Yearly Archives: 2011

Trash Piles On the Acts

Musicians James Brandon Lewis and Erinn Horton play on the Spartan's outdoor stage while multimedia artist Kenyatta A.C. HinkleHinkle works on a current piece.(Not pictured: musician Kevin Robinson)

Dancers Ariana Daub (right) and Erin McCarthy (left)

Events at Sam’s trailer kept on coming throughout the Arts In the One World Conference, January 27-29. Some artists were so happy with the space they retruned

Graffiti artist Jose Estrada

for repeat performances. Acts included  jazz, salsa, multimedia presentations involving old time movies and country hip.  Graffiti and mixed media artists were in residence along with filmmakers and videographers who screened their productions at night inside and outside the trailers.  Two playwrights presented reading with actors.

Students, teachers, working artists and others gathered on the lawn by the entrance to the main building at CalArts.  Arts In the One World is a gathering of artist-activists interested in using their art can help bring about social change.

First convened in January 2006 by Erik Ehn, AOW at CalArts is linked to it’s sister Arts in the One World conference at Brown University.

This post is part of a series documenting Sam Breen’a Spartan Restoration Project. Please see his first post here and check out the archive here. The CSPA is helping Sam by serving in an advisory role, offering modest support and featuring Sam’s Progress by syndicating his feed from http://spartantrailerrestoration.wordpress.com as part of our CSPA Supports Program.

Welcome eco|art|scot|land

We’re revisiting our syndication partners at the CSPA to best reflect the changing field of sustainability in the arts. We are excited to welcome eco\art\scot\land.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Think Big, Teach Local

It’s an exciting moment in the Area Based Curriculum project in Peterborough. We’re at the point where we try to move away from bothering busy people with important jobs, asking them to do things they wouldn’t normally do, and towards a role supporting people moving ahead with their own projects. Where the RSA stops being ‘doer’ and begins to act in the role of ‘supporter’. Communities and schools work together to design a curriculum. We don’t do it for them. We don’t determine who gets involved, or what goes in the curriculum. That’s the whole point.

The point of an Area Based Curriculum is that communities and schools work together to design a curriculum. We don’t do it for them. We don’t determine who gets involved, or what goes in the curriculum. That’s the whole point. Eleven years of working with schools on Opening Minds has convinced the RSA of the power of a curriculum that is conceived, designed and implemented by teachers in a school. The Area Based Curriculum goes one step further: reaching out beyond the school gates and asking the people in a local area to pitch in and work with teachers, bringing their ideas, resources and expertise.

The problem is, of course, that in order for the work to be worthwhile we of course do have a view on what should go in the curriculum, and who should be involved. We insist that the curriculum reflect the diversity of a local area, and seek to engage those not normally involved in education. We ask that the projects take proper account of the national entitlement of all children to a certain set of shared knowledge, at the same time as reflecting local knowledges and priorities. Our reasons for doing the work in the first place are based on principles – educational and ethical and political. For it to be worth doing we must care about the outcomes, and take responsibility for ensuring that our intervention is not a hollow one that reinforces existing power structures and exclusions, fails to secure different outcomes to what existed before, or worse.

Our project in Peterborough is at the point where we do what we said we went there to do, and try to provoke a genuinely community owned and led curriculum. We have to hope that we have got the balance right: between providing enough steer to the work so that we achieve and can measure what we set out to do, and stepping aside at the right time to allow the teachers and community partners in Peterborough to develop and own their own projects.

The Big Society must intend to achieve better outcomes for society, and someone has to define what those are – otherwise why bother?

This tension between the stated aims of a given intervention and local ownership, of course, is present in all work by agencies seeking to enable people to do things for themselves. This includes central government espousing ideas like the Big Society. At the beginning the intervention, or policy, or suggestion for change is just that – ‘centralised’, ‘top down’, ‘external’. The Big Society must intend to achieve better outcomes for society, and someone has to define what those are – otherwise why bother? At the same time the enactment of the Big Society needs to be internalised and owned by communities, professionals and individuals. What are the mechanisms for making this happen? How do we establish a shared sense of what we are trying to achieve? And how far does or should the original intervener (in this case the Coalition Government) retain responsibility for the outcomes?

The Area Based Curriculum is, ultimately, about culture change. It’s about subtle but crucial shifts in perceptions of ownership, responsibility and expectation. So too is the Big Society. We will soon find out whether our assumptions about how to effect change in a way that empowers have been correct, and we will learn a lot on the way. Sharing this learning with others doing similar work will be crucial to informing the success of the Big Society.

Go to RSA Arts & Ecology

Cross-Cultural Ecocriticism(s)

This post comes to you from EcoArtScotland

Waves and Undertows – a major conference taking place at Rutgers, NJ, on 25th Feb seeks to highlight key strands in contemporary ecocriticism framed by the following statement:

The Conference will reflect on the gains and shortcomings of the so-called “third wave ecocriticism,” or the current rise of approaches which transcends national and ethnic boundaries and compares the cultural aspects of the human-nature interaction across cultures. More specifically, the conference will focus on the rise of postcolonial ecocriticism, the impact of new varieties of ecofeminisms and popular environmentalisms (including the environmental justice movement) throughout the world in literature and film; and the contributions and challenges posed by another emergent field: critical animal studies. As ecocriticism spreads across cultural traditions, it is restating the need for expanding further its object of study to new forms of textuality and discourse in different media. Overall, therefore, the conference will explore too current rethinking of environmental aesthetics and ecological thought in the Humanities.

CrossCulturalEcocriticismsConferenceFeb2011.pdf (application/pdf Object).

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Go to EcoArtScotland

Trailer Trash Kicks Off Arts Conference

Late night set-up in preparation for Arts In The One World Conference, Jan. 27-29

Last night, Sam and fellow students towed the Spartan trailer to the entrance of Cal Arts where it was used as a performance space during the  Arts In the One World Conference, January 27-29. Sam kicked off the conference with a presentation of the Trailer Trash Project tomorrow morning.  Over the course of the event, participating artists will also perform inside and around the trailer. A stage is being constructed around the trailer today.  The stage was designed and construction under the direction of Ben Womick, MFA student at Cal Arts in technical direction.

Participating artists include: Kenyatta A.C. Hinkle, choreographer Lindsey Lollie, dancer Andrew Wojtal and playwright Isabel Salazar (No Comas Tomates antes de Dormir porque Tendrás Pesadillas).

This post is part of a series documenting Sam Breen’a Spartan Restoration Project. Please see his first post here and check out the archive here. The CSPA is helping Sam by serving in an advisory role, offering modest support and featuring Sam’s Progress by syndicating his feed from http://spartantrailerrestoration.wordpress.com as part of our CSPA Supports Program.

The Time Machine – Sustainability and Culture

Internationally-known Expedition Artist Presents:  “The Time Machine – Sustainability and Culture ”  in Santa Monica on February 15
Presented in conjunction with the LA Chapter of the US Green Building Council

Danielle Eubank, internationally-recognized Expedition Artist, is presenting a lecture on Tuesday, February 15 at the Santa Monica Main Library at 601 Santa Monica Boulevard in Santa Monica.  The lecture, scheduled from 6:00 to 8:00 pm, will focus on Eubank’s experience sailing – and painting – the oceans of the world.

“Sometimes in order to move forward in a more sustainable way, we have to look back and explore how things were done in earlier times,” said Eubank.  “The Time Machine in my lecture title refers to how Phoenicia is a floating time machine – living archeology – that brings the past into the modern era.”

Eubank was Expedition Artist aboard Phoenicia, a recreation of a 2,500-year-old Phoenician boat that recently finished a two-year journey circumnavigating Africa. Eubank’s work as an Expedition Artist has taken her to Indonesia, Seychelles, all around the African coasts and throughout the Mediterranean.

Eubank lectures widely throughout Southern California and Great Britain on the intersection of art, the environment and sustainability.  Eubank’s perspective on “what green means in the world of art” brings a unique voice to the discussion of sustainability, with her most recent opinion piece running in the Los Angeles Daily News on November 15, 2010 in association with America Recycles Day.

This summer, Eubank has an important solo show at Thompson’s Gallery in London’s West End opening July 6, which will feature the very latest work from Eubank’s travels aboard Phoenicia.

The February 15 lecture is open to the public.  For more information on the event, please contact Dominique Smith at (310) 902-2811 or e-mail dsmith@usgbc-la.org by February 12.

The Jellyfish Theatre shortlisted for AJ’s Small Projects Award | Architecture Foundation

The Oikos Project’s Jellyfish Theatre, by artists Kobberling and Kaltwasser for The Red Room, in partnership with The Architecture Foundation, has been shortlisted for the Architect’s Journal’s 2011 Small Projects awards.

This is the second year running an AF-initiated project has been considered for the awards. Last year the AF’s new HQ designed by Carmody Groarke, was shortlisted.

Winners will be announced on Wednesday 9 February.

Photo courtesy Maja Myslaborska

via The Jellyfish Theatre shortlisted for AJ’s Small Projects Award | Architecture Foundation.

Ben’s Design for Performance Space

Check out  Ben Womick’s design for the Spartan’s outdoor performance space.  The stage was launched at the Arts In the One World Conference! Ben is an MFA student in Technical Direction at Cal Arts.

CLICK HERE FOR FULL DESIGN in PDF format:   AT 1000.ben

This post is part of a series documenting Sam Breen’a Spartan Restoration Project. Please see his first post here and check out the archive here. The CSPA is helping Sam by serving in an advisory role, offering modest support and featuring Sam’s Progress by syndicating his feed from http://spartantrailerrestoration.wordpress.com as part of our CSPA Supports Program.

MELD vs Radical Space

This post comes to you from EcoArtScotland

MELD is a new initiative based in Greece which understands the arts to be part of the means to address Climate Change because the arts can be a collaborative catalyst as well as a catalyst of social change, a catalyst for economic growth and also a marketing tool.

On the other hand you might also be interested in Brett Bloom’s (of Temporary Services) article Radical Space for Art in a Time of Forced Privatization and Market Dominance which focuses on how not to be part of the ‘art world,’ but to find new means now, resisting the corporatisation of art.

These two are perhaps at opposite extremes of the range of practices addressing socio-economic environmental issues.  Didn’t Einstein say “We can’t solve the problems using the same thinking we used when we created them.”

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.

Go to EcoArtScotland