Excerpts from Aviva Rahmani’s work-in-progress book on developing and applying trigger point theory and the evolving Blued Trees Symphony opera are uploaded each month for subscribers at https://d.rip/aviva please join!
Top Image: “Blued Trees Stands for Environmental Justice” photograph by Joel Greenberg, August 30, 2018
Get your tickets for the Green Arts Conference: Culture Change, the conference on how and why Scotland’s cultural sector is creatively approaching environmental sustainability, organised by Creative Carbon Scotland.
“Sustainability is EVERYONE’s responsibility”Green Arts Conference 2017 participant” — Theme for ’18
The Green Arts Conference, now in its fourth year, is this year themed around ‘Culture Change‘. Climate Change will change culture, and changes in culture are needed to mitigate and respond to climate change. This theme marks how far we have come as a cultural community, showcasing the best examples of positive changes in the sector, and looking towards how the impacts of climate change will have direct consequences for the artistic and operational work of cultural organisations.
In a year which has seen extreme snow and extreme heat (and still a dreich August!), a plastic revolution following Blue Planet 2, and a new Climate Change Plan for Scotland, climate change and environmental sustainability are higher on our societal agenda than ever before. And as our wider culture changes, so too does our cultural sector: becoming greener and more engaged with sustainability.
New for 2018
With sustainability and climate change rising up the agenda, this year will see a Board Briefing for trustees and others working at the strategic level. There will be limited spaces so snap up a place if you’re a trustee and your Green Champion is attending, or if you’re a Green Champion make your board aware!
A big part of saving the world is also leading by example, and sharing your actions with your different audiences. This year we’re taking learning from the first ever#GreenArts day held in March 2018 – which many Green Arts members were involved in – to help you take the initiative to communicate your sustainability work throughout the year.
We’ll also make the connection between sustainable practice and affecting sustainable change as artists, with a session on our Culture/SHIFTprogramme of work.
“Always really useful to hear what other organisations are doing – really enjoyed the show & tells” — Green Arts Conference 2017 participant
Following on from the success of previous years we’ll be hearing directly from prominent figures working directly in sustainability on the major developments in climate change and environmental issues, the implications for the cultural sector, and hear how they can support us in our work.
Carbon ManagementPlanning was announced at the Conference in 2017 and now with plans due to be submitted by all Regularly Funded Organisations on 5 October, we’ll have sessions to feedback on the plans and understand the ambition of the sector.
Our popular Green Arts Community sessions – lo-fi, quick, show & tells – will be making a come back to provide the opportunity for Green Arts Initiative members to share the projects they’ve been imagining, creating and working on.
Who’s it for
“It was valuable to see examples demonstrating that the whole organisation can be involved in sustainability” — Green Arts Conference 2017 participant
The Green Arts Conference attracts over 100 participants from a range of cultural and sustainability backgrounds. It is aimed primarily at those working within the cultural sector, we also welcome participants from outside the cultural sector looking to learn how the sector is tackling climate change, and looking for opportunities to work together towards a better Scotland.
We encourage those across all different art forms, and in a variety of different roles from programming, facilities management, marketing, administration, and development – and all those doing any (or all!) of the above – to attend.
Whether you’re completely new to being a Green Champion, or are already heading up a Green Team, the conference will provide an opportunity to learn, share, create and develop your work.
“Although I am not in a senior management position, there are things I can do!” — Green Arts Conference 2017 participant
To enable as many cultural organisations to attend as possible, we have created a range of ticket options for this years Green Arts Conference, with Early Bird tickets available until 1st October 2018 and tickets for the Board Briefing pre-conference session for Board Members now available. We have also created a concession ticket for freelancers, students and those between jobs or working in organisations with turnover less than £50,000 per year. You can find all the tickets on the Green Arts Conference: Culture Change event page.
Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.
American environmental artist and sculptor Stacy Levy is a keen observer of urban tides, rainfall, wetlands, and watersheds. Tide Field and River Rooms, her current installations (through November 20, 2018) on the Schuylkill River in Philadelphia, are only the latest in a prolific body of work devoted to what she describes as using “art as a vehicle for translating the patterns and processes of the natural world.”
Tide Field and River Room were commissioned by the Mural Arts Philadelphia Art@Bartram’s project, which began in 2015 to support the development of public art projects connecting Bartram’s Garden — a 45-acre National Historic Landmark whose mission is to inspire visitors of all ages to protect and care for nature — and the Schuylkill River.
Consisting of hundreds of round multi-colored buoys, Tide Field has been calibrated to reflect the twice daily, six-foot change in the height of the river. As Levy explains: “At low tide, all the buoys are exposed and lie on the surface of the river. As the tide rises, the green buoys are covered and the red and aqua buoys arch over the water’s surface. When high tide arrives, the strands are covered except for the top red buoys, which stand up from the surface.” The process reverses with the tide cycle. Levy’s installation invites visitors to engage with and reflect upon the twice-daily push and pull of the ocean and its tides within the confines of a major urban environment. She explains the project in her most recent video:
River Rooms, Levy’s companion installation at Bartram’s Garden, is comprised of six wooden rowboat-shaped “open-air rooms” placed along the Schuylkill’s shoreline. The “rooms” were designed to provide a designated physical space for visitors to contemplate the tides from a different perspective than Tide Field and to enjoy the riverfront environment from six distinct sites.
Although Tide Field and River Rooms are primarily about calling attention to what Levy refers to as “nature’s clock” operating within a vibrant urban setting, many of her projects are efforts to create solutions for environmental issues including excessive storm water and water pollution.
In 2013, using the form of a spiral and with a direct reference to Spiral Jetty, one the earliest and most well-known Land Art works by artist Robert Smithson, Levy created Spiral Wetland with the goal of improving the water quality of Lake Fayetteville in Fayetteville, Arkansas. A 129-foot-long spiral of native soft rush growing in a closed cell foam mat and anchored to the lake’s floor, Spiral Wetland was designed to remove excess levels of nitrogen and phosphorus from the lake water as well as improve the lake’s fish habitats. An inveterate collaborator with scientists, engineers, architects and geologists, Levy worked with the Fayetteville Watershed Alliance and the Biology Department of the University of Arkansas on Spiral Wetland to monitor the water quality and the nutrient uptake of the wetland’s plants. On her website, Levy explains her motivation for the project as follows:
“After years of being haunted by Smithson’s Spiral Jetty, it seemed like time to remake that form (into one that was) more generative and kinder to the landscape. After studying floating wetlands, and finding their forms dull and mattress-like, the artist wondered how to mesh the function of floating wetlands with the beauty of a natural form. The artist took this masculine mark in the landscape and reformed it through a feminist lens, creating a project that was supportive of environmental service.”
Spiral Wetland was commissioned as a temporary installation for Artosphere: Arkansas Art and Nature Festival, an annual event sponsored by the Walton Arts Center. At the end of the project’s duration, sections of the floating structure were transplanted into regional wetlands and retention basins.
In 2016, Levy worked with the engineers and the building and landscape architects of Pittsburgh’s Frick Environmental Center to design a way to divert the storm water at the site in a manner that was both aesthetically pleasing and environmentally appropriate. Levy calls Rain Ravine a “collaboration between the rainfall and the built environment.” Comprised of layers of local sandstone, the installation is 279 feet long by 35 feet wide with an 18-foot change in elevation. In its finished form, Rain Ravine is a terraced runnel (or narrow channel for liquid to flow through) that carries the rain from the rooftop of the structure to wetlands below. Visitors can walk up and down the installation as the water flows into a steel mesh walkway where it then falls through the mesh to hydrate the native plants, rather than be diverted by pipes into rivers and streams.
Levy’s current installation on the Schuylkill River, as well as her numerous previous projects, are impressive in the way in which they flawlessly integrate the built environment with the natural world. As she so eloquently put it, “my practice is motivated by imagining what is too small to be seen, too invisible to be considered, or too vast to be understood.”
(Top image: Stacy Levy, “Tide Field,” at Bartram Garden, Philadelphia, PA, 2018. Installation at low tide. All photos courtesy of the artist.)
This article is part of Imagining Water, a series on artists of all genres who are making the topic of water a focus of their work and on the growing number of exhibitions, performances, projects and publications that are popping up in museums, galleries and public spaces around the world with water as a theme.
Susan Hoffman Fishman is a painter, public artist, writer, and educator whose work has been exhibited in numerous museums and galleries throughout the U.S. Her latest bodies of work focus on the threat of rising tides caused by climate change, the trillions of pieces of plastic in our oceans and the wars that are predicted to occur in the future over access to clean water. She is also the co-creator of two interactive public art projects: The Wave, which addresses our mutual need for and interdependence on water andHome, which calls attention to homelessness and the lack of affordable housing in our cities and towns.
Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.