXw30a_ZaGJF58TnWaP4nsHUURaUM4cSSRRTnfYDKzugYLP_N3GMmhsbq1cKSBIyREMrydSUgIlG1DycD-u2Hd1Zr7eHnXAM/s1600/WH+BROOKNER+invite.jpg" /></a></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The opening reception for </span><i style="font-family: arial, helvetica, sans-serif;">Jackie Brookner: Of Nature</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> will take place at <a href="https://www.wavehill.org/">Wave Hill</a> on Saturday September 17</span><span class="s1" style="font-family: "arial" , "helvetica" , sans-serif;"><sup>th</sup></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> from 2 – 4:30pm. This will be the first retrospective tracing the expansive work of <a href="http://www.jackiebrookner.net/">Jackie Brookner</a> (1945–2015), an artist who was deeply engaged with the environment. Brookner’s groundbreaking, remediative sculptural environments were designed as ecological filters to cleanse gray water, urban storm water or agricultural runoff. This exhibition will connect the underpinnings of Brookner’s early sculptures and drawings to her ongoing exploration of materiality, which was informed by bodily touch and, particularly, the human hand. </span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Spanning Brookner's entire career, the exhibition will include a selection of bronze sculptures from the 1980s and her seminal </span><i style="font-family: arial, helvetica, sans-serif;">Of Earth and Cotton</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> project, which traveled through the South in the 1990’s, including video interviews with cotton field workers by Terry Iacuzzo. Documentation of her commissioned water remediation projects in San Jose, CA; West Palm Beach, FL; Cincinnati, OH; Fargo, ND; and Salo, Finland will also be presented along with a selection of her studio drawings that were never formally exhibited.</span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Brookner wrote in 2010 that her first 20 years as a sculptor were “a period of introversion” that led eventually to the realization that her “work could be ‘of’ nature, rather than ‘about’ it.” Over the next 20, she adds, “I have learned that beyond the science and the practical function, successful ecological restoration/remediation demands addressing the societal/cultural values that have allowed humans to dissociate from and be at war with the natural systems of which we are part.” </span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In addition to these fundamental themes, the influence of feminism is evident in her mixed-media rubber and fabric sculptures, work that materializes the inner body. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Ultimately, Brookner found her place in the vanguard of artists who are catalysts for environmental and social change. In her first public art projects, she sought out places where she could be part of a team to remediate tough ecological questions, collaborating with scientists, planners and other artists, notably <a href="http://www.steinmanstudio.com/">Susan Leibovitz Steinman </a>and <a href="http://www.angelociotti.com/">Angelo Ciotti</a>.</span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.metropolismag.com/Point-of-View/June-2015/Remembering-the-Life-and-Work-of-Jackie-Brookner-Creator-of-Living-Sculptures/">Jackie Brookner (b. 1945 Providence, RI; d. 2015 New York, NY) </a>was based in New York City during her entire artistic career. A passionate teacher, she inspired students at Parsons The New School for Design from 1980 until the time of her death. From 2000, she created public projects for wetlands, rivers, streams and storm-water runoff that unite water remediation and public art. Throughout her career, she exhibited widely and was included in many publications on the topic of public art and environmental remediation.</span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Jackie Brookner: Of Nature</i> is curated by ecoartspace NY curator Amy Lipton and Wave Hill Senior Curator Jennifer McGregor. The exhibition will run from September 13–December 4, 2016. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">An illustrated catalogue will accompany the exhibition. Plans are underway for the show to travel, and potential venues are currently being sought.</span></span><br />
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">An interview with Jackie Brookner and ecoartspace founder Patricia Watts can be viewed <a href="https://www.youtube.com/watch?v=l0DyGZNtgpA">here</a> as well as her <a href="http://www.jackiebrookner.net/">website</a> and <a href="https://www.youtube.com/watch?v=yplULLsVYzc">TedTalk interview</a></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Wave Hill Public Programming with the exhibition includes:</span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">September 17, 2016, 2–4:30PM, Fall Exhibition Reception, with curators’ tour at 3pm. </span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">November 11, 2016, 10:30AM–5PM, Of Nature Symposium. Celebrating the legacy of Jackie Brookner, this day of presentations and conversation will reflect on the artist’s contributions, and will spotlight environmental, socially engaging projects that artists are pursuing around the country. Featured conversations include Stacy Levy with Jennifer McGregor, and Mierle Laderman Ukeles with Amy Lipton.</span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">For further information, a complete press release or images please contact: </span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Martha Gellens 718.549.3200 x232 or <a href="mailto:marthag@wavehill.org">marthag@wavehill.org</a></span></span></div>
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amy liptonhttp://www.blogger.com/profile/04445973844738146808noreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-42721772197767965292016-05-16T12:57:00.003-07:002016-05-16T13:15:01.261-07:00Enchantment at Peter Strauss Ranch<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ3fke34YrKFhNnjXL-xn9ZjfrPn3ehbsw74VlrZU-74_afZGqJDfZO88jRDzKR5OQO_HDXyKRhMLLcFKOgLMajc4bYw4PAJczkJhF1NJh212bvWg7uDT1lEIT8WfTawfveQmEg1PLnng/s1600/DSC04098.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ3fke34YrKFhNnjXL-xn9ZjfrPn3ehbsw74VlrZU-74_afZGqJDfZO88jRDzKR5OQO_HDXyKRhMLLcFKOgLMajc4bYw4PAJczkJhF1NJh212bvWg7uDT1lEIT8WfTawfveQmEg1PLnng/s400/DSC04098.JPG" width="400" /></a></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">In 1999 I curated an art-in-nature exhibition at <a href="http://home.earthlink.net/~perroudburns/escondidophoenix2.html">Escondido Phoenix</a> Ranch
Retreat in Escondido Canyon, Malibu. It was developed as a 10-day
residency with ten artists creating site works along a mile trail. The
works were reviewed in Sculpture magazine by Collette Chattopadhyay<span style="font-family: "arial" , "helvetica" , sans-serif;"> and <span style="font-family: "arial" , "helvetica" , sans-serif;">over a three<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>day <span style="font-family: "arial" , "helvetica" , sans-serif;">M</span>emorial weekend some 300+ people <span style="font-family: "arial" , "helvetica" , sans-serif;">came to view the <span style="font-family: "arial" , "helvetica" , sans-serif;">installations</span></span></span></span>. </span></span></span></div>
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<span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">While at <a href="http://paramountranch.la/">Paramount Ranch 3</a> art fair this past
January I was thinking it would be fun to do another site project in the
Santa Monica Mountains. The next thing you know, I was </span></span></span><span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">invited
to curate at <a href="https://www.nps.gov/samo/planyourvisit/straussranch.htm">Peter Strauss Ranch</a> in Agoura Hills by the National Park Service! Of course, I
wish the budget were bigger and I could invite more artists to
participate, but I think we have a sweet show, pulled together very
quickly over the last two months. </span></span></span></span></div>
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<span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The works will remain up through the summer
and we will do a closing performance on September 10th. With additional
funding we can add a few more installations in June and August, fingers
crossed. </span></span></span></span></div>
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<span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Artists include: </span></span></span></span><span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><a href="http://www.benallanoff.com/">Ben Allanoff</a>, </span></span></span></span><a href="http://www.somewhere-land.com/">Faith Purvey</a>, <a href="http://www.artslant.com/global/artists/show/9808-karen-reitzel">Karen Reitzel</a>, and <a href="http://www.rahelehzomorodinia.com/">Minoosh Zomorodinia</a>.</span></span></span></span></div>
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<span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Opening reception/talk with artists on June 5th, Sunday at 2pm</span></span></span></span></div>
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<span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Patricia Watts, curator/ecoartspace</span></span></span></span></div>
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<span class="text_exposed_show"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Facebook invitation <a href="https://www.facebook.com/events/992787307443389/">HERE</a> </span></span></span><a class="_58cn" data-ft="{"tn":"*N","type":104}" href="https://www.facebook.com/hashtag/ecoartspace?source=feed_text&story_id=10153715157206379"><span class="_58cm"></span></a></span></div>
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-28519047605648539082016-04-15T14:51:00.000-07:002016-04-18T16:42:03.936-07:00Cloud House at Farmer's Park - Springfield, MO<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCXMVEho90-HYWUaBJjk9ERAs0jgOcBsdYjv94YsJ3kjQX4ct2oi61FxcGyYxqKuW_03axEWYgghpn3nhSYe0w9y7vN-IFEFeijy1HLJLXCC_NpdKG9ZSJkESKQUl1k9jMOP0LQanw9ew/s1600/160412_070.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCXMVEho90-HYWUaBJjk9ERAs0jgOcBsdYjv94YsJ3kjQX4ct2oi61FxcGyYxqKuW_03axEWYgghpn3nhSYe0w9y7vN-IFEFeijy1HLJLXCC_NpdKG9ZSJkESKQUl1k9jMOP0LQanw9ew/s640/160412_070.jpg" width="640" /></a></div>
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Almost two years ago</span></span> <i>ecoartspace</i> invited Matthew Mazzotta to Springfield, Missouri to propose a public art installation for Farmers Park, a LEED certified multi-use development. After meeting with the local community during a public living room conversation, the artists' format for gathering information <span style="font-family: "arial" , "helvetica" , sans-serif;">to</span> conceptualiz<span style="font-family: "arial" , "helvetica" , sans-serif;">e</span> his projects, Mazzotta went back to the drawing board. He came up with several ideas which he then presented to the owner <span style="font-family: "arial" , "helvetica" , sans-serif;">of</span> the developmen<span style="font-family: "arial" , "helvetica" , sans-serif;">t while in residence on the property</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-family: "arial" , "helvetica" , sans-serif;">spring</span></span> 20<span style="font-family: "arial" , "helvetica" , sans-serif;">15</span>. By the end of June, there was consensus to green light the construction of <span style="font-family: "arial" , "helvetica" , sans-serif;">the</span> permanent public artwork that is titled Cloud House.</span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Cloud House is an iconic 'House' clad with barn wood, a tin roof, and a 'Cloud' suspended directly above the structure. Inside the house are rocking chairs that when sat upon triggers the cloud to rain drops of water onto the roof creating the sound of 'rain on a tin roof,' a poetic experience that echoes our connection to the natural world. Through an elegant design and engineering feat this whimsical and visually uplifting public sculpture engages a sense of disbelief. As the water flows down the tin roof and into an internal water reserve, water is directed to two side windows where it falls into planters below that are growing greens for public consumption.</b> </span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This work is meant to provoke conversations around exploring the local, questions of ecology and dissecting the systems that make up our "everyday" experiences. Mazzotta is a graduate of the MIT Visual Studies Masters of Science Program and has won several awards for his project OPEN HOUSE in York, Alabama that he completed in 2013. <span style="font-family: "arial" , "helvetica" , sans-serif;">For the last two </span>years he has also been working with four communities in Nebraska to create public works through ArtPlace America and hosted by the Center for Rural Affairs titled "Byway of Art." It is his feeling that rural and mid-America locales are a hotbed for achieving meaningful public art projects. </span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There will be a public dedication with the artist on site at Farmer<span style="font-family: "arial" , "helvetica" , sans-serif;">s Park, Saturday April 23rd to celebrate Earth Day and to acknowl<span style="font-family: "arial" , "helvetica" , sans-serif;">e<span style="font-family: "arial" , "helvetica" , sans-serif;">dg</span>e the<span style="font-family: "arial" , "helvetica" , sans-serif;"> first ever permanent interactive public sculpture <span style="font-family: "arial" , "helvetica" , sans-serif;">created</span> in the <span style="font-family: "arial" , "helvetica" , sans-serif;">City <span style="font-family: "arial" , "helvetica" , sans-serif;">of S<span style="font-family: "arial" , "helvetica" , sans-serif;">pring<span style="font-family: "arial" , "helvetica" , sans-serif;">field. The project<span style="font-family: "arial" , "helvetica" , sans-serif;"> was funded <span style="font-family: "arial" , "helvetica" , sans-serif;">by Art <span style="font-family: "arial" , "helvetica" , sans-serif;">for All through the Community Foundation of the Ozarks.</span></span></span></span></span></span></span></span></span></span> </span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;">For more information on Matthew Mazzotta, go to his website <a href="http://matthewmazzotta.com/">HERE</a></span></span></span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: x-small;"><b><span style="font-size: small;"><a href="http://www.timhawley.com/">Images by Tim Hawley</a></span> </b></span></span><br />
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<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-16191803915840893772016-03-16T04:43:00.000-07:002016-03-16T04:43:14.836-07:00"Antarctica" panel discussion with artist Lucy Orta<div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On February 17th ecoartspace NY curator Amy Lipton participated on a panel discussion with artist Lucy Orta<b>, </b>NYU Professor of Environmental Studies and Philosophy <a href="http://environment.as.nyu.edu/object/dalejamieson.html">Dale Jamieson,</a> and founder of<a href="http://www.parley.tv/#fortheoceans"><span class="s1"> <i>Parley for the Oceans</i></span></a> <a href="http://globalwaveconference.org/cyrill-gutsch/">Cyrill Gutsch</a><b>, </b>who served as moderator for the event. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="s2">The discussion took place in conjunction with the <a href="http://www.studio-orta.com/en">Lucy and Jorge Orta </a>exhibition, <i>Antarctica </i>at <a href="http://www.janelombardgallery.com/">Jane Lombard Gallery</a> in Chelsea.This</span> ongoing project by the Ortas is based on their expedition to Antarctica in 2007 and was the title of this exhibition, their first solo in New York. Cyrill Gutsch asked the panelists questions about the relationship of art and design to environmental issues and activism. Discussed at length was the artists' role in raising awareness and confronting urgent, challenging issues such as climate change, sea level rise, food and water shortages, ocean pollution and over-population.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Antarctica</i> featured works created for the artists’ expedition to the Antarctic peninsula, addressing issues such as human survival in adverse situations. The Ortas installed an ephemeral “Antarctic Village” on the continent, composed of 50 domelike sculptures constructed with flags from countries around the world. They also created and raised the first Antarctic Flag, to symbolize the unification of nations around shared common values.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Antarctica embodies utopia: a continent whose extreme climate encourages mutual aid and solidarity, freedom of research, sharing, and collaboration for the good of the planet. The centerpiece of the exhibition was <i>The Antarctic World Passport Delivery Bureau,</i> a traveling installation recently presented at the Grand Palais in Paris during the COP21 UN Climate Summit. Visitors encountered an architectural assemblage made from reclaimed materials, and received a uniquely numbered <i>Antarctica World Passport. </i>In exchange recipients pledge to support the project’s principles: to take action against the disastrous effects of global warming and strive for peace. Since 2008, 55,000 passports have been printed, and visitors to Lucy + Jorge Orta’s exhibition at the Jane Lombard Gallery were able to to register for their personalized passport edition, and to join this growing community of world citizens. www.antarcticaworldpassport.com</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">To watch a video segment from the panel discussion please go to this <a href="https://vimeo.com/157340999/8c8afa7e22">link.</a></span><br />
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amy liptonhttp://www.blogger.com/profile/04445973844738146808noreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-53143788354918042532016-02-24T12:22:00.001-08:002016-02-24T12:45:48.459-08:00Some Kind of Nature<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-v-we3YU9iaUQwLPT54GKNkxlmaSPULPW4kYggnPdINCQX46YwVgtXNzbEjQVc1hMy1vHxruRH16EDC6g97VPcDZkOcJcqEuDd8WMWOQtiKQg_kpHQy_hm2U0KtbBPPM0hDl0RO8vE3A/s1600/12417850_10153565129873612_6339620921158090764_n.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-v-we3YU9iaUQwLPT54GKNkxlmaSPULPW4kYggnPdINCQX46YwVgtXNzbEjQVc1hMy1vHxruRH16EDC6g97VPcDZkOcJcqEuDd8WMWOQtiKQg_kpHQy_hm2U0KtbBPPM0hDl0RO8vE3A/s1600/12417850_10153565129873612_6339620921158090764_n.png" /></a></span></div>
<span style="font-size: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: normal;"><span style="color: #444444; font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">The
<a href="http://www.theartofsustainability.org/">Art of Sustainability</a> Symposium took place on Friday February 19th and Saturday February 20th </span></span></span></span></span><span style="color: #444444; font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span style="color: #444444;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> in Palm Bay, Florida, and</span></span></span></span></span>
featured nationally noted guest speakers from the art and science communities highlighting advancements in art and
sustainability, including: Mississippi River's Chad Pregracke of <a href="http://livinglandsandwaters.org/">Living Lands and Waters</a>, biologist <a href="http://www.stetson.edu/other/faculty/profiles/wendy-anderson.php">Wendy Anderson</a>, Marty Baum of <a href="http://indianriverkeeper.org/">Riverkeeper Alliance</a>, kinetic artist <a href="http://www.ralfonso.com/">Ralfonso Gschwend</a>, Keith
Winsten from the <a href="https://brevardzoo.org/">Brevard Zoo</a>, Trevor Gibson of <a href="http://environmental-advantage.co.uk/Trevor-Gibson.htm">Environmental Advantage</a>, and Patricia Watts, founder/curator of <i>ecoartspace</i>. </span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9liSNo9Aoif_3NW7EK1I8kqq6iTKOhhPBkK0OdbULu6nNXcb7ZSYHFyq1W5xJ2-5G6mz6QLhXL2S5jbClz6zKTEILWdoe7i2azW1vrI_lnY4x4Q-IMu_NMv4hFy0p6K1wuGTVYkK9crE/s1600/12189272_10153524695686379_1744132732223929754_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9liSNo9Aoif_3NW7EK1I8kqq6iTKOhhPBkK0OdbULu6nNXcb7ZSYHFyq1W5xJ2-5G6mz6QLhXL2S5jbClz6zKTEILWdoe7i2azW1vrI_lnY4x4Q-IMu_NMv4hFy0p6K1wuGTVYkK9crE/s400/12189272_10153524695686379_1744132732223929754_o.jpg" width="400" /></a></span></div>
<span style="font-size: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: normal;"><span style="color: #444444; font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Wendy Anderson gave a presentation on her perspective as a biologist of the unique ways in which artists and scientists are similar, and how these characteristics offer opportunities for both domains when using the imagination to solve the environmental issues at hand. Keynote speaker Chad Pregracke gave a presentation of his 18-year ongoing effort to clean up the Mississippi River, including 856 clean ups of 23 rivers with 93,000 volunteers. He also shared with us images of his low tech/high tech barge that looks like a great opportunity for artist residencies on the Mississippi. </span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmtRg7WleSjtjtpeom02c4DJHn1w1FHBatoYQUEDkAmSYsVAudv64KZqIWHOBNJDBjcjEnbctu_EWYA-0OFFP-4ejig4Qvi-bG0TfLDEnli2M60_2z5hqWHNawbxtQbRzXlqPFpXSbB8s/s1600/830515_10151554607626461_839395883_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmtRg7WleSjtjtpeom02c4DJHn1w1FHBatoYQUEDkAmSYsVAudv64KZqIWHOBNJDBjcjEnbctu_EWYA-0OFFP-4ejig4Qvi-bG0TfLDEnli2M60_2z5hqWHNawbxtQbRzXlqPFpXSbB8s/s400/830515_10151554607626461_839395883_o.jpg" width="400" /></a></span></div>
<span style="color: #444444; font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><br /></span></span></span></span></span>
<span style="font-size: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: normal;"><span style="color: #444444; font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Florida's habitat ecoartist <a href="http://jesseetelson.com/">Jesse Etelson</a> was also involved and presented an interactive habitat sculpture made of driftwood for families of the sustainability Community Day! And, Patricia Watts of <i>ecoartspace</i> presented site projects </span></span></span></span></span><span style="color: #444444; font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">that employ wind, water, and solar including both proposals, and permanent and temporal public art works <span style="font-family: "arial" , "helvetica" , sans-serif;">such <span style="font-family: "arial" , "helvetica" , sans-serif;">as</span></span> <a href="http://windsockcurrentspresido2005.blogspot.com/">Windsock Currents</a> at Crissy Field in the Presidio, which she sited for the UN World Environment Day in 2005, and Cloud House that she curated for Farmer's Park in <span style="font-family: "arial" , "helvetica" , sans-serif;">Springfield, Missouri</span> working Matthew Mazzotta<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>in 2015. Other projects included Mags Harries and Lajo Heder's <i>Sunflowers</i> in Austin, Texas, and proposals from the 2012 and 2014 <a href="http://landartgenerator.org/index.html">Land Art Generator Initiative</a> competitions, as well as Buster Simpson's waste water cisterns, Betsy Damon's <span style="background-color: white;"><i>Living Water Garden</i></span>, and Eve Mosher's <a href="https://issuu.com/ecoartspace/docs/hwl_action_guide/0">HighWaterLine</a>. Her talk wrapped up with a work she feels is long overdue to be implemented, Andrea Polli's <a href="https://vimeo.com/5907924"><i>Queens Bridge Windpower Project</i></a>, and then in contrast, the bloated $15.5 million dollar unsustainable work by Olafur Eliasson, <i>NYC Waterfalls</i>. The title of her talk <a href="https://www.youtube.com/watch?v=bvjjc18nB14">Some Kind of Nature</a> was borrowed from the song by the Gorillaz. </span></span></span></span></span></span></span></span></span><br />
<span style="font-size: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: normal;"><span style="font-size: normal;"><br /></span></span></span></span></span>
<span style="font-size: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: normal;"><span style="color: #444444; font-size: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: normal;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">There was a closing panel on Saturday discussing climate science with a couple members of the audience questioning the data and the validity of climate change. It was apparent that this is an area where the sciences can benefit from the arts in presenting the data in order to help the general public understand the science. There is still much work to do! </span></span></span></span></span></span></span></span></span><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-86314591444709485232015-12-07T19:41:00.003-08:002015-12-07T20:05:14.458-08:00Tipping Points at Bergen Community College<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #444444;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><i>Tipping
Points: Artists Address the Climate Crises</i> will take place at Gallery
Bergen timed in conjunction with the 2015 United Nations Climate Change
Conference, <a href="http://www.artcop21.com/">COP 21</a>, held in Paris, from November 30 to December 11th. It
will be the 21st yearly session of the Conference of the Parties to the
1992 United Nations Framework Convention on Climate
Change (UNFCCC). The conference objective is to achieve a legally
binding and universal agreement on climate, for the first time in over
20 years of UN negotiations from all the nations of the world. </span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">Artists can use their skills and imagination to address the issue of climate change. Artworks towards this cause are now being seen in unprecedented numbers. The artists in Tipping Points use a variety of mediums including painting, photography, video, sculpture and drawing. Some have been partnering with scientists and environmental organizations. Others have been researching and documenting changes in glaciers and diminishing ice on trips to far northern regions of the planet; including boat trips to the Arctic and Antarctic. Some take a more poetic and imaginative approach to confront the seriousness of the issue and single biggest challenge of our time.<br /><br />Many hope for a technological breakthrough or miracle solution, while others believe that adaptation and fortifications can be built to mitigate harm. Science deniers in the political system clearly have their heads in the sand. The intensity of the power struggle over climate change, believers vs. non believers, has only grown over the years since this 1988 statement by Michael McElroy, Professor of Environmental Studies, Harvard University: "If we choose to take on this challenge, it appears that we can slow the rate of change substantially, giving us time to develop mechanisms so that the cost to society and the damage to ecosystems can be minimized. We could alternatively close our eyes, hope for the best, and pay the cost when the bill comes due." </span></span></span><br />
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<span style="color: #444444;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">Curated by Amy Lipton for Gallery Bergen, Paramus, New Jersey </span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5625978859910284283.post-48797150092334433262015-09-21T12:56:00.002-07:002015-10-23T13:14:03.601-07:00FiberSHED <div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;">FiberSHED opens October 7th at the Marin Community Foundation in Novato, California. Curated by Patricia Watts, the exhibition presents approximately ninety artworks by twenty-four fiber artists, primarily from the Bay Area, and also includes five artists from Los Angeles, Michigan, and New Hampshire. This survey exhibition includes a cross-pollination of Bay Area environmental sensitivity and conceptual art-making that pushes the boundaries of this medium in exciting and creative ways.</span></span></span><br />
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<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;">The title FiberSHED is a play on the concept of a watershed, an area of land where water flows from the mountaintops, downward to tributary creeks and rivers, and ultimately drains into lakes and oceans. For this exhibition, the title conveys the exceptional art that is being made by visual artists in the medium of fiber primarily located in the bioregion or “shed” of the San Francisco Bay Area. These are artists who share a unique relationship with the landscape and who are making cutting-edge artworks rich in craft tradition, while reflecting local sociocultural discourse.</span></span></span><br />
<span style="font-size: small;"><span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />Artworks in FiberSHED include: tapestry, samplers, embroidery, felted wool paintings, conceptual hook rugs, photographic transfers on woven fiber, clothes portrait quilts, hand-stitched banners and books, painted weavings, book arts, art and science weavings, felt sculpture, horse hair weavings, and woven measurements of environmental conditions, such as drought and tree rings.</span></span></span><br />
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<span style="font-size: small;"><b><span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;">Artists include: Adela Akers, Andy Diaz Hope and Laurel Roth Hope, Anna Von Mertens, Christine Szeto, Diedrick Brackens, Emily Payne, Esther Traugot, George-Ann Bowers, Kate Nartker, Jenne Giles, Lauren Hartman, Lia Cook, Linda Davenport, Liv Aanrud, Liz Robb, Lucy Childs, Luke Haynes, Paul Gillis, Sherri Smith, Stephanie Metz, Tali Weinberg, Topaze Moore, and Victoria May.</span></span></b></span><br />
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<span style="color: #444444;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">For more information on the artists in the exhibition go <a href="http://fibershed2015.blogspot.com/">HERE</a></span></span></span> <br />
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