“Living Quilt for Santa Rosa” is a public art project by artist Jane Ingram Allen that was installed on Nov. 25, 2018 and funded by a grant from the City of Santa Rosa, CA. This video shows the progress of the “quilt” from installation to blooming flowers over 6 plus months. The photos are by Timothy S. Allen. This installation consists of a handmade paper quilt in the flying gees pattern that was installed on a bed of soil with a headboard and footboard of woven branches. Many local volunteers helped to make the quilt and install it. The handmade paper dissolves as mulch and the seeds sprout and grow to produce a living quilt.
In an era marked by myriad crises (ecosystem collapse, political and social unrest, growing economic inequity), CSPAQ Issue 25: Time and Attention compiles various frameworks, tactics, and propositions for tuning our attention and contextualizing our place in time. An experimental philosopher, prisoners, a child, and others contribute their diverse perspectives, collectively and constructively building a discourse for how we might direct our time and attention. Guest Edited by Ryan Thompson.
SNEAK PREVIEW: Q&A WITH JOHNATHON KEATS
Nolan Park at Governors Island
New York City, June 1-October 27, 2019
Young people around the world are demanding that society confront the climate crisis with a new level of urgency—the urgency required for them to have a future they can hold in their minds without dread. They are demanding intergenerational justice. Their voices give us all an opportunity to rethink and recommit.
This new youth movement inspires our next exhibition, coming to Governors Island on June 1. Taking Action features hands-on learning about solutions for the climate crisis; a space to understand barriers to their implementation; and a concrete invitation to meaningful civic engagement and collective action.
Taking Action will be staffed primarily by high school students. It will be open 11am-9pm on Fridays and Saturdays and 11am-5pm on Thursdays and Sundays prior to the end of the public school year, with extended hours during the summer months. The exhibition was highlighted by The New York Times in its recent article on climate arts.
This show extends our previous focus on elevating youth voices. Our Youth Advisory Council organized a large contingent at the youth-led Zero Hour march last summer (New Yorker); with Yuca Arts, we created a program for teens to design and paint a climate mural at their school (Grist); and on June 14 at the Apollo Theater, high school students from across the city will perform spoken word pieces on climate in our inaugural presentation of Climate Speaks, organized in partnership with the NYC Department of Education’s Office of Sustainability and with special thanks to Urban Word NYC (click hereto receive notice of the ticket presale).
Taking Action is an important step for us as an organization. We hope that it can also serve as a catalyst for many of you.
The Climate Museum team
12th – 17th July 2019
Royal College of Art, Kensington, London, SW7 2EUImage: Current Climate, 2019.
Image by Claudia Agati
I am delighted to invite you to ART IN FLUX at Event Two, an exhibition I have co-curated and will be exhibiting a number of works in. Event Two at the Royal College of Art is an exhibition of historical and contemporary digital art and a program of events marking the 50th anniversary of the landmark Computer Arts SocietyEvent One exhibition at the college in 1969. The exhibition includes work from The CAS50 Collection of computer art, dating from the 1960s to the present day, together with contemporary media art curated by artist platform FLUX Events, London’s preeminent forum for media artists.
Radical Ecology: THANK YOU
A huge thank you to all who came to my FLUX: Radical Ecology exhibition and talks event last month. The event went brilliantly – see more info and video of the event here.
I would also like to thank Ugly Duck for hosting us that evening. They are a fantastic team, always supportive of the media arts and really helped to make the event possible. And of course thanks go to the chair Laura Pando and speakers, Oskar Krajewski, Becky Lyon and Tilly Hogrebe.Images by Sophie le Roux.
Curated by Susanna Battin
Sunday June 30 – July 28
Opening reception, screening and performance: Sunday, June 30, 6-8pm
There are three types of exhibitions seen again and again in the art world: the solo show, the group show, and the two-person show. The Two-Person Show Series presented by Plant Material and curated by Susanna Battin, departs from this convention while radically extending notions of personhood to nonhuman beings. As its name suggests the series presents two persons—this time, one artist and a plant.
The first installment of the series features Alex Wand’s Camino de las Monarcas and Ascelpias fascicularis (Narrow-leaved Milkweed). Wand’s 50-minute video piece documents his bicycle migration along the path of southbound monarchs to Michoacán, Mexico. Heeding the call for kinship made by ecofeminist theorist Donna Haraway, Wand performs a real life ‘Camille Story’ by broadcasting milkweed seeds and other pollinator seed mixes along the monarchs’ path. Ascelpias fascicularis’s role in the show is clear. The milkweed acts as a caterpillar nursery, hosting the Monarchs’ eggs, providing food, shelter, and safety to their growing forms. The show is presented simultaneous to the Monarch’s northbound migration, and amongst dire immigration conditions along the Southern border.
The opening events include a plant and video installation, screening of Camino de las Monarcas, and performance followed by a short Q & A.
About Plant Material:
Plant Material is a new garden center located in the Glassell Park neighborhood of Los Angeles. The ecologically and aesthetically opinionated store carries California native and regionally-appropriate nonnative plants, garden tools, and art objects.
More information at:
3350 Eagle Rock Blvd.
Los Angeles, CA 90065
On View June 20 – July 14, 2019
Curated by Will Hutnick
Lobster Dinner presents the works of over forty contemporary artists working across drawing, painting, sculpture, printmaking and photography. While technically the exhibition is a “small works” show, featuring work 12 inches and under, the works included are certainly not defined by this limitation. On the contrary, many of the works feel expansive and ambitious, despite the physical constraints of being “small”.
Oftentimes, works of a more intimate scale can have a novelty factor surrounding them – look how tiny! I want to put that in my pocket! – or are viewed as sketches or preparatory drawings for larger works – stand-ins for works to come in the future. That is definitely not the case here: loud, ferocious, hilarious, and declaratory, the works in Lobster Dinner shed the stereotype of preciousness. They are fully realized ideas, entities, and objects in their own right, not just little pockets pointing to another thing that is physically larger, but individual, weird galaxies in and of themselves. They pack a punch.
Take Gracelee Lawrence’s External Chamber of Acute Sensation, which at first seems to function as a celebratory banner of sorts. Upon further inspection it reveals an outstretched arm tangled with a pair of hands from another individual. A stranger? Are they beckoning us closer? Is it a secret handshake? A sexual handshake? Mel Arzamarski’s The Ocean features intertwined hands with flaming fingernails and is similarly discomforting, eerie, foreboding and ultimately encouraging. Both works look like they could have been taken straight from the opening credits of an episode of “Black Mirror”, with those sickly mint hands welcoming and proudly communicating a hidden alliance or a forgotten code, proclaiming “Welcome to the show! Come hither, if you dare…”
Stacy Petty’s Pumpkin Twist occupies a parallel ambiguous mental and physical space. A seemingly recognizable and friendly landscape has a darker, extra-terrestrial quality to it, with something unnerving which looms in your immediate space. Katie Holden’s Open Search playfully mimics the display screen on an iPhone, albeit one in a quasi-hallucinatory state with emoji rainbows framing the top register of the screen. Alejandro Macias’ A Color That Can Only Be Obtained Through Mixing II is a MadLibs-type approach to portraiture, in which the top half of an individual’s face is sliced and replaced with seemingly abstract lines in primary colors against a pea green background. Are these lines identity markers? A generic pattern that is a stand-in for the self?
Breanne Trammell’s SPRTS, a colored pencil drawing featuring a brown bear holding a blue balloon on a blue sweatshirt, sums it up: “If It Weren’t For Volleyball I Couldn’t Bear It!” Replace “volleyball” with your choice of activity/distraction/altered mental space, and you’ve got yourself a lobster dinner for one.
LOBSTER DINNER FEATURES WORKS BY:
Kayla Plosz Antiel, Davis Arney, Mel Arzamarski, Geoff Booras, Gabe Brown, Trey Burns, Jonah Burstein, Douglas Cantor, Max Colby, Sue Danielson, Adam Easton, JP-Anne Judy Giera, Häsler R. Gómez, Katie Holden, Mary Laube, Gracelee Lawrence, Michael Siporin Levine, Beth Livensperger, Taylor Loftin, Alejandro Macias, Max Manning, Alex McClurg, Elias Necol Melad, Nadia Odlum, April Dawn Parker, Laura Payne, Stacy Petty, Colin J. Radcliffe, Jenna Ransom, Allison Reimus, Isaac Roller, Rocco Ruglio-Misurell, Andra Samelson, Giovana Schluter, Chrissy Scolaro, Emilie Selden, Emanuela Harris Sintamarian, Anika Steppe, Taro Takizawa, Dominic Terlizzi, Breanne Trammell, Joy O. Ude, Becca Van K, Lauryn Welch, Curtis Welteroth, Aaron Wax, Tom Wixo
Will Hutnick is an artist and curator based in Wassaic, NY. He received his M.F.A. from Pratt Institute (Brooklyn, NY) and his B.A. from Providence College (Providence, RI). His work has been exhibited most recently at LVL3 Gallery (Chicago, IL), Vox Populi (Philadelphia, PA), Paradice Palase (Brooklyn), Geoffrey Young Gallery (Great Barrington, MA), DEMO Project (Springfield, IL), Tiger Strikes Asteroid (Brooklyn), The Java Project (Brooklyn), Providence College Galleries (Providence, solo) and Pratt Institute. Hutnick has curated numerous exhibitions at SPRING/BREAK Art Show, Ortega y Gasset Projects, Trestle Projects, Pratt Institute (New York and Brooklyn) and Hamiltonian Gallery (Washington, DC). He has been an artist-in-residence at Yaddo (Saratoga Springs, NY), DNA Gallery (Provincetown, MA), Wassaic Project (Wassaic, NY), Vermont Studio Center (Johnson, VT) and a curator-in-residence at Benaco Arte (Sirmione, Italy) and Trestle Projects (Brooklyn). Hutnick is a 2017 Martha Boschen Porter Fund grant recipient from the Berkshire Taconic Community Foundation as well as a 2015 grant recipient from the Foundation for Contemporary Art. He is the Co-Director of Ortega y Gasset Projects, an artist-run curatorial collective and exhibition space in Brooklyn, and is currently the Residency Director at the Wassaic Project, a nonprofit organization that uses art and art education to foster positive social change.
An international gathering celebrating trees and woodlandIn collaboration with The Royal Forestry Society and Timber Strategies, we are convening an international group of foresters, artists, writers, thinkers and do-ers to look back at the last 100 years of Forestry in the UK and forward to the next. It’s for everyone who works, wanders or wonders in our varied British forests, and to help us learn from others around the world about their own cultural connections to trees and woodland.
You can join the event for all three days, or for just one or two of the three days. Only a limited number of places remain so don’t delay…
If you would love to attend the whole of Evolving the Forest but are finding this rather beyond your means, we do have a number of Stewarding Bursaries available. In exchange for a few hours work you can be a full delegate for £35. Interested? Please contact us right away.
Special events at Evolving the Forest
There are a number of events at Evolving the Forest open to all, not just to delegates.
On Wednesday June 19, join us for the opening keynote by Prof. Fiona Stafford with her reflections on Why Trees Matter. Author of The Long, Long Life of Trees(Yale 2016), writer and presenter of the BBC Radio 3 series The Meaning of Trees, Prof. Stafford will remind us of the cultural importance of trees within literature and society from the 18thC on.
Later that evening we return to Dartington’s Great Hall for a public conversation between Sir Harry Studholme (Chair of the Forestry Commission), Beccy Speight (CEO of Woodland Trust) and architect and broadcaster Piers Taylor (Invisible Studio Architects) about the future of forestry in the UK, why we love trees, and how we must learn to live differently with them.
The final keynote will be delivered as the Royal Forestry Society’s NDG James Memorial Lecture. Prof Kathy Willis CBE will talk about The framing of the UK’s forests: past, present and future. This important overview will look at how as a nation we manage, conserve and enhance forests, and how our approach to policy-making has shifted radically over the past century.
All of these events have a very limited number of tickets available and will fill fast.
Finally, there are three special workshops open to the general public taking place the morning of Wednesday June 19. These include a tour of the Forest Garden site at Dartington led by its long-term designer and manager, Martin Crawford; a guided visit to Fingle Woods where forester Dave Rickwood will guide you through the woods and explore its history and close connection to Dartington Hall, and its new and experimental approaches to contemporary forestry. The third offer is to experience a three-hour Forest Bathing session with the Nature & Wellbeing Collective at one of the Dartington estate’s very special woodland places.
Across the globe, young people are stepping up as never before to confront the climate crisis. This spring, the Climate Museum is excited to present a new platform for creative youth leadership, recognizing the hunger youth have to engage with climate action.
On March 16, the Museum kicks off the first annual Climate Speaks, a citywide spoken word training program and competition for high school students, presented in partnership with the New York City Department of Education Office of Sustainability and with special thanks to Urban Word NYC.
Climate Speaks includes workshops, trainings, mentoring, a written competition, and live auditions, with 16 finalists taking the stage of the Apollo Theater on Friday, June 14. For program details, visit climatespeaks.org.
Young people deserve better than climate chaos and they know it. The report last fall from the UN Intergovernmental Panel on Climate Change sounded a new level of alarm, intensifying the call to transform our society and build toward a more equitable, climate-safe future. Though the window is shrinking, we still have time to act.
Youth imagination and vision have a unique capacity to inspire us all. Join us in listening to those whose future is at stake.
All high school students in the New York Metropolitan area are eligible to register for Climate Speaks. Please forward this to anyone you know who fits that description! The final performance at the Apollo Theater on Friday, June 14 is open to the general public; we’ll let you know as soon as tickets go on sale.
We are deeply grateful to our partners who are hosting Climate Speaksworkshops across the city: DreamYard, Jamaica Center for Arts and Learning, Sunset Park High School, and Urban Word NYC.
Public good references economic factors. Common good references common ethics. Blued Trees aligns both with culture and Earth rights to demand a new understanding of justice.”-Aviva Rahmani
Activists in Northern VA are now in touch with community members in Southern VA, near Blacksburg, who have already painted hundreds of trees. The Northern activists are considering expanding resistance to the pipelines and coordinating their legal strategies with the Blued Trees experiences.
There are two recent interviews available, you can listen to The Art of Protecting Lands: Aviva Rahmani a State of the Art podcast recorded April 8th, 2019 as well as The Sarah West Love show, a live radio conversation recorded April 2nd, 2019 with Gale Elston, Robin Scully and Aviva Rahmani about expanding The Blued Trees Symphony in Virginia.
A Blade of Grass’s short documentary “Can Art Stop a Pipeline?” about the Blued Trees Project and “I Speak for the Trees, A Mock Trial,” is now available online!
If you’ll be in the New York City area this summer, consider visiting Aviva’s studio space at the LMCC’s Arts Center at Governors Island, part of her 2019 Lower Manhattan Cultural Council (LMCC) Arts Center Residency!
Please consider making a tax-deductible contribution through the New York Foundation for the Arts (NYFA) or subscribe to d.rip and follow the emerging narrative that will make an opera!
Blued Trees is a division of Gulf to Gulf, a project fiscally sponsored by NYFA (New York Foundation for the Arts), a 501©3, tax exempt organization founded in 1971 to work with the arts community throughout New York State to develop and facilitate programs in all disciplines. NYFA will receive grants on behalf of the project and ensure the use of grant funds in accordance with the grant agreements as well as provide program or financial reports as required. Any donations made to the project through NYFA are tax deductible!
Life in the City of Dirty Water, a transmedia storytelling project, is an expression of decolonization and healing. Think of it as a survival guide to the urban Indigenous person.
The global premiere of the Life in the City of Dirty Water documentary will be at Hot Docs on May 1st, 2019!
Rooted in Indigenous storytelling tradition, Life in the City of Dirty Water is a series of intimate vignettes that weave together the remarkable life of Indigenous climate change activist, Clayton Thomas-Muller. The film plunges audiences into an immersive storytelling journey, discovering the people and places and traumas and triumphs that shaped Clayton’s identity and cosmology. These are impossible stories weaving together different roles: a Sundancer, a father, a husband, an abused child, a hustler, a leader. Stories that juxtapose Clayton’s rise as a prominent Indigenous campaigner (at the Indigenous Environmental Network, Idle No More, and 350.org) with his raw and troubled journey of addiction, incarceration, healing, and forgiveness.