smudge

Smudge Studio blog is moving to FOP

2011-09-12T11:21:00.004-04:00

Many thanks to all of our readers these past three + years. We're happy to announce that smudge studio's online research and blogging presence will be now be hosted by the Friends of the Pleistocene (FOP) blog: fopnews.wordpress.com. We'll continue to blog about Art + Environment related topics there—and more. Please note the change and update your bookmarks, as this site will note be updated after September 12, 2011. All previous posts will remain here, serving as an archive of past posts and activities between 2009-11. See you on FOP!

CLUI: Centers of the USA

2011-08-16T17:34:00.000-04:00

See the exhibit Centers of the USA, at the Centers of the USA!
A mobile exhibition unit containing the exhibit Centers of the USA, produced by the Institute of Marking and Measuring and the Center for Land Use Interpretation, will be hitting the road on August 8, 2011, to visit a number of the official Centers of the USA. Come and see the show, and feel the resonance of the concurrent and concentric centers. A once in a lifetime opportunity!

Tour schedule:
August 8: Departs the Center of the Contiguous Continental United States, at Lebanon, Kansas.
August 9: Arrives at the Population Center of the USA at Plato, Missouri (determined by the 2010 census).
August 12: Arrives at the Geographic Center of all 50 States of the USA, at Belle Fourche, South Dakota. (The exhibit unit will be located at the Center of the Nation Information Center in Belle Fourche until 2pm, then it will relocate to the actual surveyed location, 20 miles north of town.)
August 14: The mobile exhibition unit returns to Lebanon, Kansas.

Exhibit is free of charge and open to the public. Follow the Tour of the Centers of the USA onFacebook.

This project is part of the CLUI Lines of Site thematic program, an ongoing series of presentations about surveying, cartographic lines, perimeters, and borders. The Centers of the USA exhibit is a co-production of the Institute for Marking and Measuring (IMAM), and the Center for Land Use Interpretation (CLUI), with additional support by the Salina Art Center, the Andy Warhol Foundation for the Visual Arts, and Creative Capital.
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The Center for Land Use Interpretation
9331 Venice Blvd.
Culver City, CA 90232
310.839.5722 office
310.839.6678 fax
clui@clui.org
www.clui.org

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The Center for Land Use Interpretation is a non-profit organization dedicated to the increase and diffusion of knowledge about how the nation's lands are apportioned, utilized, and perceived.

Fog Garden on Public Radio International

2011-08-03T10:04:00.002-04:00

Public Radio International's show Living on Earth featured a new exhibit at the Center for Art + Environment in Reno, Nevada: Fog Garden. Host Bruce Gellerman talks with expert fog catcher Pilar Cereceda. She runs the Atacama Desert Center and has been piping dew in the driest place in the world.

Air Date: Week of July 29, 2011
listen

BREAKING GROUND: Broken Circle/Spiral Hill (1971–2011)

2011-08-03T10:01:00.001-04:00

SKOR | Foundation for Art and Public Domain

Still from "Breaking Ground: Broken Circle/Spiral Hill." (1971–2011)
© The Estate of Robert Smithson/Pictoright Amsterdam.
Camera: Benito Strangio.

Video BREAKING GROUND: Broken Circle/Spiral Hill (1971–2011)
Robert Smithson
Broken Circle/Spiral Hill, 1971
Emmen, The Netherlands
17 September–27 November 2011

SKOR | Foundation for Art and Public Domain
Land Art Contemporary

www.landartcontemporary.nl

Forty years after the completion of the earthwork Broken Circle/Spiral Hill (1971) in Emmen, the film that land art artist Robert Smithson was never able to finish due to his untimely death, is now to be completed as a video with support from Dutch partners.

Breaking Ground: Broken Circle/Spiral Hill (1971–2011) will be presented in the context of the Land Art Contemporary program, which also includes an exhibition program and an extensive publication.

In June 1971, the American artist Robert Smithson (1938–1973) completed the land art project Broken Circle/Spiral Hill in a sand quarry in Emmen. Smithson made the work at the invitation of the Sonsbeek buiten de perken (Beyond the Borders) exhibition. Forty years following its completion, and after a highly eventful history, the work in Emmen is once again in good condition, and is the regular destination for those interested in Smithson’s work from all over the world.

Broken Circle/Spiral Hill is the only 'earthwork' produced by Smithson still in existence outside the United States. As an integral part of these works, Smithson made films that reveal the spatial and environmental context of the work. Aerial shots in a symmetrical pattern were combined with close-ups, documentary footage of the construction of the work and views of the surrounding landscape. In this way, visitors to galleries and museums were introduced to the earthworks produced by Smithson in barely accessible, remote locations. As a result of a tragic aircraft accident during a reconnaissance flight in 1973, Smithson's life and work came to a premature end. Smithson was never able to finish the film about Broken Circle/Spiral Hill.

Forty years later, a video incorporating the original film footage is now to be completed on behalf of theLand Art Contemporary program in a collaboration between artist Nancy Holt and curator Theo Tegelaers of SKOR | Foundation for Art and Public Domain. Nancy Holt and Robert Smithson made several films together and were married for a decade until his death in 1973. Holt currently works with a Dutch team in editing the video Breaking Ground: Broken Circle/Spiral Hill, including the original film footage she shot in 1971, and video recently shot recently in Emmen by a Dutch crew. The video will be made guided by Smithson's film notes and drawings.

Land Art Contemporary
Several Dutch institutional and private partners are joining forces in the realization of a series of initiatives being developed in honor of the 40th anniversary of the creation of Broken Circle/Spiral Hill. All these elements are brought together by means of co-production, support and presentation in the multiyear program Land Art Contemporary.

In 2011, Land Art Contemporary will include the following program components:

• Production and premiere of the video Breaking Ground: Broken Circle/Spiral Hill (1971–2011) (SKOR | Foundation for Art and Public Domain. In cooperation with Nancy Holt)

• Launch of the project The Ultraperiferic—a series of assignments to contemporary artists, reconsidering the meaning of land art in the spirit of Robert Smithson (SKOR | Foundation for Art and Public Domain. Curators: Nils van Beek and Theo Tegelaers)

• Exhibition ‘Robert Smithson in Emmen. Broken Circle/Spiral Hill Revisited’.
(Centrum Beeldende Kunst (CBK) Emmen (Centre for Visual Arts).
Curator: Roel Arkesteijn)

• The publication Robert Smithson. Art in Continual Movement
(Ingrid Commandeur, Trudy van Riemsdijk-Zandee (ed.) /Alauda Publications)

A full program will be published on www.landartcontemporary.nl

Dates:
17 September–27 November 2011: Exhibition program and video Breaking Ground: Broken Circle/Spiral Hill(1971–2011). Official opening and premiere on 17 September at CBK Emmen. Nancy Holt will be present)
22 September: Video screening with introduction by Nancy Holt at the Stedelijk Museum Amsterdam
27 November: Finissage of the exhibition and release of the publication Robert Smithson. Art in Continual Movement by Alauda Publications

Location:
CBK Emmen, Ermerweg 88b (De Fabriek), Emmen, the Netherlands
And other locations, visit www.landartcontemporary.nl

Opening hours:
Wednesdays through Sundays
13.00–17.00 hours
FREE ADMISSION

Land Art Contemporary is an initiative of LACDA Foundation in Drenthe. The program has been made possible thanks to (content and financial) support from SKOR | Foundation for Art and Public Domain, the Province of Drenthe, European Agricultural Fund for Rural Development (LEADER), Municipality of Coevorden, Municipality of Emmen, Cultuurfonds BNG and the Sanders – ten Holte family.

Photo:
The Estate of Robert Smithson is represented by the James Cohan Gallery in New York.

Note for editors:
For more information and images, please contact Nienke van Beers via info@landartcontemporary.nl / +31(0)6-48460546

NYC Department of Transportation: Urban Art Program Call

2011-05-20T19:23:00.002-04:00

The NYC Department of Transportation is launching the spring round of the pARTners’ track of the Urban Art Program. To find out more information about the program track, review current priority sites and download the application, visit www.nyc.gov/urbanart. Submit your application by Friday, June 17, 2011 to be considered for this opportunity.

HDTS PRESENTS: AN EXERCISE IN BALLOON PHOTOGRAPHY

2011-05-20T19:22:00.002-04:00

BY AURORA TANG

Saturday, June 18, 2011 9 a.m.–12 noon

at A-Z West, Joshua Tree California

In 1858, Félix Nadar sailed above the newly transformed city of Paris in a hot air balloon. Camera in tow, he photographed the city from above and aerial photography was born. Returning to this early and simple form of aerial photography, Aurora Tang (assisted by Andrea Zittel and others attending the event) will guide a weather balloon, equipped with a camera, across the expanses of A-Z West, creating a series of photographs that depict the land from above. High Desert Test Sites invites those interested to come out and join us in the endeavor.

The exercise of photographing A-Z West with aerial balloon photography will be both conceptual and practical in nature–Andrea is in need of photo documentation of the land that is of a higher resolution than the satellite imagery available through Google Earth. For Aurora, the exercise in balloon photography explores the aerial photograph’s seemingly contradictory function as documentation–a precise recording of site–amidst its effect of distortion–its ability to render the three-dimensional flat and details indiscernible.

Aurora Tang is a program manager for the Center for Land Use Interpretation (CLUI). Prior to her involvement with the CLUI, she researched methods of documentation for conservation at the Getty Conservation Institute (GCI), working with colleagues from the GCI and Dia Art Foundation to document Robert Smithson’s Spiral Jetty using balloon photography.

email info@highdeserttestsites.com to receive driving directions
for more info about High Desert Test Sites visit www.highdeserttestsites.com

CLUI exhibition: HEART OF SCREENLAND

2011-04-27T12:08:00.001-04:00

HEART OF SCREENLAND
A Neighborhood Exhibition in Three Parts

on view starting April 29, 2011

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The Center for Land Use Interpretation
9331 Venice Blvd.
Culver City, CA 90232
310.839.5722
clui@clui.org
www.clui.org

Exhibit is open 12 - 5 PM, Friday, Saturday, and Sunday, or by appointment.
Admission is free.

Directions

Artist Talk With Deborah Stratman

2011-04-27T12:04:00.000-04:00

Artist Talk With Deborah Stratman

April 29, 2011, 7:00- 8:00pm, Free Admission

University of Houston, Dudley Recital Hall, room 132

Photo: Czech Surveillance Horn

Deborah Stratman is a Chicago-based artist and filmmaker interested in landscapes and systems. Her films, rather than telling stories, pose a series of problems - and through their at times ambiguous nature, allow for a complicated reading of the questions being asked. She has exhibited internationally at venues including the Whitney Biennial, MoMA, the Pompidou, Hammer Museum and many international film festivals including Sundance, the Viennale, Ann Arbor and Rotterdam. She is the recipient of Fulbright and Guggenheim fellowships and she currently teaches at the University of Illinois at Chicago.

Stratman is an Artist in Residence at the Cynthia Woods Mitchell Center for the Arts at the University of Houston this spring and is a guest curator of theTex Hex: Pop Up Cinema

event that will be held along the Buffalo Bayou at 1011 Wood St. in downtown Houston on May 21.

The Cynthia Woods Mitchell Center for the Arts at the University of Houstoncultivates interdisciplinary collaboration in the performing, visual, and literary arts. From our base at the University of Houston, we offer public events, residencies, and courses that fuse artistic disciplines, ignite dialogue, and present new ways of experiencing the arts in contemporary life.

For More Information:

Cynthia Woods Mitchell Center for the Arts at the University of Houston

www.mitchellcenterforarts.org

713.743.1519

William Lamson's Divining Meteorology at the Indianapolis Museum of Art

2011-04-20T12:08:00.000-04:00

Divining Meteorology
April 8 – Aug 28, 2011

In Divining Meteorology, William Lamson explores the forces of nature and the passage of time, reanimating a former communications tower by transforming it into an instrument. Originally designed to withstand the trials of nature, this monumental tower was relocated from the Missouri countryside to the Indianapolis Museum of Art and re-engineered to fit inside the space, as if it had collapsed into itself. In addition, Lamson installed a system of speakers and resonators throughout the structure that receive the weather radio signal from the National Oceanic and Atmospheric Administration, and allow him to play the tower as an instrument. By moving an electric guitar pickup across the metal structure, Lamson activates internal resonances within the tower that are both physical and acoustic. The resulting audio composition mixes recordings of the artist’s movements around and through the structure with the live weather radio broadcast. Like the shifting weather, the sound varies from extreme quiet to a vigorous crescendo.

Lamson’s repurposed tower radically reinterprets the weather conditions that the glass-paneled pavilion both reveals and protects against. Harnessing the imperceptible phenomena of a radio signal, the artist—rather than making its real-time weather report audible—translates the signal into a physical and resonant experience. WithDivining Meteorology, Lamson has created an unlikely instrument whose totemic presence suggests an unknown mythology.

Support generously provided through a grant from The Efroymson Family Fund, a CICF Fund.

Indianapolis Museum of Art
4000 Michigan Road
Indianapolis, Indiana 46208-3326
http://www.imamuseum.org/

PANEL: NEW LANDSCAPES and NEW MEXICO: UNM Art Museum

2011-04-20T12:07:00.001-04:00

Please join us for a Public Lecture

PANEL: NEW LANDSCAPES and NEW MEXICO

Thursday, April 21 at 5:30 pm

UNM Art Museum

Presented in conjunction with

the Cady Wells Exhibition on view through May 22, in

UNM Art Museum's Raymond Jonson Gallery.

Cady Wells, Untitled (Brilliant Landscape), ca. 1946. Fine Art Museums of San Francisco.

Four scholars will discuss how New Mexicans have shaped the local landscapes they inhabit, and how the impact of the modern world, especially since World War II, has affected their relationships to and representations of the land.

PARTICIPANTS:

CHRIS WILSON J. B. Jackson Professor, and Director Historic

Preservation and Regionalism Program

LUCY LIPPARD Independent scholar, cultural historian, and critic

of contemporary arts and movements

MIGUEL GANDERT Documentary photographer and Assistant Professor of Communications and Journalism

ANDREW SANDOVAL-STRAUSZ Associate Professor, Department of History

Main campus, Center for the Arts, adjacent to Popejoy Hall.

Hours: Tues.- Fri. 10:00-4:00, Weekends 1:00-4:00.

FREE admission, $5.00 suggested donation.

Part of the “Making New Mexico Modern” series, funded in part by a grant from the New Mexico Humanities Council. This series has been designated a “We The People” project by the New Mexico Humanities Council and the National Endowment for the Humanities.

Eve Andree Laramee and Kim Stringfellow at the SFAI

2011-04-13T08:52:00.001-04:00

Eve Andree Laramee

Lecture
Friday, April 29
6pm Tipton Hall

Workshop
Invisible Fire: Mapping our Atomic Legacy
Saturday & Sunday, April 30 & May 1
TBD

Exhibition
April 22 - May 31
Mon - Fri, 9am - 5pm
SFAI Gallery 1

Eve Andree Laramee
Kim Stringfellow

As part of the Santa Fe Art Institute's ongoing season "Half Life: Patterns of Change," we are proud to present interdisciplinary artist and educator, Eve Adree Laramee to lecture at Tipton Hall on Friday, April 29 at 6pm. Eve will also hold a workshop Saturday and Sunday April 30th & May 1st.

Eve Andree Laramee is an interdisciplinary artist and researcher, and activist working at the confluence of art and science, specializing in the environmental and health impacts of Cold War atomic legacy sites.

At her lecture, Eve will be speaking about her most recent projects dealing with the environmental and health impacts of our atomic legacy, including her 2009 installation, "Halfway to Invisible" about uranium mining in the Grants, NM area; and her current work in progress, "Slouching Towards Yucca Mountain" a Sci-Fi Western dealing with the problem of radioactive waste from the nuclear power industry and nuclear weapons.

The lecture/workshop will also expand upon her collaborations with environmental scientists mapping the waterborne radioactive plume beneath the Fernald uranium foundry site in Ohio; and a water filter project in collaboration with a materials scientist. Workshop participants will visit the National Museum of Nuclear Science and History, and if access is permitted, Kirtland Airforce Base.

Kim Stringfellow

In addition, we are showing the work of Eve Andree Laramee and Kim Stringfellow at the SFAI from April 22nd through May 31st.

The SFAI's 2011-2012 season Half Life explores patterns of change in social, cultural, civic, environmental and artistic systems.

For more info visit the SFAI blog or website, or call (505) 424-5050.

Art Shanty Projects open call

2011-03-26T11:08:00.001-04:00

Art Shanty Projects open call
Seeking visual artists, musicians, composers, media artists, architects, poets, scientists, dancer/
choreographers, writers, builders, fisher-people, outdoors-people, naturalists, puppeteers, set
designers, vocalists, spoken word artists, craftspeople, storytellers, actors, playwrights, etc.
interested in participating in the design and construction of ice fishing shanty-like structures with
integrated participatory programming to be a part of the Art Shanty presence on the St Paul
Riverfront during the Northern Spark festival, Sunset to Sunrise, June 4-5, 2011.

Resources:
Art Shanty Projects (ASP) will commission up to 5 projects to be a part of the Art Shanty
encampment on the St Paul Riverfront. Past Shanty participants are encouraged to apply, can
propose a continuation of previous programming.
• Each project will receive a stipend of $150
• Logistical and set-up help.
• For more info about Art Shanties, explore www.artshantyprojects.org

Selection Criteria:
Art Shanty Projects is an artist driven temporary community exploring the ways in which
relatively unregulated public space (frozen lakes, vacant lots, backyards) can be used as new
and challenging artistic environments to expand notions of what art can be.

The project provides a unique opportunity for artists to interact with their audience, and vice
versa, in an un-intimidating, non-gallery like environment. ASP is dedicated to expanding who
can be an artist, please address the following criteria in your proposal.

• Strength of idea and how integrated programming engages the audience directly.

• Leave No Trace. We leave only tracks on the lake (or anywhere). The lake (and
Riverfront) is a quiet place, consequently generators are not allowed at any time. Deep
cycle batteries are an option for providing power.

• Feasibility of proposed structure, while the frozen lake is a harsher environment than St
Paul in June, Shanties still need to be sturdy and rainproof. However the lack of extreme
cold opens up the possibilities for lighter weight, more open construction.

Application Materials: Applicants should submit materials through the Northern Sparks website by Friday, March 7th.
• Primary contact info.

• A written description of idea; what is the shanty and what interaction/activity will take
place in tandem with it (max 1pg PDF).

• Relevant visual material, drawing of proposed shanty, images of other similar projects
if relevant, or other materials to help the panel understand their proposal. (max 2 pgs
PDF).

• Brief bio for each participant (if working as a team).

Jury:
Art Shanty proposals will be juried by the ASP advisory board.

Questions:
Email info@artshantyprojects.org

more information can be found at: www.northernspark.org

William L. Fox to speak at Texas Tech

2011-03-26T11:06:00.000-04:00

PRESS RELEASE

For Immediate Release: March 21, 2011
William L. Fox to speak at Texas Tech

Texas Tech University’s Landscape as Knowledge series will host William L. Fox, poet, author and director of the Center for Art + Environment at the Nevada Museum of Art, Reno.

Fox will present “The Art of the Anthropocene: From Landscape Painting to Land Art” in Lecture Hall 202 of the Rawls College of Business Administration building at 7 p.m. April 7. The talk will examine landscape painting and land art since 1790 in light of 2000 Nobel laureate Paul Crutzen’s proposal that we have moved into the next geologic era, the Anthropocene, where humans are the most influential element on Earth.

Fox is known for visiting extreme environments to research his books. In 2001, he spent a season at the McMurdo Station and South Pole in the Antarctic as part of the National Science Foundation’s Visiting Artists and Writers program. During the summers of 2002 and 2003, he made three trips to Devon Island in the Canadian Arctic to join scientists testing future exploration protocols of Mars as part of NASA’s Haughton-Mars Project. He has since visited sites in the United States, Chile, Nepal and other places around the world.

Fox has published twelve books on cognition and landscape, fifteen collections of poetry and numerous essays in art monographs, magazines and journals. His nonfiction titles include: Aereality: On the World from Above, 2009, Terra Antarctic: Looking Into the Emptiest Continent, 2007, In the Desert of Desire: Las Vegas and the Culture of Spectacle, 2007 and The Void, the Grid, and the Sign: Traversing the Great Basin, 2005.

Fox is also an artist who has exhibited in numerous group and solo shows in seven countries since 1974.

He is a fellow of both the Royal Geographical Society and Explorers Club, a recipient of fellowships from the Guggenheim Foundation, National Endowment for the Humanities and the National Science Foundation and has been a visiting scholar at the Getty Research Institute, Clark Art Institute, the Australian National University and National Museum of Australia.

Fox’s presentation is supported by Land Arts of the American West at Texas Tech in the College of Architecture.

The lecture is free and open to the public. Parking is available after 5:30 p.m. in lot R5 and the Flint Avenue Parking Facility.

Call 806-742-1947 for more information.
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Landscape as Knowledge

Landscape as Knowledge is a yearlong series of public lectures, conversations and events to examine embodied intelligence within the augmented environment. It is a multidisciplinary approach to investigate how people see, conceive and depict the earth and what people find or do on it. Artists, art historians and scholars from various disciplines question how both the landscape and individuals are continually shaped and reshaped by an array of natural and cultural processes.

The series was organized by the faculty of the School of Art in collaboration with faculty from the College of Architecture at Texas Tech University. Rick Dingus, professor in photography, Dr. Jorgelina Orfila, assistant professor in art history, Dr. Carolyn Tate, professor in art history, and Chris Taylor, assistant professor in architecture, are the core collaborating faculty organizing the year of events.

Support comes from the Ryla T. and John F. Lott Endowment for Excellence in the Visual Arts, the College of Architecture, Land Arts of the American West and Landmark Arts at the School of Art.

The exhibitions, speakers and related programs at the Texas Tech University School of Art are made possible, in part, by generous grants from the Helen Jones Foundation and The CH Foundation. Additional support comes from the cultural activities fees administered through the College of Visual & Performing Arts.

CONTACT: Joe Arredondo, Director of Landmark Arts
806-742-1947 or joe.arredondo@ttu.edu
http://www.art.ttu.edu/landscape-as-knowledge

LAND ARTS 2010 EXHIBITION

2011-03-18T18:15:00.000-04:00

Sunny Tang at Point Sublime, north rim of the Grand Canyon, Arizona, 2 September 2010.

LAND ARTS 2010 EXHIBITION

Texas Tech University College of Architecture and the Louise Hopkins Underwood Center for the Arts (LHUCA) announce LAND ARTS 2010 EXHIBITION.

An opening reception will take place from 6-9 p.m. Friday, April 1, 2011, at the LHUCA Warehouses at 1001 Mac Davis Lane in Lubbock, Texas.

The exhibition culminates the semester-long interdisciplinary field program Land Arts of the American West at Texas Tech in the College of Architecture and presents documents, objects and constructions by students Cynthia Gabaldon, Gregory Hemmelgarn, Rocio Mendoza, Corinne Sutton, Sunny Tang, Bradley Wilson, with art history graduate student Jennie Lamensdorf from the University of Texas at Austin. Chris Taylor, director of Land Arts of the American West at Texas Tech, leads the program and was assisted in the field by Texas Tech alumni Sean Cox. Land Arts 2010 field season was made possible with generous operational support from Andrea Nasher and student support from the James Family Foundation.

Students traveled 7,000 miles visiting locations across the Southwest camping for two months as they explored natural and human forces that shape contemporary landscapes—ranging from geology and weather to cigarette butts and hydroelectric dams.

On April 2, 2011 from noon to midnight, Land Arts of the American West and Landmark Arts will lead a public environmental art action in Lubbock, Texas as a participating venue of the 2011 Texas Biennial. See http://landarts.og for details.

The Land Arts 2010 Exhibition will continue through May 6 with a closing reception from 6-9pm that will coincide with the First Friday Art Trail.

###

Gallery Hours and Events

The exhibition will open with a reception on Friday, 1 April 2011 from 6 - 9 pm and close with reception on Friday, 6 May 2011 from 6 - 9 pm, both events will be part of with the First Friday Art Trail. The exhibition will be open for viewing on Saturday afternoons from noon to 4pm and by appointment.

Land Arts 2010 Exhibition, with the collaboration of Landmark Arts in the Texas Tech School of Art is a participant in the2011 Texas Biennial. On April 2, 2011 from noon to midnight, Land Arts of the American West and Landmark Arts will lead a public environmental art action in Lubbock, Texas. See http://landarts.og for details.

Land Arts 2010 Exhibition will also be open April 14, 2011 from 6:00-8:30 PM, and April 15 from 9:00 to 4:00, in conjunction with the third annual Spring into Green event sponsored by the West Texas Branch of the US Green Building Council. This program in the LHUCA Warehouses will include an exhibit of 2011 Eco-friendly hybrid and electric cars, the Texas Tech Solar Car, plus a Classic ’57 Chevy. For conference information contact westtexasbranch@usgbcnorthtexas.org.

FOR IMMEDIATE RELEASE: 18 March 2011

FOR MORE INFORMATION: please call Chris Taylor,

Director of Land Arts of the American West at Texas Tech at 806-392-6147

EXHIBITION DATES: 1 April - 6 May 2011

OPENING RECEPTION: Friday, 1 April 2011, 6:00 - 9:00 pm

CLOSING RECEPTION: Friday, 6 May 2011, 6:00 - 9:00 pm

http://landarts.org/index.php/site/display/land_arts_2010_exhibition/

CREATIVE ECOLOGIES: A Group Residency + Public Conversation

2011-02-26T17:19:00.001-05:00

CREATIVE ECOLOGIES:
A Group Residency + Public Conversation

Sunday, March 6, 1PM Learn more
Admission FREE
Mess Hall Cafe Open

Reservations are not required, but we invite you to click here as a courtesy RSVP
Invite friends via Facebook

Join us for Creative Ecologies, a round table discussion and presentation by artists and creative thinkers from across the country who address the complex relationship between humans, cultural production, and the natural environment. As part of a new programming initiative exploring ways that residencies catalyze collaboration, participants spend two weeks in residence at Headlands leading up to the event, living, thinking, and working together.

As a group, participants will examine issues on-site in the Marin Headlands portion of the Golden Gate National Recreational Area, in the greater Bay Area, and throughout the world-at-large. Areas of exploration include New Definitions of the Commons: Land Use & Appropriation; Larger Cycles of Resource Management: Waste Disposal and Recycling; Big Bad By-Products: Toxic Waste Prevention and Mitigation; Alternative Systems of Sustainable Agriculture & Human Foodways; How Far Do We Go? Urban Growth & its Limits.

Participants
T. Allan Comp (AIR '00), U.S. Department of the Interior
Amy Franceschini (AIR '03), Future Farmer and artist
Cynthia Hooper Eco-artist
Patricia Johanson Environmental artist
Philip Ross (AIR '03) Critter Salon founder and mushroom artist
Susan Thering Professor of Landscape Architecture, Univ. of Wisconsin, Madison
Daniel Tucker AREA Chicago co-founder
Rosten Woo Founder and Former Executive Director Center for Urban Pedagogy

Directions to Headlands
Click here for directions to Headlands by car or bike. Parking is available on site.
The MUNI 76 bus runs between San Francisco and Headlands on Sundays.
Finally, we encourage folks to coordinate "casual carpools" via the event's Facebook page!

Call for entries | Translocated

2011-02-26T15:31:00.001-05:00

Call for entries now OPEN!

Translocated is currently seeking contributions from artists whose work engages with cities and the spatial imaginary, across a wide scope of forms and practices that embrace, question and enrich our understanding of and relationship to urban space.

The project is traversed by the following themes and preliminary key questions:

How is our understanding of a city shaped, by the combined effects of experience, representations, memory and myth?
What kind of relationship is formed between people and place? How is urban space appropriated by its inhabitants? What makes it (un-)pleasurable?
What boundaries are at play in the city, between the personal and the collective, the visible and the invisible? What ways are there to read / write space and to look at the spatial practices / narratives inscribed within a place?
What relationships exist between city and language, space and semantics?
What is the meaning of home in the age of globalisation? What is the purpose of travel and tourism? How can the exotic be relocated within the everyday?

For more information, please download our call for entries, or get in touch by email at contact [at]translocated [dot] org.

REMOTE STUDIO | Artemis Institute

2011-02-26T15:30:00.001-05:00

DEADLINE MARCH 1
REMOTE STUDIO
A Program of Artemis Institute
www.artemisinstitute.org

How we understand ourselves in the world and react to it is directly tied to the qualities of the built environments in which we live and socialize

Remote Studio is a full immersion educational program offered through Artemis Institute, that provides semester long hands-on program in the Yellowstone Eco-region for design students. The program combines environmental philosophy and backcountry experiences with a design / build project for in-need community clients.

The extended goals of the program are two fold: to provide students in their chosen creative fields with first hand experiences that focus and empower their commitment to the world in which they live and to provide local communities within large wild-land environments with inspiring public structures.

Remote Studio ties first hand knowledge to sustainable concepts, environmental literacy and creative processes preparing students for a lifetime of designing for a healthier planet.

Remote Studio is offered twice a year, in the summer and fall. The course of study is appropriate for undergraduate and graduate architecture, landscape architecture and general design students.

Credit toward your degree for attending Remote Studio may be gained through:
· Artemis Institute’s cooperative agreement with Montana State University with transferrable credit back to your university.
· Artemis Institute’s certificate program recognized for credit directly through your university.

Remote Studio may also be attended as a post-degree certificate program.

APPLICATIONS ARE CURRENTLY BEING ACCEPTED FOR 2011
DEADLINE MARCH 1, 2011

For more information go to www.artemisinstitute.org

Questions: info@artemisinstitute.org

Artemis Institute
PO Box 1887
Livingston, MT 59047
406-220-1099
loriryker@artemisinstitute.org
www.artemisinstitute.org

THE ENVIRONMENTAL ARTIST IN RESIDENCE PROGRAM AT MCCOLL CENTER FOR VISUAL ART

2011-02-26T15:27:00.002-05:00

ANNOUNCING:
THE ENVIRONMENTAL ARTIST IN RESIDENCE PROGRAM AT MCCOLL CENTER FOR VISUAL ART

THE OPPORTUNITY
The community of Charlotte, NC and the McColl Center for Visual Art welcomes artists to create works
of environmental art in the public domain. The Environmental Artist-in-Residence (EAIR) program
encourages artists to have beneficial impacts on urban life through creation of art that is scientifically
relevant, meaningful and beneficial environmental art. Community outreach is an essential part of
McColl Center for Visual Art's mission. Volunteer groups, for which the greater Charlotte community is
well known, actively support the work of the Environmental Artist in Residence. These volunteers are
hands-on participants of all age groups and abilities.

THE RESIDENCY PROGRAM
This special artist residency presents opportunities for established and emerging artists and
collaborators, as well as design professionals, to create installations that interact with the urban
environment and become remedial interventions. In addition to an honorarium, travel and living
accommodations, artists will receive a stipend for materials, technical advice or labor to assist them.
Residency periods vary from several weeks to 3 months.

THE SITES:
McColl Center for Visual Art has secured several sites in metropolitan Charlotte for artists˙˙™ interventions
including urban creeks, parks, streetscapes and semi-rural lands. These sites represent opportunities
for artists who work in a remedial way with a site and who create projects that go beyond
documentation and demonstrations to bring benefit to a specific site.

APPLICATION PROCESS:
View the application at: http://mccollcenter.org/documents/eair_application_2.2011_.pdf
Deadline for Applications: preference given to artists who submit applications before May 1.2011. First artists will be selected and notified prior to June 1. 2011.

Submission Call #8 Grassroots Modernism: Journal of Aesthetics and Protest

2011-02-14T11:41:00.001-05:00

Submission Call #8
Grassroots Modernism- movement for today's tomorrow.

We hear of rigorously pedestrian, joyful projects.
We hear of projects,we hear of movements.
Rumor has it that they are adamant. Present and grounded. Utopian.
Rumor has it that they are creative and common and critically minded, and that they can blow our minds.
Rumor has it that while the conditions can only be local, the ideals can find international support.

We are smart as hell, queer and quotidian. Just like the neighbors.
Its movement time again.
Utopia tomorrow. Hard work today. Hopefully, your situation allows it that you can enjoy the nights.

CALL:
In calling for a Grassroots Modernism, we seek a political and cultural movement towards liberatory and just futures. This future is not the top-down technocratic, homicidal nightmare known as yesterday's modernism. Rather it is a future where our children are crafting their communities, councils and networks, and being. Grassroots Modernism is in contradiction explicitly to the current delusions of "impossibility", "aimlessness" and "realism." Grassroots Modernism must be realistic to localized situations and the general human capacity to dream together, build together… and chill out.

The strength, but also the limitations of current social practices are now clear. Some are just cashed out, others are easily normalized within the neo-liberal city. All the while, the earth gets more polluted, our children are educated with crap, and governments tell us we are more and more screwed by some unwitting invisible hand.

Grassroots Modernism doesn't just talk about itself, it is visible in the generative presence of idealistic social formations. It is not necessarily art-historical, though it is aware of how culture has always mattered.

To again be modern (here, modern=present in the future), we need to assess how neo-liberal regimes have crushed our capacity to realize our capacities- to articulate new understandings of social wealth, liberated corporeal presences.

We understand how neoliberal ideology from the most cellular level inside our wee bodies on up, has crushed solidarity, denied collective right to a good life, obliterated common interests. Yet as editors, we know that practice within grassroots communities, studios and movements best clarify these notions by demonstrating neoliberalism's creative undoings.

We are looking for critique and reflection on what does and does not work. Now, now that tomorrow is a reality and our ideals are a possibility. That is a good thing, especially when our strategies, tactics, dreams and beauties come into effect.

What we may be looking for:

projects from or in the context of collaborative or collective practices.
grounded in specific practices in context to movement or scene building
grounded in occupation
lessons learned and best practices
constructive criticality
that are of the flesh, for our flesh
things that effect the ways we think about our lives
that are strategic propositions to the readership on constituting movements.
affect in effect
art with a role in a movement
strategic propositions toward constituting movement
new or old things

Note :This submission call is a provocation as much as it is a request for archival material.
Proposals can be sent to us before you have the capacity to understand what it is you might really be writing, creating or
organizing.

To submit:
LENGTH: Proposals can be short, one (1) paragraph is fine.
CONTENTS: Please provide us with enough information to be able to grasp what you are aiming at.
ETC: Please make sure your contact info is up to date.
DEADLINE: April 1st, 2011
SEND: editors@joaap.org
PROCESS: After the deadline, we will review submissions and be in touch as soon as our schedules allow.
NOTE :We are imagining a relatively long writing and editing period. We are aiming to release the issue in the late Autumn of this year. If this time frame was used advantageously, that might be interesting.
Website for the call:http://joaap.org/submission.htm
..............................................................................

Eve Andree Laramee's Slouching Towards Yucca Mountain

2011-02-13T11:45:00.002-05:00

Eve Andree Laramee has just launched a new project called, “Slouching Towards Yucca Mountain,” a video installation dealing with environmental issues and the effects of radioactive waste on human health and water quality.

For the past 20+ years she has made, "anti-nuke artwork, including an investigation of radiotoxins in Los Alamos water: "Fluid Geographies," "Burial at Los Alamos," and "Massacre at Pajarito Plateau," and the genetic impact of uranium mining on the peoples of the Four Corners Region, "Halfway to Invisible," among numerous other artworks."

You can support her latest project at: unitedstatesartists.org

PLUMBING THE GEOLOGIC DEPTH OF “NOW”: CALL FOR SUBMISSIONS

2011-02-11T09:37:00.001-05:00

Over on our Friends of the Pleistocene blog we've posted a call for submissions. We welcome all smudge readers to submit and spread the word!

PLUMBING THE GEOLOGIC DEPTH OF “NOW”: CALL FOR SUBMISSIONS

FOP/smudge studio announces a CALL FOR SUBMISSIONS for a proposed edited collection of brief writings and visual essays, tentatively entitled “Making a Geologic Turn.” The book, which we are now proposing to publishers, is part of our larger project to both document and make something more of the geologic turn in contemporary cultural practices (see below).

what we mean by “making a geologic turn”

Until recently, the word “geologic” referred simply and directly to the science of geology–the study of the origin, history, and structure of the earth. But that’s changing. (We reported our first whiff of this change in a recent FOP post: geologic time is now). Something is happening to and with the ways people take up “the geologic,” and that’s intriguing to us as Friends of the Pleistocene.

Contemporary artists, popular culture producers, and even philosophers are adding new layers of meaning and sensation to “geologic.” Humans seem to be sensing (in new ways?) that the geologic is not only an area of scientific study–it’s also a condition of daily life.

Nevada Forest Fire, 2005, image NASA Johnson Space Center – Earth Sciences and Image Analysis (NASA-JSC-ES&IA)

At some point in the recent past, the geologic became sense-able (with new physical intensity and from new angles of thought) as a situation that we live within, not just something “out there” that we study.

Contemporary visual culture, art practices, ideas and values are now signaling the fact that the geologic is a force in contemporary life. There seems to be a growing recognition that the geologic, both as a material dynamic and as a preoccupation, shapes the “now” in ever more direct and urgent ways, through geologic forces such as: deep time, slow accumulations and metamorphoses of the world’s materiality, tectonic plate movements, erosion and displacement of landforms, dramatic earth reshaping events, geo-bio interactions. These are forces to be reckoned with existentially, creatively, and pragmatically as humans work to meet the fact that our species is both vulnerable to geologic forces and also has become a geologic force on the planet.

You could say the geologic has become a condition of contemporaneity.

And that brings us to contemporary art practices. One definition of contemporary art is “art created within the conditions of contemporaneity.” As if embodying that definition, FOP and other artists are making work within the geologic as a condition of our present time.

Many contemporary artists now locate their work primarily within the situation of the geologic–within the jostling and unstable physical, social, political, and economic situations that arise from and act back upon geologic materialities and forces. And they actualize their inspiration, motivation, materials, and gestures there. The result is a growing body of aesthetic works and practices that plumb the geologic depth of “now.”

If we were to say what’s propelling this geologic turn in our own work, and more broadly within visual culture, we’d point in at least two directions.

First, we’d cite recent “natural” and human-made events, some unprecedented in scale and consequence. These seem to have compounded–both actually and within human consciousness–to lay bare the reality of just how deeply human life is embedded in the “brute materiality of the external world”–in the very “stuff” of the geologic.

A few examples: the discovery in 1997 of The Great Pacific Garbage Patch; the 2004 Indian Ocean earthquake and tsunami; Hurricane Katrina (2005); the 2010 eruption and disruption of Eyjafjallajökull; the 2010 Haiti Earthquake; increasing awareness of and preparedness efforts for the long overdue “big one” along the San Andreas Fault in California; ever-clearer signs of climate change both man-made and earth-made; recent “near misses” of earth by asteroids; growing stockpiles of high level nuclear waste and the urgent attempts to design ways to contain it–within the geologic–for up to 1 million years; the 2010 oil spill in the Gulf of Mexico; geologic-scale engineering projects capable of altering planetary dynamics, such as the Three Gorges Dam in China and carbon sequestering.

DOE image, retrieval of buried nuclear waste at Hanford, 2005

Second, we’d point to new developments in human thought and culture. These include new scientific understandings of geologic dynamics–especially the deep interplays between the geo and the bio; shifts in popular consciousness about the relation of the human to the geo; emerging philosophical concepts that use the geologic as metaphor, model, and inspiration for thinking about space, time, and change; radically new insights about our own evolution and existence as the result of an immensely long process of geologic time; and qualitatively new ways the humans experience time and space on planet earth.

These new ways of making sense of the geologic are being made thinkable and possible by new technologies and unprecedented lived experiences. For example:

New tools for visualizing the geologic may have precipitated the current turn from seeing the geologic as an area of scientific study that is abstract at best (nerdy hobby at worst) to experiencing the geologic vividly as a situation of daily life. Perhaps the turn began in 1972, on the day that humans first saw the “blue marble” photograph of earth taken by Apollo 17 astronauts from 28,000 miles out. Our abilities to visualize Earth as a wholly interconnected and dynamic geo-bio system have grown only more acute, refined, and now even interactively palpable thanks to Google Earth. Today, dynamic imaging technologies allow us to “see” and “sense” unimaginably slow and vast geologic dynamics as “flows.” Data animations make geo-forms such as mountains and deserts perceptible as motion through time.

Because of such vivid experiences–first hand, mediated, and imagined–it’s becoming increasingly possible, even necessary, for humans to further heighten our abilities for sensing geologic time. In the 1980s, word started getting out that the geologic conditions of life on earth can be–and have been–transformed in an instant: dinosaurs probably went extinct because of anasteroid impact. Today, some scientists think dinosaurs were wiped out by volcanic eruptions in India. Regardless, their disappearance happened fast and most likely because of geologic events that were planetary in scale. Journalists and Hollywood filmmakers are peaking audiences’ curiosities–and even adding to the scientific knowledge of laypersons–about very real (past and future) catastrophic geologic events. Scientific facts about how the geologic is capable of throwing our entire species into a crisis of existential risk are now part of pop culture (see the movie 2012 for a special effects version of everything from Noah-scale tsunamis to the movement of tectonic plates to the periodic and believed-to-be-overdue geomagnetic reversal of the earth’s poles).

Coal mine, image Stephen Codrington. Planet Geography 3rd Edition (2005) [1]

Perhaps most starkly, geologic time is beginning to have applied, material meaning for non-geologists. Not all that long ago, geologic resources seemed to be infinite. No nuclear waste needed to be stored. Carbon emissions didn’t exist. And the oceans contained zero tons of plastic. Two hundred years ago, concerns about what the planet might be like in 1000 years seemed irrelevant. No longer. In the face of rapid planetary-scale change, much of which has been human designed, today’s humans are confronted with realizing that life on earth hasn’t been like “this”, or looked like “us” for long at all. Humans seem to be having first inklings of the reality that geologic time hasn’t been composed of us–though we are composed of it. We (modern, Western people) are realizing all over again that our species’ existence is incredibly recent–that the human is a mere blip in geologic time. The sense of ourselves as a “blip” is only reinforced by the fact that “we” aren’t likely to be here much longer: most mammalian species last only one or two million years at the most, and the genus homo has already been around for almost 2.5 million years.

The internet and globalization (global flows and exchanges of information, human beings, manufactured products and earth materials) are radically transforming human experiences of time and space on earth. Philosophers and popular culture producers alike ponder the consequences for how humans sense and making meaning of time and space–including what it means to have a body. New, lived experiences of time open humans to evolving new ways to sense geologic time.

What we will make of our growing abilities and needs to sense geologic time, and what they will make of us, is a new and starkly different possibility. Already, in some realms of regional and urban “planning,” designing for geologic or “deep time” has become a design specification: deep geologic repositories for nuclear waste require engineers to plan for one million years into the future, and regional planners now actually consider what it might mean to design for the fact that the next ice age is a pretty sure thing.

Rising Currents exhibition entrance MoMA, Photo: Jason Mandella

Most recently, thanks to transdisciplinary exchanges across traditional fields of science, it’s becoming difficult for geologists and biologists to distinguish between the “brute materiality” of geology’s “external world” (rocks, minerals, mountains) and the soft, “inner” worlds of biology’s living things. According to current science-based stories about life, earth, and life on earth, we humans are walking rocks–we are actually composed of geologic elements such as calcium, iron, phosphorous; from humans to lichen, comparatively tiny living organisms are key players in monumental geologic processes (the earth would have a completely different geologic self if there were no life on it); and the geologic must now be taken into account in any concept of “the environment.” Best sellers that help us think across biology, geology, and environmental sciences, such as “The World Without Us,” fuel another growing realization about deep time: while the human species can’t get along without the geologic, the geologic will continue on in some form or other long after we have ceased being part of it.

“The Crude and the Rare,” curated by Saskia Bos and Steven Lam, at Cooper Union, photo Andrew Russeth

Contemporary artists, speculative architects, and hybridized cultural producers are making work from and within these events and ideas. As part of the geologic turn, their works and processes heighten collective awareness of the geologic as a condition of contemporary life. As Friends of the Pleistocene, we draw inspiration and insight from the themes and gestures that characterize their work.

still from Into Eternity, courtesy Michael Madsen 2009

Some of our sightings of those who are working with the geologic as a condition of contemporary life include:

Rachael Sussman’s photography project: the oldest living things in the world

Ilana Halperin’s works of “geologic intimacy” exploring the relationship between geological phenomena and daily life.

Karthik Pandiam’s Unearth at the Whitney examining relationships between the ancient and the modern.

Trevor Paglen’s Debris project, documenting orbiting space debris that will ironically outlast humankind’s presence on the planet

Lucy Raven’s photographic animation China Town

Ed Keller’s Design and Existential Risk 2010 lecture series at Parsons, The New School

David Gersten’s literary/visual work on architectonics

Geoff Manaugh’s ongoing visual research as cataloged on the BLDG BLOG

Peter Galison’s upcoming documentary on wilderness, wasteland, and nuclear “zones of exclusion”

Michael Madsen’s documentary Into Eternity on Onkalo, the world’s first deep earth repository for high level nuclear waste

Hiroshi Sugimoto’s recent show, Day After at Pace Gallery, exploring the origins of life millions of years ago.

Recent exhibition at Cooper Union, the Crude and the Rare where artists were commissioned to creatively respond to rare earth materials.

The Long Now Foundation’s ongoing programs and projects.

Brian Eno’s 2010 album Small Craft on a Milk Sea, including tracks such as Late Anthropocene and Paleosonic.

Rising Currents a 2010 exhibition at New York’s Museum of Modern Art exploring how a rise in global sea levels will affect New York City due to geologic force and event.

In addition to Making a Geologic Turn, we plan to produce an exhibition that maps the geologic turn in contemporary art and creative practices; facilitate gallery conversations and pedagogical events to discuss the ideas and works at the heart of the project; and offer an online, college-level course on the geologic turn in contemporary culture and art.

The Edge of Light: Wendover, by Brian Rosa and Adam Ryder

2011-02-11T09:28:00.006-05:00

"The Edge of Light: Wendover," by Brian Rosa and Adam Ryder has just been published in the online journal Places. Their work originated at the Center for Land Use Interpretation's residency program in Wendover, Utah, where military history, land-speed racing and the casino industry make for unexpected juxtapositions.

2011 Art + Environment conference reception

2011-02-09T09:13:00.000-05:00

Nurturing Nature: Artists Engage the Environment

2011-02-07T22:31:00.000-05:00

Opening February 10, 7pm at OSilas Gallery, Concordia College, Bronxville, NY

Nurturing Nature: Artists Engage the Environment

with artists Eva Bakkeslett,
Vaughn Bell, Susan Benarcik, Michele Brody,

Jackie
Brookner, Linda Bryne,
Xavier Cortada, Sonja Hinrichsen, Basia Irland,

William
Meyer, Maria Michai
ls,
Roy Staab, Joel Tauber.

Co-curated by Amy Lipton and Patricia Miranda

http://ecoartspace.blogspot.com/
http://www.ecoartspace.org/
http://www.facebook.com/ecoartspacefanpage?ref=share

Arid Lands Lecture Series

2011-02-07T12:27:00.000-05:00

Lecture:
The Agency of Water: Scarcity, Abundance, and Design in Dialog

Vinayak Bharne
Urbanism, Infrastructure & the Urban Water Crisis: Perspectives from Asia & the American Southwest

Dilip da Cunha
Negotiated Landscapes: Mississippi, Bangalore, and Mumbai

Tuesday, February 15, 2011
7:00 pm

Vinayak Bharne, a practicing urban designer and planner, teaches at the University of Southern California in Los Angeles. His work has focused on the critical conservation and reuse of indigenous infrastructures as catalysts for sustainable urban growth and development, with ongoing projects in Iran, India and the American southwest. He is a contributing author of Los Angeles: Building the Polycentric Region (2005), and the forthcoming Aesthetics of Sustainable Architecture (mid 2011).

Dilip da Cunha, an architect and planner, serves on the faculty of Parsons School of Design, New York and the University of Pennsylvania. With Anuradha Mathur, his work has focused on cultural and ecological dimensions of contentious landscapes, wet and dry. His work includes Mississippi Floods: Designing a Shifting Landscape (2001); Deccan Traverses: the Making of Bangalore's Terrain (2006); and SOAK: Mumbai in an Estuary (2009).

Hadley Arnold, co-director of the Arid Lands Institute, will moderate a discussion on water infrastructure, design strategy, and the public realm

Update to the lineup and dates can be found here: Arid Lands Institute lecture series

Land Arts at the 2011 College Art Association Conference

2011-02-07T12:26:00.002-05:00

Embodied Ecology with  Land Arts of the American West
Saturday, 11 February 2011, 2:30pm
College Art Association Conference Studio Art Open Session: Green and Sustainable Art
Sutton Parlor South, 2nd Floor, Hilton New York
1335 Avenue of the Americas
New York, New York 10010

Chris Taylor will participate in the Studio Art Open Session: Green and Sustainable Art at the 2011 College Art Association Annual Conference. The session will be moderated by Anita Cooney andRebeccah Pailes-Friedman with other presentations by Cal Lane, Kelly Cobb, and Rachel Miller. Taylor will discuss how embodied ecology is cultivated by Land Arts of the American West.

Land Arts of the American West is a semester long field program investigating the intersection of geomorphology and human construction. It is a semester abroad in our own back yard where students travel 7,000 miles visiting locations across the Southwest camping for two months as they explore natural and human forces that shape contemporary landscapes—ranging from geology and weather to cigarette butts and hydroelectric dams. Land Arts situates our work within a continuous tradition of land-based operations that is thousands of years old, hinging on the primacy of first person experience and the realization that human-land relationships are rarely singular.

Image: Sunny Tang at Point Sublime, North Rim of the Grand Canyon, Arizona, 2 September 2010.

Winter edition of the Center for Land Use Interpretation's The Lay of the Land

2011-02-06T12:29:00.000-05:00

The Winter 2011 edition of the Center for Land Use Interpretation's The Lay of the Land newsletter is now available!
Read it online at www.clui.org, or subscribe to receive a print copy.

The Center for Land Use Interpretation is a non-profit organization dedicated to the increase and diffusion of knowledge about how the nation's lands are apportioned, utilized, and perceived.

launch of the Free Soil journal: Studio for Urban Projects

2011-01-31T13:00:00.000-05:00

UPCOMING STUDIO FOR URBAN PROJECTS EVENT
website
contact

FARMING 2050
A discussion and launch of the Free Soil journal

DATE
Tuesday, February 1

TIME
7:00 pm

LOCATION
Studio for Urban Projects
3579 17th Street
San Francisco

RSVP
Space is limited. Please RSVP to
rsvp@studioforurbanprojects.org
Suggested donation $5-$15

Join us for the launch of Free Soil, an annual journal with a focus
on systems related to farming; land use, environmental justice, globalization, economy, and water. Practitioners from many fields are invited to contribute–providing a diverse perspective to be cast upon the pages of each journal. The journal is an offshoot of a blog that was created in 2005 by a group of geographically dispersed artists, activists and gardeners with a common interest in the social and political organization of space–who makes the decisions about
these spaces and who is affected by those decisions.

The first issue FARMING 2050 will be the focus of the evening.
In a one-day experiment, eleven artists, farmers, writers, policy makers, architects and philosophers were invited to imagine
farming in 2050. What will it look like and how will we get there?
What materialized was a range of apprehensions, evaluations and revelatory combinations of fact and fiction that offer a diverse look
on the future of farming. This hyper-local portrait of critical, San Francisco voices reflects a sense of optimism intertwined with serious demands to re-evaluate the current logic that dominates
our food system.

Our discussion will be moderated by Free Soil editor Amy Franceschini in conversation with several of the journal’s
contributors including Brooke Budner, Ignacio Valero, Michael Swaine, Chris Carlsson, Marina McDougall and Blair Randall.

Founded in 2006 the Studio for Urban Projects is an art and design collaborative that seeks to advance civic engagement and further public dialogue. Our inter-discilinary and research-based projects aim to provoke change by re- framing our perceptions of the city and physically transforming elements of the built environ-ment. Our storefront space in the San Francisco Mission District is a public venue for the staging of workshops, talks, film screenings and meals.

3579 17TH ST, SAN FRANCISCO, CA 94110 E-MAIL: info@studioforurbanprojects.org

DESIGN PHILOSOPHY PAPERS 1/2011 – Renew, Repair, Research

2011-01-30T14:18:00.000-05:00

DESIGN PHILOSOPHY PAPERS 1/2011 – Renew, Repair, Research
Jay Hasbrouck, ‘From refurbish to renew: the trope of healing and sustainable technology design’
Carlo Franzato, ‘Design as speculation’
Michael Biggs & Daniela Büchler, ‘ome consequences of the academicization of design practice’
Susan Yelavich (comment essay) ‘Making repairs, making (environmental) amends’
http://www.desphilosophy.com/dpp/dpp_journal/journal.html
Also note deadline for Abstracts for Beyond ‘Progressive’ Designing has been extended to 14 February.

The Harrisons and the Center for Art + Environment

2011-01-25T12:53:00.001-05:00

Renowned ecological artists, Helen Mayer Harrison and Newton Harrison, have teamed with the Center for Art + Environment at the Nevada Museum of Art to create new work for their ongoing endeavor the Force Majeure, a series of land-based artworks responding to the challenges of global change – including "Greenhouse Britain" and the Tibetan Plateau.

On February 10, during the College Art Association’s Centennial Conference in New York, the Nevada Museum of Art and the Harrisons will be announcing the launch of the 2011 Art + Environment Conference which is set to take place September 29 – October 1, 2011. Still enjoying the success of its first Conference held in 2008, the Museum will announce the line-up of 2011 Conference speakers, panelists and topics.

The Harrisons will be featured as the keynote speakers for Convocation at CAA Conference held February 9 – 12, 2011.

For more about the Harrisons exhibition at the Museum please see: http://www.nevadaart.org/exhibitions/detail?eid=191

Barrier Beautification: Spring 2011 Open Call

2011-01-22T16:26:00.001-05:00

This spring 2011, the New York City Department of Transportation is partnering again with the Mayor’s Community Affairs Unit & New York Cares to paint selected barrier sites around the City. Individual artists or artist teams are invited to submit applications. DOT will help oversee artwork production, translation and design implementation. DOT and NY Cares will provide materials and tools to paint the design. Barrier sites will be primed and prepped in advance by NYC Community Cleanup. Each selected artist shall be assigned a site within one of the five boroughs and will be responsible for translating the design and overseeing the painting of the design onto the barriers. NY Cares volunteers will be assigned to assist each artist at a site on one Saturday in early spring 2011 to paint the design. To participate in this initiative, submit your application by Friday, February 25, 2011. Selected designs will be posted on the website and artists will be notified by phone within two weeks if selected. Visit www.nyc.gov/urbanart to download the application. Also, we strongly suggest that you visit www.flickr.com/photos/nycstreets/collections to view examples of completed projects to gain an understanding of the types of designs that have been approved by the Advisory Committee in the past.

Call for Submissions: Writing for Art + Environment

2010-12-29T12:08:00.000-05:00

Call for Submissions: Writing for Art + Environment

Art + Environment seeks lively original writing that explores contemporary art, architecture, and design and its intersections with environment, nature, landscape and place in support of the practice, study and awareness of creative interactions between people and their natural, built, virtual environments. These areas are broadly defined, and the breadth of potential content expansive, extending to fields including geography, ecology, environmental studies, history, media and technology, and literature, to name a few.

Art + Environment publishes blog entries, essays, and observations that blend interesting critical and research-based rigor with personal experience and journalistic edge, and reviews of books, exhibitions, programs, and projects going on in the fields inhabiting the intersections of art and environment.

Art + Environment values clear, thoughtful, and articulate prose, accessible to sophisticated lay readers, as well as professional and academic readers. Send manuscripts, proposals, or queries electronically to socialnetwork@nevadaart.org. Put “Art + Environment Submission” in the subject line. Submit texts as copy in the body of the email message and as attachments, preferably Microsoft Word. Include detailed contact information. Including a best phone number may expedite the submission and publication process. Art + Environment is interested in illustrative audio-visual material: images, video, and sound files related to the submitted text(s) are welcome with appropriate citations. Supplemental audio-visual work should be accompanied with brief explanatory texts and captions. In general, text submissions should be 300-1000 words, though longer pieces may be considered for publication.

View Nevada Art's blog

Chris Taylor : Land Arts talk at Galleria AFA in Santiago

2010-12-10T21:23:00.001-05:00

Chris Taylor will be giving a Land Arts talk at Galleria AFA in Santiago, Chile Saturday, December 11, 2010.

Additional information is online at http://www.galeriaafa.com/index.php?option=com_content&view=category&layout=blog&id=60&Itemid=252 and http://landarts.org/index.php/site/events/cat/news_events/

Out of Water: Innovative Technologies for Arid Lands

2010-11-09T07:23:00.002-05:00

Out of Water: Innovative Technologies for Arid Lands,

a lecture + discussion by Aziza Chaouni and Liat Margolis, University of Toronto, John H. Daniels Faculty of Architecture, Landscape and Design.

7:00 pm, Thursday, November 11th

Ahmanson Main Space, Woodbury University, Burbank.

http://aridlands.woodbury.edu/lectures/OOW.html

AridLandsInstitute

Woodbury University

7500 Glenoaks Boulevard

Burbank, CA 91510

818. 394 3335

aridlands@woodbury.edu

www.aridlands.woodbury.edu

Land Arts of the American West 2010 Exhibition

2010-11-09T07:22:00.001-05:00

November 19 – December 17, 2010
Opening Reception: Friday, November 19, 5 – 8 pm.

Location:
SCA Contemporary Art
524 Haines NW
Albuquerque, NM

Artists:
Veronica Geiger, Timothy House, Renee McKitterick, Phillip Longstaff, Nicole Deister, Marta Ferrate Torra, Bethany Delahunt, Alexia Mellor

From late August to mid-October 2010 Land Arts spent 46 days living and working throughout the southwestern US exploring the concepts of Foodshed in central and Northern New Mexico, Land Art & Land Use in Utah, Nevada, New Mexico and the Border in Southern New Mexico and El Paso.

This exhibition is a culmination of both collaborative and individual studio works investigating concepts and practices embedded in the experiential complexity of place.

Land Arts of the American West, at the University of New Mexico, is an ongoing experiment in an interdisciplinary model for an Arts pedagogy based in place. The land arts program provides students with direct physical engagement within a full range of human interventions in the landscape: from pre-contact native American architecture, rock paintings and petroglyphs to contemporary Earthworks, federal infastructure, constructions of the US Military, and land use systems across the west.

Land Art includes gestures both grand and small, directing our attention from pot shard, cigarette butt, and tracks in the sand to human settlements, monumental artworks and military/industrial projects such as hydro-electric dams, copper mines and air fields.

Land Arts of the American West Program, University of New Mexico website:
http://landarts.unm.edu/

Land Arts of the American West student blog:
http://unmlandarts.blogspot.com/search/label/HOME

SCA Contemporary Art is located one block south of I-40 between Fifth & Sixth. The gallery is open from 12-5pm Thursday & Friday and by appointment. For more information call 1-505-228-3749

Land Heritage Institute Symposium

2010-11-08T07:24:00.000-05:00

2009 LHI Art-Sci Symposium from Mark & Angela Walley on Vimeo.

The 2009 Land Heritage Institute Symposium documentary with a focus on Land Arts of the American West and presentations from Erik Knutzen of the Center for Land Use Interpretation, http://clui.org, Lucy Lipard, Ann Reynolds, Joan Jonas, Celia Alvarez Muñoz, Ramon Vasquez, Alston Thoms, Allucquere Rosanne Stone, among others.

CHRIS TAYLOR: VISTING ARTIST PRESENTATION

2010-11-04T09:09:00.003-04:00

Fusing art, architecture, and landscape in Donald Judd’s “100 untitled works in mill aluminum”, Chinati Foundation in Marfa, TX, via 2010 Field Reports.

WHAT: CHRIS TAYLOR, Director of Land Arts of the American West at TTU Visiting Artist Presentation
WHEN: Thursday, November 18^th, 4 pm in ART 41

WHERE: San Diego State University, San Diego, California

Please join us for a special visiting artist presentation by Chris Taylor, Director of the Land Arts of the American West program at Texas Tech University: http://arch.ttu.edu/wiki/Land_Arts_of_the_American West and http://landarts.org. Chris will discuss the Land Arts program he heads at TTU— an immersive, interdisciplinary field study program where students spend a full semester “expanding the definition of land art through direct experience with the full range of human interventions in the landscape, from the inscriptions of pictographs and petrogylphs to the construction of roads, dwellings, and monuments, as well as traces of those actions.” Each year Land Arts travels more than 6,000 miles to live and work for over fifty days in the landscape while visiting sites such as Chaco Canyon and Roden Crater, the Grand Canyon and Double Negative, the Wendover Complex of the Center for Land Use Interpretation and Spiral Jetty, Marfa and Cabinetlandia, the Very Large Array and The Lightning Field.

Chris will be traveling with Kim Stringfellow’s Art, Environment, and Place SDSU Honors course students over the following weekend for a culminating field study trip at the Salton Sea. For more information, please visit: http://kimstringfellow.wordpress.com/. Please encourage your undergrad and graduate students to attend this lecture. Class groups are very welcome.

TEXAS TECH: 2010 Lecture : Ann Reynolds & Eve Andree Laramee : 9 November @ 6:30PM

2010-11-04T09:06:00.002-04:00

2010 Lecture : Ann Reynolds & Eve Andree Laramee : 9 November @ 6:30PM in English LH001

Ann Reynolds and Eve Andrée Laramée will each present their work followed by a session of dialogue and questions with the audience.

Ann Reynolds is an art historian at UT Austin. Her research focuses on art, architecture, and visual culture after 1930; feminist theory, gender, and sexuality studies; historiography of exhibition practice; and film. She is the author of the important book Robert Smithson: Learning from New Jersey and Elsewhere (MIT Press 2003) and she is currently working on a new book-length project tentatively titled Playtime: Creativity, Community, and Publics in New York, 1940-1970. She is a fellow of the Clark institute and has received numerous awards for her teaching. Since 2002 she has been a field guest with Land Arts of the American West. In addition to this lecture and discussion Reynolds will interact with art history students and participants of Land Arts 2010. While the background and breadth of Reynolds’ work will be a draw for attendees, material from her new research on creativity and the ongoing legacy of earth works will provide a context for dialogue and help us decipher Landscape as Knowledge.

Eve Andrée Laramée is an artist and Professor of Interdisciplinary Sculpture at the Maryland Institute College of Art. Her work examines the relationship between art, science, and nature. She has exhibited internationally including at the Venice Biennale, Mass MOCA, MCA Chicago, New Museum NYC. Her work is included in the collections of the MacArthur Foundation, MOMA NY, MCA Chicago, The Fogg, UCLA Hammer. Recent and ongoing works include projects about desertification and soil degradation; transformation of the Salton Sea/Mojave Desert during the Cold War, and a project on water resources in Northern New Mexico contaminated by radioactive isotopes. Laramée's work will operate as an index to Landscape as Knowledge. It is be a model for and relevant to a wide audience including studio art, art history, architecture and people operating at the intersection between culture and nature. Laramée met the Land Arts 2010 crew in the field to visit the Jackpile Mine, a reclaimed uranium mine on Laguna Pueblo, New Mexico, her presentation and interaction on campus will bring part of the Land Arts experience back to Lubbock.

Landscape as Knowledge is a multidisciplinary exploration of how we see, conceive, and depict the earth; and what we find or do on it. Artists, art historians, and scholars from various disciplines will question how both our landscape and we ourselves are continually shaped and reshaped by an array of natural and cultural processes. Rick Dingus, professor in photography, Dr. Jorgelina Orfila, assistant professor in art history, Dr. Carolyn Tate, professor in art history, and Chris Taylor, assistant professor in architecture are the core collaborating faculty who organized the year of events.

This event is sponsored by the School of Art as part of the joint series Landscape as Knowledge. Organized by the faculty of theSchool of Art in collaboration with faculty from the College of Architecture at Texas Tech University, and receiving major support from the Ryla T. and John F. Lott Endowment for Excellence in the Visual Arts and the College of Architecture, Landscape as Knowledge will present a year-long series of public lectures, conversations and events to examine embodied intelligence within the augmented environment.

Additional support for Landscape as Knowledge comes from Land Arts of the American West, the College of Architecture, andLandmark Arts in the School of Art, which receives generous support from the Helen Jones Foundation, The CH Foundation, and Cultural Activities Fees administered through the College of Visual & Performing Arts.

This event is also part of the College of Architecture 2010-2011 Lecture Series, Material Ecologies.

http://arch.ttu.edu/wiki/2010_Lecture_:_Ann_Reynolds_%26_Eve_Andree_Laramee

UPDATE FROM L.A. URBAN RANGERS

2010-10-25T15:09:00.004-04:00

Autumn greetings from the Los Angeles Urban Rangers! This year, we’ve been busy at work in the field while also expanding our geographical range, with Rangers now posted in Silicon Valley and Zürich, Switzerland. We are excited to announce a series of new works in-the-making, with several events planned to take place in our favorite megalopolis in the coming year.

On a cold and windy May day, we wrapped up our long-running Malibu Public Beaches project with an all-day safari bonanza which brought out a swarm of intrepid Angelenos. Since then, we’ve re-focused our sights on downtown LA for the next phase of our Public Access 101 series. We are thrilled be forging ahead with a series of hikes and other downtown adventures by way of temporary posts at two local strongholds: the 2010 California Biennial at Orange County Museum of Art (opening Oct. 24) and Engagement Party at MOCA (Summer 2011). Stay tuned for these Ranger-led programs in the near future!

This Fall, we were able to resume our field research and cultural exchange in Almere, the Netherlands, where we had built SITE2F7 Ontdekkingstocht (Explorer's Hike), including a trail system surrounding the Museum de Paviljoens, in 2008. We are now developing a field guide to this lively vacant lot, enriched by our interactions with a host of local species. Join us on Nov. 13 at the Los Angeles Contemporary Exhibitions (LACE) along with the Otis MFA Public Practice Program, when we’ll share this work as part of PUBLIC INTEREST: Projects & Prototypes, a day-long event that takes an LA-centric look at the burgeoning field of arts-based public practices.

We’re also expanding our explorations into the less urban wilds of California. In collaboration with the University of California Institute for Research in the Arts, we are currently investigating the university’s little-known UC Natural Reserve System, an archipelago of field research sites spanning the state. In the coming year, we plan to craft a series of tools and programs to widen the use of these spaces, especially by non-scientists.

Last but not least, if you haven’t already, please check out our new website (AKA virtual ranger station), designed by the digitally ambidextrous Roman Jaster.

We’re enormously grateful to the California Coastal Conservancy, California Community Foundation, the City of Los Angeles Department of Cultural Affairs, and UCIRA for making our investigations over the last year possible.

We promise to be in touch again soon with details about upcoming activities. In the meantime, know that we appreciate and rely upon support from active and engaged citizens like you!

In your service,
The Los Angeles Urban Rangers

www.laurbanrangers.org

Bill Gilbert – Physiocartographies and Erika Osborne – Wood Work

2010-10-14T20:54:00.005-04:00

Bill Gilbert – Physiocartographies and Erika Osborne – Wood Work

Oct 14 – Nov 19 2010

The Mesaros Galleries

Located in the Creative Arts Center at West Virginia University in Morgantown, West Virginia

Gallery Hours: Monday – Saturday, noon – 9:30pm.

Bill Gilbert will give an artist lecture on Oct 28^th at 5pm in Bloch Hall at the Creative Arts Center. A reception for the exhibition will follow.

Erika Osborne will give an artist lecture on Nov 4^th at 5pm in Bloch Hall at the Creative Arts Center. A reception will also follow this event.

Bill Gilbert and Erika Osborne share a field-based approach to art-making that stems from their time working together with the Land Arts of the American West Program at the University of New Mexico – a program that Gilbert founded. Since, they have continued this approach to art-making and education – Gilbert as the Lannan Endowed Chair of the Land Arts of the American West program, and as co-founder of the new Art and Ecology emphasis in studio art at the University of New Mexico, and Osborne as assistant professor of art at West Virginia University, teaching field courses such as Art and Environment and Place:Appalachia. Coming from backgrounds in sculpture and painting, their work changed dramatically as they began to exploit their time in the field. As a result, their pieces often incorporate digital technologies, alternative drawing tools and surfaces, the physical body, and materials from site visits to translate experiences in the field back to the gallery context.

For more information, including location of galleries and gallery hours, please visit http://artanddesign.wvu.edu/mesaros_galleries/current_exhibitions

The Nature of Place: Land Art/Land Use with LHI

2010-10-04T16:32:00.001-04:00

2009 LHI Art-Sci Symposium from Mark & Angela Walley on Vimeo.

A short video documenting the 2009 LHI Art-Sci Symposium, "The Nature of Place: Land Art/Land Use" with speakers including artist Joan Jonas, Erik Knutzen (Center for Land Use Interpretation), writer/curator Lucy Lippard, visual artist Celia Alvarez Muñoz, art historian Ann Reynolds, Allucquere Rosanne Stone (ACTLab, UT-Austin), Chris Taylor (Land Arts of the American West), archeologist Alston Thoms, and Ramon Vasquez (American Indians in Texas) has just been completed by Walley Films and can be viewed at http://vimeo.com/15426230 or on the Facebook page of Land Heritage Institute.

Planning is currently in progress for the 2011 LHI Art-Sci Symposium, tentatively titled "Land as Lab: Artists, Scientists and Historians." Speaker suggestions may be sent to p enelope.boyer@gmail.com, Land Heritage Institute special project coordinator responsible for LHI Art-Sci Symposium concept and execution.

Patrick Nagatani at the UNM Art Museum

2010-10-04T16:29:00.000-04:00

Tuesday, October 5th at 5:30 pm

The UNM Art Museum's Distinguished Speaker Series

in conjunction with the exhibition

"Desire for Magic: Patrick Nagatani 1978-2008"

“A Conversation in Three Parts”

by Michele Penhall, UNMAM Curator of Desire for Magic,

in conversation with

Patrick Nagatani, Artist and Professor Emeritus,

and Christopher Kaltenbach,

Assistant Professor of Interdisciplinary Design,

Nova Scotia College of Art and Design

Patrick Nagatani, Model A Woody, National Radio Astronomy Observatory (VLA) Plains of St. Agustin,

New Mexico, U.S.A., 1997/1999, Silver dye bleach print

Desire for Magic: Patrick Nagatani 1978-2008 was conceived as the first comprehensive look at the many and varied projects the artist has worked on since 1978, including examples from Nagatani | Tracey Polaroid Collaborations, the Japanese American Concentration Camps portfolio, Nuclear Enchantment, Novellas, Nagatani | Ryoichi Excavations, Chromatherapy, and the large masking tape works he calls Tape-estries. The book is available for purchase at the UNM Art Museum, $75 hardback, 260 pages, with 5 gate folds.

Desire For Magic: Patrick Nagatani, Book Cover, published 2010

All talks in the Distinguished Speaker Series will be held at the UNM Art Museum and are FREE and open to the public. Please join us!

The UNM Art Museum is located on the campus of UNM in the Center for the Arts, adjacent to Popejoy Hall. Open Tuesday - Friday: 10-4, Saturday & Sunday: 1-4 and during the evening talks.

The Distinguished Speaker Series is sponsored by the UNM Art Museum in cooperation with the Department of Art & Art History.

UNM Art Museum | MSC04 2570 l 1 University of New Mexico l Albuquerque, New Mexico 87131-0001
artmuse@unm.edu | 505.277.4001 | www.unm.edu/~artmuse/

Call for Proposals: Jersey Barrier Initiative (Fall 2010)

2010-09-27T09:54:00.002-04:00

Call for Proposals: Jersey Barrier Initiative (Fall 2010)

This fall, the New York City Department of Transportation is partnering again with the Mayor's Community Affairs Unit and New York Cares to paint selected barrier sites around the City. DOT invites artists and/or designers to envision the surface of these ordinary barriers as canvases for art. All interested artists are eligible to submit materials to this open call. Submissions must be received no later than close of business on Friday, October 15, 2010 to be considered. DOT will contact selected artists in late October to implement designs at specific barrier sites with support from volunteers organized by NY Cares. Visit www.nyc.gov/urbanart to download the official Request for Proposals and other relevant information.

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SCIENCE AND THE ARTS

2010-09-27T09:53:00.001-04:00

News and Updates from Science & the Arts
The Graduate Center of the City University of New York
365 Fifth Avenue (at 34th Street)
view our website

Powers of Ten

Wednesday, October 6, 7:00 pm
Elebash Recital Hall

Celebrate 10 / 10 / 10 (a few days early). We will observe the date with a tribute to the classic short film Powers of Ten, by designers Charles and Ray Eames. The film is a 9-minute journey of scale, from the infinitesimal to the cosmic.

Powers of Ten encourages rich, cross-disciplinary thought that approaches ideas from multiple interrelated perspectives, at all orders of magnitude. One of the most widely seen short films of all time—at the Smithsonian Air and Space Museum for decades and still widely used in schools around the world—Powers of Ten has influenced pop culture from The Simpsons to the rock band Coldplay, from Hummer commercials to the movie Men in Black.

Discussion with D Graham Burnett (Historian of Science, Princeton University), and Eames Demetrios, grandson of the filmmakers, who is dedicated to communicating, preserving and extending their work.

Co-sponsored by Science & the Arts and Cabinet magazine.

Free, no reservations required.

The Big Bang Theory

Friday, October 29, 7:00 pm
Proshansky Auditorium

The Making of The Big Bang Theory -- How does the CBS television situation-comedy The Big Bang Theory keep its science references accurate? David Saltzberg (UCLA, Department of Physics), the series consultant, will explain the science behind the hit comedy.

Saltzberg checks scripts and meets with the producers, writers, actors, set decorators, prop masters and costume designers to help ensure scientific accuracy. He also writes a blog The Big Blog Theory that explains the science in each episode.

Free. Click to reserve your seat.

Conference

Friday, October 29 and Saturday, October 30
CUNY Graduate Center

Science & the Arts will sponsor the conference Communicating Science to the Public through the Performing Arts, addressing science as depicted and disseminated through theatre, dance, music, film, TV, festivals and cafes.
There is a modest registration fee. For registration information see the conference website.

The Shaking Woman or
A History of My Nerves

Tuesday, September 28
6:00 pm
Segal Theatre

Siri Hustvedt, bestselling novelist and author of the memoir The Shaking Woman or A History of My Nerves, will offer a reading as well as a discussion of neuroscience, psychoanalysis and the novel. Introduction by Graduate Center President William P. Kelly. Rebecca Jordan-Young (Barnard College), author of Brain Storm: Flaws in the Science of Sex Differences, will serve as discussant. Hustvedt is also the author of the novels: The Sorrows of an American, What I Loved, and The Blindfold.

“Siri Hustvedt, one of our finest novelists, has long been a brilliant explorer of brain and mind. Hustvedt’s erudite book deepens one’s wonder about the relation of body and mind.” — Oliver Sacks

Co-sponsored by Science & the Arts, The Center for Women and Society, the Center for the Humanities and the Ph.D. Program in English.

Free, no reservations required.

Creation

Wednesday, Oct. 20, 7:00 pm
Elebash Recital Hall

A screening of Creation, a film about Charles Darwin's struggles to come to terms with his emotions, intellect and faith. The screening will be preceded by a discussion with the eminent biologists Sean B Carroll and Cliff Tabin, moderated by science writer Carl Zimmer. Expected appearance by filmmaker Jon Amiel.

Co-sponsored by Science & the Arts and the Imagine Science Film Festival.

Free, no reservations required.

Copenhagen

Friday, November 12, 6:30 pm
Elebash Recital Hall

Copenhagen: A Reading and A Discussion. Join us for a reading of selections from the award-winning play Copenhagen, performed by Break A Leg Productions, and a discussion with scientists and historians.

Free, no reservations required.

Welikia Project

2010-09-27T09:51:00.000-04:00

Dear Mannahatta Project followers:

It is with great pride that I would like to announce to you the commencement of the Welikia Project, beyond Mannahatta, an effort to document the historical ecology of all of New York City and compare it to the current biodiversity of the city. The Wildlife Conservation Society is taking what we learned about 1609 ecology, mapping and visualization and applying it to the Bronx, Queens, Brooklyn and Staten Island, where another six million New Yorkers live and work and care about the nature and wildlife around them.

You can read more about this new project at our redesigned homepage: welikia.org. Note all the Mannahatta materials - education curricula, map explorer, GIS layers and papers, video explanations, discussion boards, and so on - are still available through welikia.org.

You can support the project by sharing this email with your friends and colleagues and by supporting your favorite borough at welikia.org/explore. By making a donation of any size to the Bronx, Queens, Brooklyn, or Staten Island, you will become a "Welikia" Landscape Ecology insider for that borough, with exclusive, early access to our discoveries as the Welikia Project unfolds over the next three years. Already you can read about a French reconnaissance of the western Bronx in 1781, importance of early topographic surveys of Staten Island and Daniel Denton's overflowing accounts of western Long Island in the 17th century.

“Welikia” means “my good home” in Lenape, the Native American language spoken in the New York City region 400 years ago, when Henry Hudson brought Europe's attention to this part of the world. (It’s pronounced “WAY-lee-ki-a” – hear it on the Lenape-Talking Dictionary website and scroll down to the bottom of the page). Not surprisingly, the Lenape didn't have a term for the greater city of New York, which wouldn't be formed for another three hundred years, so we borrowed "Welikia" to represent the fulsome ecology of our region - past, present and future.

If you have any questions or suggestions, we would love to hear them at support@welikia.org.

Sincerely,

Eric Sanderson
Wildlife Conservation Society

FIELD NOTES: OBSERVING LAKE UNION

2010-09-27T09:49:00.002-04:00

UPCOMING STUDIO FOR URBAN PROJECTS EVENT

Field Notes: Observing Lake Union

An audio tour on Seattle's Cheshiahud Lake Union Loop by the Studio for Urban Projects

LAKE UNION PARK OPENING
Saturday, September 25
Lake Union Park, Seattle
Westlake Ave N. and Valley St. 11:00am-2:00pm

WALKING TOUR
Saturday, October 23
Lake Union Park, Seattle
Westlake Ave N. and Valley St.
3:00-5:00 pm

WILD FOODS DINNER
Saturday, October 23
Center for Wooden Boats
1010 Valley Street, Seattle
5:00-7:00 pm

RSVP/TICKETS
To RSVP for the walking
tour please e-mail us at:rsvp@studioforurbanprojects.org
Tickets for the Wild Foods dinner are available for purchase through Brown Paper Tickets.

WEBSITE
fieldnoteslakeunion.net

Field Notes: Observing Lake Union is an audio tour of the Cheshiahud Lake Union Loop, created by the Studio for Urban Projects, that explores how changing conceptions of nature and our place within it have shaped Seattle’s Lake Union over the last two hundred years. The piece focuses on the underlying ecology of Lake Union and its transformation through eras of geologic change, Native American stewardship, European settlement, commercial industry and large-scale infrastructural development as well as urban planning and park design. By experiencing the tour visitors will gain insight into the complex interplay between human values and natural ecologies that have shaped Lake Union today.

Lake Union is a landscape that has been dramatically transformed. Over the course of 200 years Lake Union has been radically altered from its pre-Seattle days when it was inhabited for thousands of years by the Duwamish tribe. Field Notes: Observing Lake Union will give visitors insight into the historical topography of the lake and the ways it has been altered. It will focus on traces of Lake Union’s natural ecosystems and habitats and explore how they are being restored by reclamation efforts. The project probes questions relevant to cities everywhere: what are the underlying ecologies of our urban landscapes? How can human systems more thoughtfully integrate into them?

Field Notes: Observing Lake Union is created in collaboration with audio engineer Tim Halbur and is commissioned by the Seattle Office of Arts and Cultural Affairs with Seattle Department of Transportation and Parks and Recreation 1% for Art funds.

Public Events:
Lake Union Park Opening
The Studio for Urban Projects will launch Field Notes: Observing Lake Union in conjunction with the grand opening of Lake Union Park in Seattle, Washington on September 25. Members from the Studio for Urban Projects will be on-site from 11am to 2pm. Positioned near the main park entrance, Studio members will share information about the piece with visitors, hand out project maps and encourage visitors to share their insights on the Field Notes hotline.

Walking Tour
The Studio for Urban Projects will host a walking tour of Lake Union Park on Saturday, October 23rd at 3:00 pm. The tour will feature short talks by Coll Thrush, author of Native Seattle: Histories from the Crossing-Over Place; David Williams, author of The Seattle Street-Smart Naturalist: Field Notes from the City as well as several other project contributors. The tour will invite a public dialog around the themes of the project. It is free and open to the public with advanced registration advised. To sign up for the tour please e-mailrsvp@studioforurbanprojects.org.

Wild Foods Dinner
A wild foods dinner will follow the walking tour. Prepared by Christina Choi of Nettletown, the dinner will feature foods foraged from the region that once would have grown in and around Lake Union. The dinner will be hosted at the Center for Wooden Boats. Tickets are $55.00, including dinner and wine, and may be purchased throughBrown Paper Tickets .

Founded in 2006 the Studio for Urban Projects is an art and design collaborative that seeks to advance civic engagement and further public dialogue. Founded
by Alison Sant, Richard Johnson, Marina McDougall, Kirstin Bach and Daya Karam our interdisciplinary and research-based projects aim to provoke change by re-
framing our perceptions of the city and physically transforming elements of the
built environment. Our storefront space in the San Francisco Mission District is
a public venue for the staging of workshops, talks, film screenings and meals.

3579 17TH ST, SAN FRANCISCO, CA 94110 E-MAIL: info@studioforurbanprojects.org

................................................................
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website

contact

GATHERING OF DESERT PHOTOGRAPHERS

2010-09-27T09:48:00.001-04:00

The Goldwell Open Air Museum is pleased to present a new event to which you are invited.

THREE DAYS IN THE MOJAVE DESERT

This is a three-day event that brings together photographers, curators and writers with an interest in the desert. The gathering will be held at the Goldwell Open Air Museum located near the famed ghost town of Rhyolite, on the edge of Death Valley and four miles from the town of Beatty, Nevada.

Workshops
Symposium
Portfolio Reviews
Photographer Presentations

Fee of $525 includes all workshops with the photographers and speakers, Red Barn evening events, Saturday night BBQ, 3 nights hotel in Beatty.

SPEAKERS and WORKSHOP LEADERS

Michael P. Berman, Photographer

Mitch Dobrowner, Photographer

William L. Fox, Writer and Director of the Center for Art + Environment at the Nevada Museum of Art in Reno.

Michael Light, Photographer and Bookmaker

Carol McCusker, Curator, Photo Historian, Writer and Educator.

Gary Reese, Plant Ecologist and Photographer

Fred Sigman, Art Historian, Educator, Photographer/Filmmaker. Director of the Goldwell Gathering.

For Information

Do you want to know more about this event or to register?

www.goldwellmuseum.org/events

Contact Us

Fred Sigman
Goldwell Open Air Museum
(702) 497 6816

email

Goldwell Open Air Museum | P.O. Box 405 | Beatty, Nevada 89003 | 702.870.9946

Journal of Aesthetics and Protest: printed matter Submission Call

2010-09-27T09:46:00.000-04:00

1. Pamphleteer Submission Call

We are participating in...

Printed Matter's 2010 New York Art Book Fair at PS1.

In the spirit of our open policy, we are seeking pamphleteers and collectors whose documents
should be seen by the likes of both New York's literati and collecting classes.

We aim to collect a bunch of small-run stuff that you, exposing what our readers and contributors have been thinking
about. We also see this as a chance for research- a chance to learn what you have been putting together.

We are looking for two classes of submissions;

1. Small booklets for sale or distro(or to be handed out.)
We are looking for booklets of unique research or that are from or about uniquely political subjectivities.
Singular objects or mass produced
Researched projects, unique collections would be amazing.

2. 1 page pamphlets/posters- displayed/handed out or sold.
Ideally, the pamphlets we gather here have been or will have been distributed in some form outside of this context.
a. We are looking for a contradiction of grounded, critical, incendiary, popular and unique voices to be thrown into the mix of the public

sphere.
b. We are not necessarily looking for stuff you've made. If you've collected an outstanding flyer, now would be an opportunity for you to

share it.

To Submit
email: editors@joaap.org
subject heading: pamphlets
provide: description, size, jpg image, price per copy(if any).

If Accepted

We will provide you a mailing address to which you will ship agreed upon number of items.

We will offer you at least 70% of sales on your item.

We can only return items with self-addressed/stamped envelopes.

Deadline:
Please respond by October 11th.

NANCY HOLT: SIGHTLINES

2010-09-19T09:04:00.003-04:00

image: Nancy Holt

NANCY HOLT: SIGHTLINES
22 September - 11 December 2010

The Miriam and Ira D. Wallach Art Gallery opens its exhibition season with Nancy Holt: Sightlines, a thematic exhibition offering an in-depth look at the early projects of this important American artist whose pioneering work falls at the intersection of art, architecture and time-based media.

Sep 21, 2010, 05:30 PM to 07:30 PM
Opening Reception
Miriam and Ira D. Wallach Art Gallery
826 Schermerhorn Hall, Columbia University
1190 Amsterdam Ave.
New York, NY 10027

Since the late 1960s, Nancy Holt has created a far-reaching body of work, including Land Art, films, videos, site-specific installations, artist’s books, concrete poetry and major sculpture commissions. Nancy Holt: Sightlines showcases the artist’s transformation of the perception of the landscape through the use of different observational modes in her early films, videos and related works from 1966 to 1980.

Sightlines encompasses more than 40 works that illuminate Holt’s circumvention of modernist sculptural practice and institutional spaces. Featured in the exhibition are Holt’s film Sun Tunnels (1978), which documents the creation of her well-known site-specific work of the same name, and Pine Barrens (1975), a meditative documentary about a notoriously vast, undeveloped region in central New Jersey.

Following its presentation at the Wallach Art Gallery, Sightlines will tour to several venues in the United States and abroad. This exhibition and tour are funded in part by the National Endowment for the Arts and the Graham Foundation for Advanced Studies in Fine Arts.

RELATED EVENTS

Visiting Artist’s Lecture on Thursday, September 30, 2010, at 7:30 PM at Miller Theatre, School of the Arts, Columbia University, New York. Free and open to the public.

Symposium / Book Launch on Saturday, November 20, 2010, at 1:30 PM – 5:00 PM in 501 Schmerhorn Hall, Columbia University, New York. Free and open to the public.

Weekend Film Program Site Recordings: Land Art at Anthology Film Archives from November 19 – 21, 2010 at Anthology Film Archives, New York, with a rare screening of Nancy Holt’s 16-mm prints with the artist in conversation on Saturday, November 20, 2010 at 7 PM. Offering a cinematic perspective on Land Art, this three-day program includes shorts and contemporary films and videos that address the significance of the movement’s monuments and anti-monuments by such figures as Robert Smithson, Anthony McCall, Ana Mendieta, Gordon Matta-Clark, Christo and Jeanne-Claude, Jan Dibbets, and Richard Long. $9 general admission, $7 student/seniors, and $6 AFA members; open to the public.

FLOW SLOW | September 18th

2010-09-16T12:28:00.002-04:00

“Flow Slow is a river conference of citizens, artists, writers, technologists & naturalists in celebration of pure water Taking part in the Upper Delaware River, which was recently declared the nation’s most endangered river by American Rivers, the event will occur on Saturday, September 18th and will combine music, art and ongoing conversations during the public float.

Artists, Naturalists, and Concerned Citizens Advocate Pure Water as
Part of the “Flow Slow” Floating River Conference

Brooklyn, NY (For Release 9.15.10) --- In association with SkyDog Projects, ISSUE Project Room, Mildred's Lane, Callicoon Fine Arts, Electronic Music Foundation, Ant Hill Farm, and The Queens Museum, “Flow Slow” gears up for the 1st annual river conference of concerned citizens, artists, writers, technologists & naturalists in celebration of pure water this Saturday, September 18th (see website for complete schedule of events).

Taking part on the Upper Delaware River , which was recently declared the nation’s most endangered river, “Flow Slow” explores the near and long term threats posed by the disastrous “Hydro-Fracking” process carried out by the natural gas industry. The conference will literally take place on the river, floating in canoes, kayaks and other homemade rafts. Other events will take place off the river and will be open to the public.

The event will combine music, art and conversations to creatively produce a variety of works to raise awareness surrounding this critical issue. Artists were advised to engage a piece of technology, a piece of media, an art work, documentation of the trip, writing, music, or any creative response. Participants include: music by Bruce Tovsky, Suzanne Thorpe, Carrie Dashow; site specific installations by Heather Dewey Hagbourg; and water based artworks by Natalie Jerimijenko, Uke Jackson, Kevin Vertrees and moreTBA.

Press Contact: April Thibeault │ ISSUE Project Room │212.861.0990 │april@amtpublicrelations.com

ABOUT ISSUE PROJECT ROOM

ISSUE Project Room, a registered 501(c)(3) organization, was established in 2003 by visionary artist Suzanne Fiol, and is a vibrant nexus for cutting-edge, multi-disciplinary arts in Brooklyn. ISSUE supports emerging and established experimental artists through more than 200 programs each year including music concerts, literary readings, films, videos, dance, visual and sound art, new media, critical theory lectures and discussions, site-specific work, commissions, educational workshops, master classes, and genre-defying interdisciplinary performances that
challenge and expand conventional practices in art. www.issueprojectroom.org

William Lamson at The Boiler | A Line Describing the Sun

2010-09-12T19:47:00.003-04:00

William Lamson at The Boiler
A Line Describing the Sun
10 Sept – 10 Oct, 2010

Opening Reception
10 Sept, 2010 7-9 pm

Press Release

A Line Describing the Sun features a new two-channel video and sculpture created in the Mojave Desert earlier this year. Begun at the Center for Land Use Interpretation’s artist-in-residence program in Wendover, Utah, Lamson finished the project in a dry lakebed west of Barstow, California. The video and sculpture are both a record of two day-long performances in which the artist follows the sun with a large Fresnel lens mounted on a rolling apparatus. The lens focuses the sun into a 1,600-degree point of light that melts the dry mud, transforming it into a black glassy substance. Over the course of a day, as the sun moves across the sky, a hemispherical arc is imprinted into the lakebed floor.

The original performance documented in the video produced a 366-foot arc. The sculpture on view in the gallery is a 23-foot scale model of this mark, created using the same apparatus over the same amount of time, only traveling at a slower pace. Lamson excavated the mark by pouring water over it, softening the dry mud on either side of the line and eventually causing the insoluble glass to separate from its muddy surrounding. Over the course of the excavation, the single continuous line broke into hundreds of pieces. Its reconstruction in the gallery simultaneously evokes the geologic record and an archeological relic.

While Lamson’s video works have often found him playfully and strenuously interacting with his environment (both in the natural world and in his studio), this new work brings to bear the forces of nature in the act of drawing and mark-making. In this way, it continues the investigations he began with Automatic, a project in which he used wind and ocean currents to power a series of drawing machines. A Line Describing the Sun is part performance, part video work, part earthwork, and part drawing exercise.

This will be Lamson’s fourth one-person exhibition with Pierogi. His work is in the collections of the Brooklyn Museum, the Dallas Museum of Art, and other private collections. His work has been shown in the US and internationally, including at P.S. 1 (NYC) and Franklin Art Works (Minneapolis). He completed his MFA at Bard College and is a recent MacDowell Foundation Fellow.

This project was supported by the Center for Land Use Interpretation artists-in-residence program and a grant from the Experimental Television Center

Land Arts at Texas Tech University in the field

2010-08-29T13:07:00.002-04:00

Land Arts solar system ready for the van install.

Land Arts at Texas Tech University has begun its 2010 field season.

Their itinerary can be found online at http://arch.ttu.edu/wiki/Land_Arts_2010_Itinerary and at http://arch.ttu.edu/wiki/Land_Arts_2010 you will find program information and our course descriptions. When possible Field Reports will be posted at http://landarts.org/index.php/site/field_reports/cat/2010_field_reports/. Check often for updates.

In addition to regular field programming a series of lectures, panels and events on the theme of Landscape as Knowledge will occur in Lubbock sponsored by the School of Art, the College of Architecture, and Land Arts of the American West. Information about Landscape as Knowledge can be found online at http://www.depts.ttu.edu/art/SOA/nav/landmark/speakerschedule/landscape.php

Land Arts 2010 will follow on the success of last year exhibiting its work at the Louise Hopkins Underwood Center for the Arts (LHUCA) Warehouses on Mac Davis Lane in Lubbock, Texas in February and early March of 2011. Check our website later in the year for details about the opening and related events.

CHRIS DRURY: LAND, WATER AND LANGUAGE

2010-08-26T08:16:00.001-04:00

PRESS RELEASE

CHRIS DRURY: LAND, WATER AND LANGUAGE
4th September - 30th October 2010
Taigh Chearsabghagh Museum and Arts Centre, North Uist, Western Isles, Scotland HS6 5AA - admission free - open 10 am - 5 pm - Monday to Saturday

This exhibition is the first in a series about land and water which will be curated and devised by Chris Drury and Andy Mackinnon at Taigh Chearsabhagh over the next 2 years. It is hoped that the ongoing project will involve, artists, writers, film makers and musicians.

The project began in September 2009 when Drury and Andy Mackinnon (TC’s curator and filmmaker) made a two day journey by Canadian canoe across the island, from the west coast back to Lochmaddy on the east coast, threading their way through the maze of lochs and waterways.

The result is this extensive show which includes the installation of a suspended woven canoe, made from heather, willow and salmon skins, works on the wall using digital technology and place names, with maps and satellite imagery; works with peat and water; a photogravure of the land traversed by canoe; and a video of a breaking wave.

Chris Drury has said about his experience of the landscape:

‘The Uists and Benbecula are part of a flow country whose interweaving of sea, lochs and land takes on a wave pattern, as when the tide retreats from a beach. The chain of islands and sea are dominated by Eaval (Island Mountain) in the North and Hekla in the South, both Norse names transfixing a fluid landscape with history and language. For the experience of this land is multi layered: the actuality of the place - the wind, the rain, the light, the sound of the curlew, the roar of the surf, the brown squelch of the peat bogs and the scent of the burning peat from the cottage chimneys - intermingles with the history interred in the place names on the map, given both in Gaelic and Norse: Encounter Loch, Secure Sheep Island, Hillock of Many Priests, Loch of the Old Woman - and something of the pain from the clearances: Isle of Lament, Coffin Loch. So language and meaning and history are embedded in this now sparsely populated place. And using satellite imagery we can look at this pattern of land and water, observe the ever changing patterns of weather fronts which mirror the land beneath. At the same time we can look at the microcosm in the small bacteria embedded in the peat bogs and know through the science that these micro-organisms are affecting the climate and the weather in which the whole is embedded.’

Anyone who finds themselves on this beautiful island over the next two months should also visit Drury’s work Hut of The Shadows, a Cloud Chamber made in 1997, which is a twenty minute walk from the Ferry terminal.

Contact:
arts@taighchearsabhagh.org . +44 (0)1876 500293 . www.taighchearsabhagh.org -
chrisdrury@chrisdrury.co.uk - +44 (0)1273 476655 - +44 (0)7584 129 217 - www.chrisdrury.co.uk

deviantART: CoolClimate Art Contest

2010-08-26T08:14:00.000-04:00

deviantART presents

The CoolClimate Art Contest

Our friends at deviantART are calling on artists to participate in the CoolClimate Contest -- the first online art contest exploring climate change and how it's impacting our lives.

Artists are invited to submit a work of art that explores their relationship with the climate -- from clean energy jobs to pollution-free oceans. Post entries on www.coolclimate.deviantart.com, and a panel of judges, including Ballroom Marfa favorite Mel Chin, will select the 20 finalists. Finalists will then move to the Huffington Post web site, and the public will vote on the winners. The top three will receive cash prizes and be featured on the Planet Green Planet 100 show.

The deadline for submissions is September 6, 2010, so send your artwork now! Learn more, and read the official contest rules at CoolClimate.

_________________________________________________________________________________________

Ballroom Marfa
www.ballroommarfa.org
Open Thursday through Sunday 12 PM - 6 PM
PO Box 1661 108 East San Antonio St.
Marfa, Texas 79843
T 432.729.3600 F 432.729.3606

Stringfellow to teach “Art, Environment, and Place,” SDSU Honors Fall 2010

2010-08-25T19:08:00.001-04:00

Art, Environment, and Place (HONORS 413 Section 02) is a San Diego State University undergraduate honors course scheduled for fall of 2010. Stringfellow’s new course focuses on the work of contemporary artists who integrate various field and research strategies borrowed from the natural sciences, geography, and other disciplines within their practice.

The course will be centered around focused readings, discussions, presentations, screenings, and field trips. Students will conceive and execute a final project proposal that may take the form of a hybrid documentary, temporary site-specific artwork or installation, digital multimedia feature, performance, text, or other work that addresses social, cultural, environmental, geographical, and/or political issues of a local or regional ecology, site, or subject. Special emphasis will be placed on projects that are collaborative, incorporate sustainable design strategies, promote environmental awareness through education, and/or directly encourage audience participation. Projects, possibly collaborative in nature, will be distilled, executed, and documented at the conclusion of the course. A background in art is not required to take this course. Students from all academic and disciplinary areas are encouraged to apply.

The course will culminate in an imersive three-day weekend field study workshop at the Salton Sea scheduled for the weekend of November 19 – 21, 2010. During this workshop students will be able to directly experience and respond to place over an embedded field research period. Visiting artist/architect, Chris Taylor, director of Land Arts of the American West at Texas Tech, will join the student group for this weekend field experience. Students will be prepared before embarking on the field trip through readings and presentations on diverse topics related to the site including but not limited to regional water politics, agricultural/real estate economies, local ecologies, military presence, tourism, outsider art, fringe subcultures among others. A culminating art exhibit and publication will be organized to document student interdisciplinary projects resulting from this course and workshop.

Visit the course Web site and blog at: http://kimstringfellow.wordpress.com/ for more information.

THE CENTERS OF THE USA: CLUI KS

2010-08-20T11:12:00.001-04:00

An exhibit in Lebanon, Kansas (center of the contiguous continental United States):

THE CENTERS OF THE USA
Open indefinately starting August 14, 2010

The Centers of the USA, produced by the Institute of Marking and Measuring and the CLUI, is now open to visitors.

A CLUI Exhibit Unit, temporarily installed at the center of the contiguous continental United States, north of Lebanon, Kansas, contains an exhibit which depicts and describes several of the "Centers" of the United States, such as the geodetic center, in Lucas, Kansas; the geographic center, near Belle Fourche, South Dakota; and the current population center, in Edgar Springs, Missouri.

This project is part of the CLUI Lines of Site thematic program, an ongoing series of presentations about surveying, cartographic lines, perimeters, and borders. It was made possible with the support of the Salina Art Center, Creative Capital, the Hub Club of Lebanon, KS, and the Institute of Marking and Measuring (IMAM).

----

The Center for Land Use Interpretation
9331 Venice Blvd.
Culver City, CA 90232
310.839.5722 office
310.839.6678 fax
clui@clui.org
www.clui.org

Debra Bloomfield's Wilderness Series

2010-08-05T09:09:00.001-04:00

Richard Levy Gallery is pleased to present a selection of photographs from Debra Bloomfield's latest project, The Wilderness Series. Over the past few years, Debra Bloomfield has focused her camera on the wilderness areas of southeast Alaska developing a series of sublime images that gently remind us of the importance of wilderness preservation in a time when our environmental impact is greater than ever. In an effort to support conservation and raise awareness, Richard Levy Gallery is donating a portion from all 2010 sales of this series to The Wilderness Society.

The Wilderness Series edition information:
13 x 19 inch (11 x 11 image) ed. of 15
20 x 24 inch (19 X 19 image) ed. of 25
38 x 39 inch (29.5 X 29.5 image) ed. of 12

Founded in 1935, The Wilderness Society a leading American conservation organization and has been involved with every major public land bill since their founding, including the National Forest Management Act, the Wild and Scenic Rivers Act, the National Trails Act, and the National Wildlife Refuge Improvement Act. The Wilderness Society strives to protect our wild places, improve land and resource management, and inspire Americans to care for their lands all over the United States. More recently, The Wilderness Society has tackled some of today's most significant issues such as climate change, global warming, the Gulf oil disaster restoration, renewable energy, and countless others. More information about the Wilderness Society can be found by following this link:

http://wilderness.org/

Please contact the gallery for pricing, further Wilderness Series edition details, and information on how your acquisition supports The Wilderness Society. Images are also available on our website at Levygallery.com.

CLUI: Through the Grapevine Bus Tour

2010-07-31T14:15:00.000-04:00

The Center for Land Use Interpretation presents:

Through the Grapevine Bus Tour
Thursday August 12, 2010

Join us for a tour of a place meant to be passed through - a tour, essentially, of a highway. We will visit contemporary and historic lines of conveyance through the transitional geography between Central and Southern California - the epic Tejon Pass region.

The tour is part of the CLUI exhibit Through the Grapevine: Streams of Transit in Southern California's Great Pass, on display until August 29, 2010.

The bus will depart from the Center for Land Use Interpretation's Los Angeles location at 9331 Venice Blvd, Culver City at 9 AM Thursday, August 12th, and will return by 7 PM.

Tour ticket price is $30. Tickets go on sale on Tuesday, August 3rd @ 12 noon PST, and must be purchased online here.

This tour is made possible by a grant from the Department of Cultural Affairs, City of Los Angeles and the CLUI Remarkable Roadways Program.

----

The Center for Land Use Interpretation
9331 Venice Blvd.
Culver City, CA 90232
310.839.5722 office
310.839.6678 fax
clui@clui.org
www.clui.org

Directions

DAVID TAYLOR: Working the Line, CLUI Independent Interpreter

2010-07-28T14:44:00.002-04:00

Independent Interpreter presentation at the Center for Land Use Interpretation's Los Angeles location:
DAVID TAYLOR: Working the Line
Wednesday August 4, 2010 at 7:00 pm (Please arrive early, seating is limited.)

David Taylor's project "Working the Line" documents 276 obelisks, installed between the years 1892 and 1895, that mark the U.S./Mexico boundary from El Paso/Juarez to San Diego/Tijuana. He will present this work, and describe his experiences along this often remote and dramatic linear and liminal space.

Image: Border Monument No. 184 - N 32º 09.347’ W 113º 42.403’

This talk is the third in a series of CLUI Independent Interpreter presentations which are part of an ongoing investigation of the nation's political and physical boundaries. The CLUI Independent Interpreter program is made possible by the support of the Andy Warhol Foundation for the Visual Arts.

----

The Center for Land Use Interpretation
9331 Venice Blvd.
Culver City, CA 90232
310.839.5722 office
310.839.6678 fax
clui@clui.org
www.clui.org

Admission is free.

Directions

Artist in Residence and Writer in Residence 2010-11

2010-06-29T09:57:00.002-04:00

Artist in Residence and Writer in Residence 2010-11

University College London

University College London

UCL Environment Institute

The UCL Environment Institute in conjunction with TippingPoint®, UCL Slade School of Art and the UCL History Department, is seeking to appoint an Artist-in-Residence and a Writer-in-Residence for the 2010-11 academic year.

With these two posts, the UCL Environment Institute is hoping to enhance further its aim of connecting the arts community and environmental professionals in order to explore and promote the relationship between the arts, science, technology, business and the environment, as a means of enhancing understanding and fostering collective action.

Both the artist and writer will be required to conduct a programme of work for academic staff and researchers linking art/creative writing with environmental issues centered on climate change. The specific content and structure of this programme will be from your proposal and will form the basis of selection at the interview stage. We anticipate that it might include a combination of various types of activities and styles of art.

The award for each is for 2 days per week for 9 months (October - June) and it is £8,000 plus up to £1,000 for expenses. The UCL Environment Institute will provide office space as required during this period.

The closing date for applications is 5pm, 2^nd July 2010; late applications will not be accepted. Interviews will be held on 12^th July 2010. Only shortlisted applicants will be notified. Please send 5 copies of the application to Nina Crane, UCLEI, Pearson Building, Gower Street, London, WC1E 6BT or by email: n.crane@ucl.ac.uk. The application should include the following: an outline of the proposed programme of work, a brief CV and, if appropriate, examples of recent work. Please note any work sent can only be returned if an SAE is included and is specifically requested.

http://www.ucl.ac.uk/environment-institute/

http://www.ucl.ac.uk/slade/index.php

http://www.ucl.ac.uk/history/

http://www.tippingpoint.org.uk/

GLOBAL CLIMATE ART PROJECT WITH 350.ORG

2010-06-21T12:27:00.002-04:00

GLOBAL CLIMATE ART PROJECT

GUIDELINES

We welcome new and bold ideas for the 20 plus art pieces we will be capturing via satellite on November 27^th + 28^th

Because this is a unique collaboration between artists and 350.org, we invite artists to participate at all levels from conceptualizing an idea that we execute on our own, to designing a piece and being physically on site to facilitate the piece being realized.

Below are some basic guidelines that will increase the likelihood of the art being successfully captured by satellite. We encourage creative visions and therefore invite artists to suggest ideas that might not exactly fit the guidelines below.

SIZE - The ideal minimum size for capturing the art via satellite is roughly equivalent to a soccer field, e.g. 120 yards x 75 yards or 110 meters x 70 meters.

MATERIALS – We respect that many of you use specific materials for your work. For your medium for this unique collaboration, we invite you to incorporate the people throughout the world who make up 350’s amazing international grassroots network. In some regions of the world 350.org has a very strong presence and can bring 1,000 plus people to participate in your art.

Note: If you would like to use or incorporate materials into the sculpture, we recommend that you use waterproof materials that can withstand the outdoor elements.

CONTRAST – is what make the images pop from afar so any piece that involves sharp color or shape contrast is fantastic.

TIME OF DAY – The satellite images can be taken during the day or at night. (If you’re considering a nighttime installation involving illumination, we encourage artists to use light sources that are not energy intensive. We would be happy to brainstorm ideas with you.)

350.ORG SUPPORT

Although 350.org cannot monetarily compensate artists, we can support and augment your work in a multitude of ways:

MATERIALS: As noted above, 350.org has an international grassroots network of people who can serve as the medium for your piece. Please note that 350.org’s presence varies based on geographical location. We would be happy to discuss which region you would like to showcase your piece in, how many people on the ground will be available to participate in the piece, the specific topography of the region etc.

REGIONAL COORDINATORS: 350.org has regional coordinators who can provide on the ground volunteers to help facilitate creating your art piece. This includes scouting locations, helping secure permits, organizing the volunteers who will make up your art piece etc.

GLOBAL COORDINATOR: A global coordinator will be managing the art project from inception through the to weekend of the launch.

DOCUMENTATION + INTERNATIONAL MEDIA

CREATION of ART – We are currently talking to various photographers and cinematographers about documenting the creative process involved in bringing these visions to life. The idea is to use these images and footage as part of a multi-media piece we are creating as well as to offer these images and footage to mainstream press on the weekend of the reveal. Artists will be provided free copies of all images and video footage generated of their art by photographers and cinematographers collaborating with 350.org.

ON-SITE NOV 27 + 28 – The goal is to provide an aerial shot of the piece (satellite), as well as close up on the ground photos (and where feasible, video), of the art and people involved. Artists will be provided free copies of all images and video footage generated of their art by photographers and cinematographers collaborating with 350.org.

PRESS - 350.org has a stellar communications team with a successful track record of garnering press for their international actions. For example, last October 24, 2009, 350.org coordinated 5200 simultaneous demonstrations around the world, what CNN called ‘the most widespread day of political action in the planet’s history’ on any issue. Due to 350.org communications team, these actions were also widely covered by a wealth of media outlets from local to global media giants like CNN. We have already begun discussions with Google.org and YouTube about featuring the art pieces on their websites the weekend of the reveal.

PLEASE CONTACT US

We appreciate that the above information is just a slice of the information you need for creating an art piece. Because we don’t want to overwhelm you, we sought to keep this introduction simple. We would be more than happy to provide you additional information, field any additional questions you might have etc. Please don’t hesitate to contact us: heidi@350.org 415.845.6330

VAN HORN PRESENTS KATIE HOLTEN

2010-06-12T13:58:00.001-04:00

VAN HORN PRESENTS KATIE HOLTEN

2010

JUNE 11 - JULY 17, 2010

Opening June 11, 7pm

We are very pleased to announce our third solo exhibition with Katie Holten, which will be her first in the new VAN HORN space.

At the root of Katie Holten’s practice is a love of drawing. In 2010 Holten presents a series of new drawings that deepen her curiosity for the conditions by which specific natural materials, such as twigs, stones and fossils, both emerge from and return to culture.

The gallery walls are painted the ‘average color of the universe’ (as calculated by astrophysicists at Johns Hopkins). The first and ‘incorrect’ version is popularly called Cosmic Turquoise. The painted walls serve as the ‘ground’ on which the drawing installation takes form. 2010 grows out of Holten’s recent discussions with historians, economists, geophysicists, musicians, botanists, ecologists, teachers, and architects during her exploration of the ecosystem in the South Bronx, NY for her acclaimed Tree Museum (2009-2010).

In these new works Holten takes pages from The Golden Bough (Frazer, 1953), On Aggression (Lorenz, 1963) and Civilized Man’s Eight Deadly Sins (Lorenz, 1973) and uses them as both a surface for drawing on and as material for making drawn sculptures. Holten uses these seminal texts as ‘readymade’ narratives - the printed words on the pages tell the story of man’s fascination with, control of, and domination over nature – while Holten’s drawings depict man-made objects, from pre-historic stone tools to Cumulus clouds created from smog and contrails. These drawings continue Holten’s ongoing meditation on the inextricable link between man and nature in the age of the Anthropocene. The ecological is now entwined with the economical. 2010 explores where we are coming from, where we are at now and where we are going, or could be going.

"The basis of the work of Katie Holten is the relationship between nature, social construction and memory. The poetics of the Irish artist prompts reflection on the perception of the life systems and organic processes that surround us, with the aim of revealing spaces that are often overlooked. In the recent work The Golden Bough the artist comes to terms with the relativity of science, showing us ‘Cosmic Latte’ and ‘Cosmic Turquoise’, the average color of the universe. Imagination, science and nature intertwine in a dialogue intended to reactivate dulled senses." Ilaria Gianni, 2010

Katie Holten was born in 1975 in Dublin and represented Ireland at the 50th Venice Biennale in 2003. Recent solo museum exhibitions include The Hugh Lane, Dublin (2010), The Bronx Museum, New York (2009), Nevada Museum of Art (2008), Villa Merkel, Esslingen (2008) and the Contemporary Art Museum St. Louis (2007).

VAN HORN

ACKERSTR. 99, 40233 DÜSSELDORF

T+F. +49 211 5008654 M. +49 172 2355557

INFO@VAN-HORN.NET WWW.VAN-HORN.NET

Emerging Landscapes Conference

2010-06-12T13:56:00.000-04:00

Emerging Landscapes

This conference is a joint venture between the School of Architecture and the Built Environment and the School of Media, Arts, and Design, University of Westminster.

Dates: 25 - 27 June 2010

Outline
The past thirty years have witnessed social, geopolitical, technological, and economic change on a global scale. Alongside these shifts, landscape has also changed its nature. Focusing primarily, not not exclusively, on the synergies between the disciplines of photographer and architecture, this international and interdisciplinary conference will examine and critically reassess the interface between production and representation in the creation of contemporary landscape.

Emerging Landscapes asks practitioners, writers, critics, artists, and others working in the broad fields of the built environment (ie: architecture, landscape architecture, and urban design) and the represented environment (ie: photography, film, and the visual arts) to reconsider the idea of landscape by interrogating the relationship between space and image; to explore the synergies that exist between landscape representation - the imaginary and symbolic shaping of the human environment - the landscape production - the physical and material changes wrought on the land.

See http://www.emerginglandscapes.org.uk/ for more information and schedule.

2010 Land/Water Summer Symposium

2010-06-12T13:54:00.000-04:00

Land/Water consists of artists, writers and curators who embrace a diversity of creative and critical practices. As a research group it operates as a forum for interrogation of nature and culture, aesthetics and representation. Questioning imagery and practices relating to land, landscape and place is central to our ethos. As artists, writers, curators we work individually exploring space and place as a point of departure for experimenting in new modes of communication through picturing. We generate work that addresses a range of issues. These include environmental change, sustainability, journey, site and regional specificity.

In addition a forum for theoretical and methodological debate is constructed through research events, exchange exhibitions (with other HE Institutions), conferences, symposia and publications.

The 2010 Land/Water Summer Symposium Land and the Metaphysical will be held Thursday 1st - Friday 2nd July at University of Plymouth: please seeEvents section for details.

VIsit http://landwater-research.co.uk/ for more info.

18th International Symposium on Electronic Art (ISEA2012)

2010-06-12T13:52:00.000-04:00

The ISEA International Foundation Board is pleased to announce that the
18th International Symposium on Electronic Art (ISEA2012) will be held in
Albuquerque, New Mexico, USA.

ISEA2012 has been awarded to the University of New Mexico (UNM) College of
Fine Arts in collaboration with 516 ARTS

The New Mexico bid was presented at ISEA2009 Belfast.
Following a final submission process, the Foundation Board has agreed that
the New Mexico proposal is dynamic and diverse, with a strong regional and
environmental focus.

ISEA2012 will be staged in Fall 2012 in Albuquerque and Santa Fe with
the bulk of the symposium held on and near the University of New Mexico in
Albuquerque.

On hearing news of the successful bid, Prof. Polli commented: "New Mexico is
unique not only as the site of the most ancient settlements in the country,
dating back to 1100 A.D., but as the site of many scientific breakthroughs
and controversies including the first atomic detonation. Our location is
experiencing some of the fastest growth in the country with high-energy
research at Sandia and Los Alamos Laboratories, the first commercial
Spaceport, and an active film and game industry, while also being the home
to 19 Native American Pueblos. We hope that the site will inspire a wide
range of projects including many that extend outside the gallery and
conference center walls."

For further information please contact ISEAHQ Director Sue Gollifer
info@isea-web.org

CELEBRANDO LAS ACEQUIAS: PAST, PRESENT AND FUTURE

2010-06-12T13:49:00.000-04:00

If you are in or near northern New Mexico:

CELEBRANDO LAS ACEQUIAS:
PAST, PRESENT AND FUTURE

JUNE 11th – 13^th, 2010

Embudo Mission

Dixon, New Mexico

Celebrating the water, land, food, and people of the acequias.

Free and open to the public.

Friday, June 11, 2010

7:00 pm OPENING PRESENTATION: THINKING LIKE A WATERSHED

Jack Loeffler

8:00 pm FILM SCREENING: GENETIC CHILI

Chris Dudley

EXHIBITION: EL OJO DEL EMBUDO

Geraldine Forbes and Tim Castillo,
UNM School of Architecture and Planning,

Saturday, June 12

8:30 am REGISTRATION

9:30 am STATE AND ACEQUIA PARTNERSHIP

Estevan Lopez, Chairman

Interstate Stream Commission

10:30 am CELEBRATING A TEACHING LANDSCAPE

Hadley + Peter Arnold, co-directors

Arid Lands Institute, Woodbury University, Burbank, CA

11:30 am WATER AND SACRED LANDSCAPE IN NEW MEXICO

Dr. Sylvia Rodriguez, University of New Mexico

12:30 pm LUNCH

1:30 pm ACEQUIA LANDSCAPE PLANNING AND MANAGEMENT

Arnie Valdez, Planner, Santa Fe County

2:30 pm NATIVE FOODS

Dr. Gary Nabhan, University of Arizona Southwest Center

3:30 pm FEMALE VOICES IN THE FOOD POLICY DEBATE

Moderator: Dr. Marcia Brenden

Panelists: Lucia Sanchez, Norma Navarro, and Isaura Andaluz

4:30 pm DREAMING NEW MEXICO

Arty Mangan, Food and Farming Director, Bioneers

5:30 pm CENA, DINNER

6:30 pm PRESENTATIONS:

Mayordomo and Farmer of the Year

7:00pm MUSICA

Locals: Los Coyotes de CaÒoncito

From El Rito: Cipriano Vigil

From Albuquerque: Chuy Martinez y los Trinos

Sunday, June 13

12:00 pm Earthworks Institute

12:30 pm ARROYO RESTORATION WORKSHOP

Bill Zeedyk and Van Clothier

Let the Water Do The Work: Induced Meandering, an Evolving Method for Restoring Incised Channels.

ORGANIZERS

Event Director:

Estevan Arellano, farmer, writer, historian

Embudo, NM

estevan_2002@yahoo.com

Sponsor:

ARIDLANDSINSTITUTE

@ Woodbury University

Design Innovation at the Nexus of Water, Energy, and Climate Change.

7500 Glenoaks Boulevard

Burbank, CA 91510

818. 394 3335

The mission of the Arid Lands Institute at Woodbury University is to train designers and citizens to be resourceful and inventive in the face of water scarcity and hyrdologic variability brought on by climate change. ALI offers undergraduate and graduate educational opportunities; design advisory services; research; and public programs. aridlands.woodbury.edu

The Arid Lands Institute @ Woodbury University is supported by funding under Grant Number HSIAC-09-CA-39 with the U.S. Department of Housing and Urban Development, Office of University Partnerships.

Co-sponsored by:

Embudo Valley Library

Cuatro Puertas

New Mexico Acequia Institute

The Acequia Institute

Earthworks Institute

Vivac Winery

La Chiripada Winery

McCune Foundation

LINKS

aridlands.woodbury.edu

bioneers.org

c4puertas.org

earthworksinstitute.org

embudovalleylibrary.org

lachiripada.com

ose.state.nm.us/isc_index.html

mccune.org

garynabhan.com
lasacequias.org

rio-arriba.org

acequiainstitute.org

santafecounty.org/growth_management

vivacwinery.com

LAND/ART Book Release Party: June 16, 5:30 - 7:30pm

2010-06-05T21:55:00.002-04:00

Please join Radius Books & 516 ARTS on Wednesday, June 16, 5:30 - 7:30pm to celebrate the release of the culminating book "LAND/ART New Mexico" published by Radius Books.