Jarrod Beck: Capture at Second Floor in Marfa

Jarrod Beck: Capture
March 6 - May 31, 2010

NY-based artist J. Beck follows his installation at the Lawndale Art Center in Houston with a two-part exhibition at Second Floor in Marfa, Texas. The initial phase of the installation commences next week (March 2 - 6) and will be created on-site in real-time. A variety of works on paper will provide a glimpse of the exterior complement, to be completed between April 9 - 16. Built forms and structural pieces reminiscent of Beck's previous works will be extended from the stairwell and sides of our beloved silver box. Viewers are welcome to swing by Second Floor throughout these periods to witness Jarrod's creative process firsthand. We'll be hosting two separate receptions to communicate Capture - March 6 and April 16.

Please Join us Saturday, March 6 to view Part I of Capture (6pm-8pm, beverages provided)

Jarrod will be interviewed on Marfa Public Radio's "Talk at Ten" on Wednesday, March 3, at 10am (listen online at marfapublicradio.org)

learn more:



Opening The Cultivated Wilderness, or, What is Landscape? architecture critic Paul Shepheard reveals that “This book is about seeing things that are too big to see.” He goes on to provide three clear frames to orient our recognition: “The Wilderness of the book’s title is the world before humans appeared in it, and the Cultivation is everything we’ve done to it since. Landscape is another name for the strategies that have governed what we’ve done.” Investigating earthworks or land art is a way of mapping the intersection of geomorphology and human construction. Earthworks begin with the shape of the land and extend through the complex social and ecological processes that create landscape. Including the full array of human activity marking the planet, from petroglyphs to roads, dwellings, monuments and traces of those actions, earthworks show us who we are.

Since 2001 Land Arts of the American West has been developing as an interdisciplinary field program expanding the definition of land art and our relationship to landscape. Land Arts is a semester abroad in our own back yard. Connecting the pedagogic potential of travel with the rigors of field research.

Land Arts at Texas Tech University seeks to cultivate collective energy within an expanded interdisciplinary range of examinations from architecture, the built environment, public culture, literature, science, and geography to explorations of contemporary art practices. Note that in 2010, thanks to the generosity of the James Family Foundation, there will be support for at least one participant to attend from outside Texas Tech University.

The College of Architecture is recruiting students from across Texas Tech University and beyond for Land Arts 2010.

Information Meeting: Tuesday, March 9, 2010, 5:00pm, Architecture and Art Courtyard

This meeting is for all students interested in applying to the program. We will review the program overview and application details.

Application Deadline: Tuesday, March 30, 2010, 5:00pm, Architecture Bldg. Rm: 709

Notification of Acceptance: Tuesday, April 13, 2010

Visit http://landarts.org/index.php/site/cat/admissions/ to download the application materials.

For additional information about Land Arts of the American West visit http://landarts.org and http://arch.ttu.edu/wiki/Land_Arts_of_the_American_West. The exhibition of work by Land Arts 2009 is on view in Lubbock at the new LHUCA Warehouses until March 7, 2010. Additional information about the exhibition, including documentation, can be found at http://landarts.org/index.php/site/events/cat/exhibitions/.

For questions and additional information please contact Chris Taylor at chris.taylor@ttu.edu.

CALL FOR ARTISTS: Center for Art +Environment (CA+E) Announces Launch of the First A | W | E Grant

In 2010, the Nevada Museum of Art’s internationally recognized Center for Art +Environment (CA+E) announces the launch of a grant program for visual artists and writers working together in the field: The Artists | Writers | Environments: A Grant Program (A | W | E)

Funding for the program is provided by The Andy Warhol Foundation for the Visual Arts.

The program is designed to:

· encourage the creation of new art + environment projects addressing environmental challenges rather than simply comment on them

· to foster deeper and more immediate public awareness of art + environment projects

· to encourage unique field reports of lasting value to scholars and other artists.

Teams of visual artists and writers working on art + environment projects anywhere in the world from July 2010 through August 2011 will be eligible to apply for the first A | W | E Grant. Letters of interest must be received via e-mail on or before Friday, April 16, 2010 with invited applications due on or before June 22, 2010. The grant recipients will be announced on or before July 6, 2010.

During this first year, one grant of $10,000 will be awarded to a team of artist(s) and writer(s) - of particular interest will be those proposals addressing communities stressed by global change. Publication venues by writers can include articles in magazines, journals, or online, and chapters or essays in books, but significant public outreach will be favored.

The Nevada Museum of Art

Nevada’s only art museum was founded in Reno in 1931 and is a general art museum with a strong and longstanding focus on Art + Environment.

Visit the Center for Art + Environment at the Nevada Museum of Art website for more information at www.NevadaArt.org/ae/center

Landscapes of Quarantine at the Storefront for Art and Architecture

Landscapes of Quarantine
Mar 10 2010 - Apr 17 2010
Opening reception: Tuesday, March 9, 7pm

Group exhibition exploring the spaces of quarantine, from Level 4 biocontainment labs to underground nuclear waste repositories.

Curated by: Future Plural
Geoff Manaugh, BLDGBLOG
Nicola Twilley, Edible Geography

Designed by:
Glen Cummings, MTWTF

Landscapes of Quarantine features new works by a multi-disciplinary group of eighteen artists, designers, and architects, each of whom was inspired by one or more of the physical, biological, ethical, architectural, social, political, temporal, and even astronomical dimensions of quarantine.

At its most basic, quarantine is a strategy of separation and containment—the creation of a hygienic boundary between two or more things, for the purpose of protecting one from exposure to the other. It is a spatial response to suspicion, threat, and uncertainty. From Chernobyl’s Zone of Exclusion and the artificial quarantine islands of the New York archipelago to camp beds set up to house HIV-positive Haitian refugees detained at Guantánamo and the modified Airstream trailer from within which Buzz Aldrin, Neil Armstrong, and Michael Collins once waved at President Nixon, the landscapes of quarantine are various, mutable, and often unexpected.

Typically, quarantine is thought of in the context of disease control. It is used to isolate people who have been exposed to a contagious virus or bacteria and, as a result, may (or may not) be carrying the infection themselves. But quarantine does not apply only to people and animals. Its boundaries can be set up for as long as needed, creating spatial separation between clean and dirty, safe and dangerous, healthy and sick, foreign and native—however those labels are defined.

As a result, the practice of quarantine extends far beyond questions of epidemic control and pest-containment strategies to touch on issues of urban planning, geopolitics, international trade, ethics, immigration, and more. And although the practice dates back at least to the arrival of the Black Death in medieval Venice, if not to Christ’s 40 days in the desert, quarantine has re-emerged as an issue of urgency and importance in today’s era of globalization, antibiotic resistance, emerging diseases, pandemic flu, and bio-terrorism.

Landscapes of Quarantine began with an eight-week independent design studio directed by Geoff Manaugh and Nicola Twilley of Future Plural. Each Tuesday evening, from October to December 2009, a multi-disciplinary group of studio participants met to discuss the spatial implications of quarantine and develop their own creative response: the resulting work forms the core of the Landscapes of Quarantine exhibition.

Works on display:

Pages 179 – 187, Joe Alterio

Q-CITY: An Investigation, Front Studio | Yen Ha & Michi Yanagishita

MAP 002 QUARANTINE, David Garcia Studio

Did We Build The Frontier To Keep It Closed?, Scott Geiger

Field Notes from Quarantine, Katie Holten

Hotel III, Camp II, Lab IV, Cell V, Mimi Lien

Cordon Sanitaire, Kevin Slavin

Context/Shift, Brian Slocum

Containing Uncertainty, Smudge Studio | Jamie Kruse & Elizabeth Ellsworth

NYCQ, Amanda Spielman & Jordan Spielman

Quick, Richard Mosse

Thermal Scanner and Body Temperature Alert System, Daniel Perlin

Precious Isolation: A Pair of Invasive Species, Thomas Pollman

-from the Storefront

ecoartspace NYC 2010 benefit "What Matters Most"

ecoartspace invites you to participate in our first NYC benefit exhibition titled What Matters Most?

The show and benefit party will be hosted by Exit Art in NYC from April 15 – 28th, 2010.

What Matters Most? will begin with responses to this question posted on Monday February 15th on Andrew Revkin’s NY Times blog, Dot Earth by leading environmental experts, writers and readers. Participating artists will have the option of creating an original artwork related to the blog entry of their choice or donating an existing work.

All proceeds from this fundraiser will support ecoartspace activities and programs. ecoartspace has been operating as a bicoastal nonprofit platform for artists addressing environmental issues since 1999. In our ten years of programming we have worked with over 400 artists, curated 38 exhibitions, 70 programs and collaborated with over 140 organizations. To celebrate our achievements as well as raise money for future programs we recently held our first benefit auction at Mina Dresden Gallery in San Francisco on December 4th, 2009.

What Matters Most? begins Thurs April 15, 2010 and ends with our Benefit Sale: Thursday, April 28th , 2010.

CALL FOR ENTRIES: “Constructed Territory”


“Constructed Territory,” a juried exhibition of work integrating the use of maps, cartography, or environmental and topographical explorations.

This exhibition will display a variety of artists from all disciplines who use maps, the art of cartography, or topographical explorations (both physical and conceptual) within their work. Artwork selected for this exhibit will explore the concept of “constructed territory” from a range of perspectives—investigating ideas of place, history, networking systems, and personal geography.

The exhibition is scheduled for the Fall/Winter of 2010 at the Stein Galleries at Wright State University in Dayton, Ohio.

If you, or if you know someone who is interested in submitting work, please go to http://www.wright.edu/artgalleries/maps.html for additional guidelines.

applications due (received by date): May 14, 2010
accepted notifications: week of June 1, 2010
exhibition dates: October 31, 2010 - January 9, 2011

Jackrabbit Homestead BOOK SIGNING with Kim Stringfellow

Michael Dawson Gallery will host a book signing and exhibition featuring photographs from Jackrabbit Homestead: Tracing the Small Tract Act in the Southern California Landscape, 1938-2008 by Kim Stringfellow. Published by the Center for American Places, this 136-page hard cover book with dust jacket features sixty-one color photographs with an accompanying text. Signed copies of the book will be available for purchase for those unable to attend the event. Signed and inscribed books may also be purchased through PayPal at www.kimstringfellow.com.

Twenty-four photographic images from the book will be on display in the gallery from February 20th until April 3rd, 2010. Historical documents and photos related to the jackrabbit homesteading experience will also be on display.

For more information about this project or to download the JRHS audio tour, please visit the project’s Web site at www.jackrabbithomestead.com.


Dawson Books/Michael Dawson Gallery
535 N. Larchmont Boulevard
Los Angeles, CA 90004
PH: 323.469.2186
Hours: Thursday – Saturday 11am-5pm and by appointment.

Kim Stringfellow


Southeastern College Art Conference (SECAC)

A dynamic trend in art and art pedagogy is the employment of collaboration – notably that between art and science. As a practice, collaborations between the two groups have been gaining momentum and the payoffs have been impressive, resulting in cutting-edge original art and instructional practice. The results have been novel and the joint process stimulating because the two groups often bring distinct insights and skill sets to the dialogue: different backgrounds and expertise, different goals, different methodologies and materials of practice. It is this disparateness that provides the synergistic creative energy that informs the product.
In order to represent the best of this working process, we will assemble a panel of artists, art educators and scientists who conduct their research and design courses with collaboration in mind. We plan to have 5 speakers, each delivering 10-12 minute presentations, followed by 30 minutes of open discussion. We will also hold a structured, follow-up discussion for panelists and other interested parties outside of the scheduled session time. We hope this panel will be the seed for a new, long-term, interactive study group rooted in art-science collaborative practices.

co-chaired by
Erika Osborne and Keith Waddington.

If you are interested in participating, please visit SECAC's site for Paper Submission criteria at http://www.secollegeart.org/annual-conference.html. If you have any questions please email Erika or Keith at osborne.erika@gmail.com and Bombus2001@aol.com.


New Geographies 02

Edited by Rania Ghosn.
Guest speakers: Rania Ghosn, Hashim Sarkis, Charles Waldheim.

Energy infrastructures deploy space at a large scale, yet they remain invisible because the creation of value in the oil regime has long externalized spatial costs, sliding them out of sight and away from design's agency. Contemporary environmental, political, and financial crises have brought energy once again to the forefront of design concerns. Rarely, however, do practices of sustainable design-efficient building skins, islands of self-sufficiency, positive-energy machines-address the spatiality of energy systems. Instead, they tend to emphasize a renewable/nonrenewable binary that associates environmental costs exclusively with the infrastructure of oil and overlooks the geographic imperative of all forms of energy.

Volume 2 of New Geographies proposes to historicize and materialize the relations of energy and space, and map some of the physical, social, and representational geographies of oil, in particular. By making visible this infrastructure, Landscapes of Energy is an invitation to articulate design's environmental agency and its appropriate scales of intervention.

Contributors to New Geographies #2 include: Ivan Illich, John May, Carola Hein, Gavin Bridge, Abdellatif Benachenhou and El Hadi Jazairy, Santiago del Hierro and Gary Leggett, Andrew Barry, Center for Land Use Interpretation, Geoffrey Thün and Kathy Velikov, Martin Melosi, Maria Kaika, Geoff Manaugh, Pierre Bélanger, Kazys Varnelis and Robert Sumrell, Jean Robert, Mirko Zardini.


Request for Proposals - Public Art / Land Art Project

Portal Project: The San Antonio River and Mission Concepción
Commissioned by the San Antonio River Foundation
Request for Proposals
Proposals due by: 5pm Central Standard Time on Monday, March 1st, 2010
Total Budget: Approximately $450,000.00
Eligibility: This project is open to professional Artists worldwide.

The San Antonio River Foundation is seeking an artist to create permanent public art for the San Antonio River and Mission Concepción Portal project. This ‘portal’ will be a connection linking the river to the mission by the creation of connecting sidewalks and plaza area. The goal of this artwork commission is to activate and enliven this connection and celebrate the rich environmental, historical and cultural spirit of the area.

Please see:

Cybernetics: Art, Design, Mathematics — A Meta-Disciplinary Conversation (C:ADM2010)

Cybernetics: Art, Design, Mathematics — A Meta-Disciplinary Conversation (C:ADM2010)

How would you like to shape and take part in a conference where the main activity is to explore by listening, talking and questioning (conversing) rather than listen to, and give, prepared lectures; and where the aim is to move forward, taking next steps as a result of these conversations, rather than reporting on the already discovered? In other words, go to a conference where the intention is to move forward by conferring.

That is the central feature of our conference — a conference of conversation, of listening, talking, and questioning. Of open minds, and delight in the un-thought-of.

And what better way to make an interesting conversation than to bring together people whose backgrounds and interests are different, yet who want to learn by listening to others, to find what can be shared? In other words, to transcend boundaries.

So we bring together practitioners and theorists who wish to explore across boundaries, from 4 different subjects. But not just any 4 subjects. Subjects that already hold conversations together in pairs: art; cybernetics; design; mathematics. With all 4 together, we have a wider conversation, greater variety.

Our 4 subjects have a special quality in common. Each is used to comment, throw light on and inform other subjects. Perhaps mathematics is the most obvious case: a subject in its own right that is used everywhere to illuminate (and make operable) other subjects. But also a subject that can comment on itself: a subject which is a meta-subject, even to itself.

Our conference is surrounded by 3 other, related events. Look on the web site, chose what you like, and come and join us at The Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute in Troy, New York, from the evening of July 30 to late afternoon on August 2, with surrounding events on July 29 and 30, and August 3 to 5.

from http://www.asc-cybernetics.org/2010/


FORGED POWER: Ferran Mendoza, Alvaro Sau and William Wylie
February 20 – May 29, 2010
A Moving Targets Initiative

Friday Conversations @11 series, Feb. 19
Spring Season Reception, Feb. 19 from 7-9pm

Ferran Mendoza & Alvaro Sau, Outdoors, High Definition Video, 2009
William Wylie, Carrara series, Cavatori, The Block, Dust, Friction, Digital Video, 2006

In the digital age, the way we engage with physical work has shifted drastically. Such shifts are not new and have occurred over the course of human history - from the invention of simple tools, to the industrial revolution, to our current digital society. But as technologies continue to advance, our control and power appear to diminish, not only in our work, but also of our bodies. The body’s relationship to work continues to be less physical. We use mechanical arms to lift both heavy and light objects into place, and vacuums now roam floors on their own. A document that once took the entire use of one’s arm to handwrite can now be created with light touches of computer keys. With voice activation and eye-tracking technologies entering the mainstream consumer market, the hand may soon be removed altogether from the process of work.

Spanish artists Ferran Mendoza and Alvaro Sau traveled the Basque-French border region. The artists refer to it as “this kind of frontier land which we call the outdoors,” a territory of Europe where the “most archaic ways of living coexist with the omnipresent industrial world.” Using their cameras, Mendoza and Sau captured, in high definition video, the residents of this seemingly isolated region in their daily routines and surroundings. The result of their journey is the video OUTDOORS (2008), a 56-minute work that delivers a composition of portraits. These portraits provide fleeting glimpses of individuals who take pride in their independence, work and knowhow. Their knowledge of their tools, their environment and how their bodies interact with each is clear and poetic; they perform their tasks as if every specific activity or action has been choreographed.

In the historic quarries of Carrara, Italy, the cavatori (stonecutters) have worked for centuries excavating large slabs of white marble from the earth. Through a fellowship exchange, artist William Wylie was provided the opportunity to spend time observing the everyday operations and interactions of the men who work in these famous quarries, the very quarries used by artists from Michelangelo to Louise Bourgeois. What at first appears to be a focus on machinery is soon realized to be a study of human activity and control. While trucks and machinery within these digital videos appear to struggle and battle to complete tasks, the cavatori work with their hands - making precision measurements and chiseling slight grooves. The artist captures in his Carrara series, Cavatori, The Block, Dust, and Friction (2006), the gestural engagements of the hand and body as the stonecutters work together, using signals and whistles, to coordinate their movements within the noise and chaos of the industrial site. Together these four videos demonstrate that the actions of work can be perceived as beautiful in and of themselves.

The individuals captured in these videos control their own actions by working with their hands and bodies. They do more than just push a button; they exert human energy and create an effect through the power of their own body. Retaining the capability of doing work or accomplishing tasks with the use of the physical body, their forged power is a reaffirmation of human capability.

William Wylie will be in attendance at ASU Art Museum to present a free lecture on a yet to be determined date. He will also meet with students and classes while in Tempe.

Curated by John D. Spiak, Curator, ASU Art Museum.

The exhibition and programs are generously supported by Helme Prinzen Endowment, ASU Art Museum Advisory Board, ASU School of Art and the Department of Photography, and Northlight Gallery at ASU.

Forged Power is an ASU Art Museum Moving Targets Initiative:


Image: Land Arts camp at Cabinetlandia, east of Deming, New Mexico, 14 October 2009.

There is no "I" in Land Arts. Thriving in the desert requires community.

Texas Tech University College of Architecture and the Louise Hopkins Underwood Center for the Arts (LHUCA) announce Land Arts 2009 Exhibition. An opening reception will take place from 6-9 p.m. February 12 at the new LHUCA Warehouses at 1001 Mac Davis Lane in Lubbock, Texas.

The exhibition culminates Land Arts of the American West at Texas Tech, a semester-long interdisciplinary field program in the College of Architecture that expands the definition of land art through direct experience of the complex social and ecological processes that shape contemporary landscapes. These forces include everything from geomorphology to human construction, and cigarette butts to hydroelectric dams.

The Land Arts 2009 Exhibition will continue through March 7 and features the work of Adrianna Alter, Sean Cox, Jason Fancher, Meredith James, Adrian Larriva, Kyle Robertson, Jose Villanueva, and Stephen Wollkind. Work was made while camping in the landscape of the American West for 56 nights traveling 7,000 miles during the fall of 2009 with Chris Taylor and Brice Harris. The itinerary included: White Sands, Chaco Canyon, north rim of the Grand Canyon, Goshute Canyon, Double Negative, Sun Tunnels, Spiral Jetty, Center for Land Use Interpretation Wendover, Muley Point, Plains of San Agustin, The Lightning Field, Very Large Array, Gila Wilderness, Chiricahua Mountains, Cabinetlandia, Marfa, Presidio, and concluded with a symposium at the Land Heritage Institute in San Antonio.

FOR MORE INFORMATION: please call Chris Taylor, Director of Land Arts of the American West at Texas Tech at 806-392-6147
EXHIBITION DATES: 12 February - 7 March 2010
OPENING RECEPTION: Friday, 12 February 2010, 6:00 - 9:00 pm
CLOSING RECEPTION: Saturday, 5 March 2010, 6:00 - 9:00 pm