Danielle Eubank’s 20-year quest to visit and paint the waters of every ocean on Earth will be complete in early 2019, when she ventures to Antarctica. This, the Southern Ocean, will be Eubank’s fifth and final ocean to visit and will cap her decades-long quest to paint every ocean on the planet, hence the name of her project: One Artist Five Oceans.
“Painting all of the Earth’s oceans is about showing, through art, that the oceans sustain us – literally and, for me, artistically,” says Eubank. “There is a unifying preciousness amongst these bodies of water – and the people and animals that rely on them.”
A Pollock-Krasner Foundation Grant awardee and a member of The Explorer’s Club, Eubank’s relationship with ocean water began as a young girl growing up near Bodega Bay in Northern California. In her travels as a young artist, she was captivated by bodies of water. She focused on painting water in its myriad conditions, refining her techniques of abstraction and realism until she was able to render their ephemeral qualities in her own style.
Eubank’s 20-year quest to paint all five of the planet’s oceans started in 2001 in Andalucia, Spain after a bicycle accident forced her to abandon her travels and spend time in a fishing village, painting the Atlantic coast. This work led to an invitation to serve as the expedition artist aboard the Borobudur Ship, a replica ancient Indonesian vessel that rounded the Cape of Good Hope sailing from Indonesia to Ghana, in 2003-4.
The experience cemented her commitment to paint the five oceans of the world and in 2008-2010, she sailed on a replica of a 2,500-year-old Phoenician ship that circumnavigated Africa, a trip originally made 500 years before the birth of Christ. Eubank most recently (2014) sailed aboard a barquentine tall ship on an expedition to the High Arctic that took her to the northernmost human settlement on Earth.
In each of these journeys, the vessel she sailed on in the open sea inspired her to view the bodies of water in exciting new ways, capturing each ocean as an entity, with her work portraying individual portraits of mood and emotion.
In February 2019, she is embarking on a rare voyage to the Southern Ocean, the fifth and final ocean for Eubank to visit and capture. This journey will complete her life-long quest and will inspire the creation of a landmark series of ocean paintings which will be exhibited beginning in 2019.
Eubank is exploring the consequences of the human footprint, including climate change, on seascapes all over the world. The body of work simultaneously communicates the preciousness of water and the impact of humans on the environment.
Arts Territory Exchange Residency in Sustainable Practice.
Submitted by Gudrun Filipska
The ARTS TERRITORY EXCHANGE is an organisation which facilitates creative exchange across borders and works with artists in remote locations and those whose work explores ideas of place, territory and environment. ATE’s work involves the pairing up of Artist’s across the world in creative long distance correspondences.
The first ATE Residency in Sustainable Practice took place on Art Aia’s Eco farm in Friulia, Italy this September and ran in conjunction with the Pordenone Litterary festival. The CSPA advised on the project and Meghan Moe Beiticks was on the selection panel alongside Veronica Sekules, art critic and curator at GroundWork Gallery, UK. Kelly Leonard in Australia and Beatrice Lopez in Norway had been corresponding digitally and by post for a year before they were selected by the panel and had developed an intriguing body of weaving and text based works forging a dialogue between their respective locations.
The idea behind the residency was for participants of the ATE to be able to meet face to face and spend a week intensively developing the work they had already begun, with specific focus on ideas of sustainability in its material and conceptual forms. The artists were provided with a series of contextual writings on ecology and arts practice and were encouraged to engage with some of the CSPA’s back editions.
Art Aia’s Eco farm in Fruilia provided an interesting backdrop through which to engage with ideas of sustainability extending beyond the materiality of the art world, the artists were able to visit vineyards and factories and discuss the crossovers of culture and sustainable agriculture with their host Giovanni Morassutti. Giovanni says his Art Aia residency space has its interests in ‘Creating the kind of connections between people that lead to collective civic action, political expression, community dialogue, shared cultural experiences’.
The artists already had shared interests in textiles, weaving, and installation as performative action in outdoor settings, performances which have political dimensions beyond the traditional uses of their chosen materials. Kelly installs woven works in the landscape around her home town of Mudgee, Australia – a location threatened by the open-cast coal mining. Her works are conceptual and ephemeral referencing 1970’s activist stitchers such Kate Walker and more contemporary iterations such as ‘Yarn bombing’, subverting the very domestic history of women’s tapestry weaving and stitching. They are guerrilla actions with serious messages about climate change and the destruction of habitats, stitched messages such a ‘resist’ and ‘Regent Honey Eater‘ – yet the works are sensitive to the local environment – photographed and then removed. This respect for the environment and the responsibilities of the artists within it was shared with co-collaborator Beatrice Lopez with her own practice, placing temporary compositions within the Norwegian landscape.
Beatrice and Kelly had already developed a number of ideas during their ‘digital’ and postal collaborations and began to adapt them in relation to the Italian landscape and residency space. Kelly Leonard says ‘Our year of working together in the virtual space meant we had a foundation to draw from when we met, we had a type of creative short hand already established’. Meeting in person the artists noted their physical differences in terms of, weight, body shape and age.
In the documentation of the performance works undertaken at the residency their height difference is particularly apparent, adding an interesting extra dimension to their performative works.
The artists made site responsive work in relation to a number of agricultural sites they visited, Beatrice says, ‘ Following a performance we did at the local biological vineyard, where we walked with a filtering fabric between us in front of a large deposit of processed soya that was used to create bio energy. The performance emphasised the necessity to filter and re cycle. It was also symbolic for our shared bond and collaboration for a sustainable future. The fabric was then hung up in the gallery space along with residue of soya.’
Beatrice and Kelly share common interests in the politics of place and post colonial narratives, both researching, and feeling affinity with, the indigenous cultures of their homelands, Kelly, as an Australian of European heritage, acknowledging the cultural authority of the Wiradjuri people as the traditional owners of the land in which she makes her work.
Throughout their time working together the artists have used the phrase ‘Connected by a Thread’ as a motto through which to explore environmental causality and potential for spiritual affinity. In researching the cultures of Huichol Indians of South America, Beatrice had previously begun to work with ideas of ‘offerings’ made to the elements of the earth as a way of re dressing a balance tipped over by a culture’s obsession with production at the expense of the environment.
The Motif of the ‘offering’ is one which also comes through strongly in their collaborative work and is felt on a number of levels beyond symbolic reparations to nature. Their works are offerings to an audience, documents of performative actions, and act as residual templates of the artists physical experiences with the natural elements they work with. Regarding their work ‘Prayer Wheel’, one can imagine the performative and repetitive actions which led to its creation; the collecting of local grasses, the tying of grass bundles, positioning grass and read heads in a circle, winding sticks with colourful yarn… each wrapped stick containing a written instruction for an immersive call to action; referencing the prayers contained in a traditional Buddhist Prayer Wheel and offering potential for audience engagement.
The ideas of repetitive and ritualistic practices are followed through in the other works made on the residency, In ‘Interconnected Walk’ the two artists walked over a three day period, in two large intersecting circles similar to a lemniscate symbol. (See a short Video documenting part of the performance Here). The work makes obvious reference to walking artists such as Richard Long and Hamish Fulton but, is conceived as a walking performance for two. Watching the artists courteously side step each other as they cross paths at certain intersections is touching, saying perhaps more about their growing relationship with each other than the land scape they are marking with their repetitive footsteps.
In ‘Soft Touch’, Soft white Icelandic wool brought to the residency by Beatrice, rests on top of local detritus, broken leaves, feathers and sticks. The piece evokes both a nest and alter – the clean pristine wool, an offering to temped hands, to touch and lift its threads.
Another work ‘Water talks’ was made by recording ambient sound of water near to their residency accommodation, a land of damp earth and agricultural irrigation ditches. Overlaying the sound of water, the two artists recite a poem by Norwegian Poet Lars Saabye Christensen, Kelly in English and Beatrice in Norwegian.
A further work ‘South North’, makes connections between the three countries, Norway, Australia and Italy; a silhouette of Kelly traced in pebbles is connected by a thread which runs across an antique map of Norway, out over the lintel of the window, into the Italian countryside… As well as connection between the three locations, disjunctures were also keenly felt, departing Australia at a time of drought, Kelly was shocked by how verdant Northern Italy was, saying, ‘I found the area of Italy to be too green, too rich, too comfortable…’. The impact of climate change is felt very differently in Europe, not as urgently perhaps, although a short train journey from Art Aia’s residency space, sea levels rise around a sinking Venice.
I first learnt to weave as a teenager from a German Master Weaver, Marcella Hempel, in Australia. My art practice has been re-activated since moving back to my home-town two years ago; moving from a traditional craft based medium to one that is highly conceptual, collaborative and moves across art forms responding to the environment. My work is very much informed by environmental philosophy which provides a context for both making and showing the work.
I weave on a European floor-loom what I call props for the environment which are placed in site-specific locations around Mudgee, photographed and then removed. The locations are chosen because they are under stress from the impact of the open-cut coal mines operated by the big coal mining companies. The images are exhibited on-line and one of my goals is to develop some alternative broadcasting methods to reach a wider audience in the near future. The work I make is pretty much process driven and I derive a lot of satisfaction from thinking of the environment as a collaborator and audience.
I make work in Wiradjuri Country whose sovereignty was never ceded, I walk on traditional land. I try to consider all aspects of a landscape by: how it smells, tastes, feels, sounds and the multiple narratives embedded into it. The landscape is never passive, always watching me make work. It is also a collaborator, helping me to shape the work.
Beatrice is an artist that works in different mediums such as painting, installation and sound. Gaining a BA from Nuova Accademia di Belle Arti in Milan as well as an exchange from the Pratt Institute in New York. She has had a solo exhibition entitled `Ritual Lines` at Art Licks festival and taken part in various group exhibitions through institutions such as White Space gallery, MAMU galleria and most recently at Galleri Vanntårnet. Through her abstract paintings in ink and soft pastel, fleeting textures appear reminiscent of inner visions and organic forms. Her multimedia works are placed in nature, using thread and organic material to create curious compositions. Her continuous interest in nature and topographies has led her to take part in the Arts Territory Exchange, an ongoing collaborative correspondence project based on nature, ecology and topographies. Exchanging ideas by post with the artist Kelly Leonard based in Australia. They met for a one week residency this fall made possible by CSPA and ATE. Beatrice participated at Performance Art Oslo event `Contemplating landscape through art` this year at Steilene in Norway. Beatrice was born in 1986 and is currently based in Oslo.
Holding the ATE residency in Sustainable Practice at Art Aia In Pordenone was an attempt to forge connections between artists, farmers, eco entrepreneurs and members of the local rural community. A weaving together of conceptual and material iterations of ‘sustainability’, interests which ATE plans on developing in various forms and in different locations in future years. Thankyou to Beatrice Lopez and Kelly Leonard for their participation in this residency.
Arts Feminism Queer (CUNTemporary) is now accepting proposals for ‘Deep Trash: Eco Trash’ & ‘Queer-feminist Ecocriticism in Live Art & Visual Cultures’, which will be part of the larger programme ‘EcoFutures’, taking place in (London, UK) in April 2019.
The programme will explore urgent topics ranging from ecological disasters and their impact on climate refugees; plastic/toxic waste and the contamination of aquatic and human bodies; the relationship between increasing air toxicity and human and animal diseases; high-speed capitalist consumption and the ungovernable production of trash and techno-waste; from neo-colonialist soil exploitations to indigenous land reclamations and green economies; the rise of temperature and sea levels and their direct effects on the environment, with a focus on the Global South / Majority World.
Artists, activists and theorists are invited to engage with these topics through feminist, queer and decolonial approaches to provide alternatives that draw from situated knowledges, eco-sustainable modes of living, non-exploitative human and animal relations within ecosystems, as well as speculative scenarios of imagined futures, nature-based spirituality, earth magick, feminine powers and ecosexuality.
Performances, videos, installations, prints and other 2D/3D and time-based media artworks for the multi-disciplinary exhibition and performance club night ‘Deep Trash: Eco Trash’ on Friday 19 April 2019 at Bethnal Green Working Men’s Club.
Theoretical output and (performative) lectures to be presented during the 1-day conference ‘Queer-feminist Ecocriticism in Live Art & Visual Cultures’ on Saturday 13 April 2019. This will be hosted by the Department of Drama at Queen Mary University and will include contributions by guest speakers Gaia Giuliani (University of Coimbra, Portugal), Shela Sheikh (Goldsmiths University, UK) and João Florencio (Exeter University, UK); screenings of works by Adelita Husni-Bey and Wangechi Mutu; with more special guests from Europe and the US to be announced soon.
Written contributions (articles, write-ups, interviews, short essays, cross-genre, creative writing…) for an editorial piece to be published online at www.cuntemporary.org/editorial
Your proposal may include, respond to, be affected by, but not restricted to:
Indigenous and native two-spirited/trans responses to land expropriations and natural destructions.
Connections between toxic masculinity and ecotoxicology
Creating sustainable micro-economies against capitalist exploitation/new forms of labour from a gendered perspective.
Hysteria and Nature: historical representations and contemporary subversions of the association between untamable femininity and environmental disasters.
Climate change and the impact on the Majority World and the ecosystems: from the rise of water levels to the Sixth Mass extinction of species.
Projections of monstrosity and alienation: how climate refugees face increasing racism and xenophobia.
Environmental disasters, alien/monster attacks and post-apocalyptic events wiping out the white, able-bodied, nuclear heteronormative family (and associated values).
Afrofuturist connections to botanic healing and eco-spirituality.
Plastic pollution in water and the ecosystems: eco-destructions and creation of new forms of water bodies’ resistance in speculative fiction scenarios.
Politics of DIY and bio-hacking experimentation: cyborg organisms and non-human to human hybridisation.
Trash and techno-waste as resources for post-porn activism.
Transspecies relationality and hybridity: from animal to geological and water alliances.
How animal sexualities resist normative ideas of sexuality and gender and the perception of ‘natural/deviant’ in human discourses.
Ecology without nature or ‘dark ecology’: symptoms of ecological catastrophes and dystopic visions of ‘non-human’ worlds and societies.
Feminist critiques of (m)Anthropocene theories.
Ecosexuality as a form of resistance to heteronormative relationality and anthropocentrism.
Critiques and reflections on meat consumption and queer-vegan standpoints.
Meat, flesh and cannibalism: radical approaches to human and non-human body politics.
Anarchic and anti-speciesist utopias.
Transexuality and queer genealogies in plant and animal domains.
Affective Xenopolitics: anti-systemic struggles for the emergence of new alliances in bio- and ecological territories beyond the rhetoric of (nationalist and other) belonging.
Eco-rituals ranging from neo-paganism, wicca, green witches, radical faeries, pansexual communities and menstrual magick.
Shamanism and the practice of curanderas: the power of healing with herbs and channeling supernatural dimensions.
The impact of colonialism, globalisation and capitalist-industrial development on the ecological demise of the colonised territories and periphery countries.
Julie’s Bicycle announce the winners for the 2018 Creative Green Awards
Julie’s Bicycle is proud to announce the winners of the second Creative Green Awards celebrating the many outstanding organisations taking action on climate and the environment. With over 300 Creative Green certificates awarded, the awards are a moment for the sector to showcase their leadership in climate action.
The awards are supported with sponsorship from First Mile, Seacourt Printing and Pilio with Good Energy also sponsoring the award for Highest Achievement for Improvement. We have partnered with environmental solution providers as they are innovative in the sector able to best support arts organisations turn their ambition and commitment into reality for reduction environmental impacts and engage their audiences in climate action.
The Awards were hosted last night at the Roundhouse, with contributions from Baroness Lola Young, artist Michael Pinsky and Matthew Bourne of New Adventures.
Categories and shortlist:
Highest Achievement for Commitment
Highest Achievement for Understanding
Highest Achievement for Improvement (sponsored by Good Energy)
Reading & Leeds Festival
Best Museum and Gallery
Best Cultural Venue
Best Creative Programming
Best Creative Group
Jordan Bedding – Curzon Cinemas
Jackie Bland – Tyne & Wear Archives and Museums
Vikki Chapman – Festival Republic
Paul Josefowski – National Theatre
Creative Green Pioneer
Alison Tickell, Director of Julie’s Bicycle on the awards:
“These awards show the outstanding quality and progressive leadership on climate and the environment from the UK’s cultural community. With energy and imagination the sector continues to drive down emissions and power up sustainable change.”
Sir Matthew Bourne, Artistic Director, New Adventures on the awards:
“New Adventures is thrilled to be the first touring company to be working in partnership with Julie’s Bicycle on a Creative Green Touring certification. As the UK’s biggest and busiest touring Dance company, we visit theatres across the world and travel to very picturesque settings. I believe that it’s important to conserve the natural beauty around us and it is something that we’re very passionate about. We hope that our Green Adventure with Julie’s Bicycle will help us to spread the word to our wonderful presenting venues and audiences around the globe about how to lead more sustainable lifestyles, so that generations to come can continue to enjoy all that our planet has to offer.”
“New Adventures is delighted to be awarded the Creative Green Pioneer award in recognition of our work with Julie’s Bicycle over the past 18 months. We are now very excited to see what we can achieve in the future, particularly on our UK tour of Swan Lake.”
This conversation brings together three practitioners to explore what roles design might play in collective responses to climate change. Taking in a variety of methods, approaches and forms of design – from permaculture to architectural design; from transition design to design fictions – it will explore design as a tool for collective organisation. What can design do in the here-and-now of our warming world? What might design do in a more ecologically just world? And how might it help us get from here to there?
There’ll be plenty of chance for the audience to ask questions and there will be free refreshments and snacks.
JOANNA BOEHNERT is an environmental communicator, designer and educator. She’s a Lecturer in Design and the Creative Industries at Loughborough University and is the founding director of EcoLabs, a studio visualising complex environmental issues. Her book Design, Ecology, Politics: Towards the Ecocene was published by Bloomsbury earlier this year, and has been praised as ‘a must-read for everyone interested in design, ecology, communication and politics.’ https://ecolabsblog.com/
ANNE MARIE-CULHANE is an artist whose work across a number of forms seeks to catalyse collective organisation to reduce the harm being inflicted on the planet, to increase understanding of our place in the world, and to bring to life positive visions now and for the future. She works closely with the University’s Sustainability team as the founder of Fruit Routes, a project that saw the planting of fruit, nut trees and edible plants along footpaths and cycle paths across the university campus. It creates a spring snowfall of blossom and an autumnal abundance of fresh fruits and berries for harvesting, foraging, eating and distributing. https://www.amculhane.co.uk/
BIANCA ELZENBAUMER combines design research methods with critical approaches to education, conflict mediation and DIY making to explore how designers can contribute to create ecologically and socially just economies. Together with Fabio Franz she founded ‘Brave New Alps’, who have instigated a number of acclaimed projects that instigate, as well as explore, alternative ways of organising our lives. These have involved collaborative working with refugees, workers’ rights groups, artists and place-based communities. Bianca is also a lecturer at Leeds Art University. http://www.brave-new-alps.com/
The conversation will be chaired by DAVID BELL, Radar’s Programme Co-Ordinator. He is also a member of Out of the Woods, a writing collective exploring the forms of sociality and struggle required to survive and thrive in the face of climate change.
We’re excited to announce the launch of the Library of Creative Sustainability during Climate Week 2018: a new digital resource showcasing best practice examples of collaborations between sustainability partners and artists seeking to make the world a better place!
New library on the block
The Library of Creative Sustainability is a new digital resource for people working to address the challenging issues of environmental sustainability and climate change, demonstrating the benefits of collaborating with artists and cultural approaches to help achieve their aims.
Taking its inspiration from the work of American civic artist Frances Whitehead and the Embedded Artist Project, and many other contemporary and historic examples, the library presents case studies highlighting the range of skills, expertise and practices which artists have contributed to bringing about positive change in society – addressing social, environmental, economic and cultural sustainability.
In developing the Library of Creative Sustainability we aim to:
Provide a very practical resource for non-arts organisations and arts practitioners to support working with ‘embedded artists’ over extended periods to develop new policy and practice
Showcase a selection of inspiring and innovative examples that engage organisational leaders in the potential of working with artists to help achieve their aims
In developing the Library we have spoken with users working in diverse fields including energy, local government, natural heritage and forestry to help us develop content relevant and applicable to the interests and needs of non-arts sectors, and have researched case studies with the aid of many of the featured artists and organisations.
“Frances Whitehead is a civic practice artist bringing the methods, mindsets, and strategies of contemporary art practice to the process of shaping the future city” – A Blade of Grass
Credit: SLOW Clean-UP, Frances Whitehead
It is widely recognised that artists across all artforms can bring new insight and alternative perspectives to non-arts contexts. This is shown in exhibitions and performances, and also in artists’ processes working with organisations and communities. Artists can bring the perspective of the ‘stranger’, being able to see with fresh eyes and question things often taken for granted.
Some of the key principles of the Embedded Artist role highlighted by case studies include:
Working within non-arts institutions over extended periods – this requires organisations to be comfortable with ambiguity and not starting with fixed outcomes. It was important to allow time for the ideas to develop.
Bringing different ways of thinking and working to bear on challenging projects such as large-scale regeneration of post-industrial sites. Creating artworks is not the focus of projects, although may be an aspect of the outcomes.
Highlighting an integrated approach, ensuring that environmental and social sustainability are considered alongside economics.
Facilitating wider public participation and breaking down professional, departmental and disciplinary boundaries.
Launching the Library
“We wanted to put the power of creative thinking in the hands of community organisations and give people a chance to think positively in the face of climate change.” – Eve Mosher
Keep an eye out on Twitter, Facebookor Instagramfor the latest updates and help to share case studies with your networks!
A Growing Resource
This is just the beginning! We will continue to research and regularly publish new case studies with another round of examples on its way very soon.
We are actively seeking suggestions for new case studies from sustainability and arts practitioners about projects you are involved in or are aware of that could become part of this growing resource. We would also love to hear about your experience of using the library so that we can continue to make improvements to its functionality.
Please get in touch with Gemma Lawrence, culture/SHIFT Producer, Creative Carbon Scotland.
The Library of Creative Sustainability has been developed in collaboration with Senior Researcher Chris Fremantle (Gray’s School of Art, Robert Gordon University) with the support of Allison Palenske, Elly White, and Niamh Coutts.
We are grateful to all of the artists and organisations who have kindly contributed their time to the development of library case studies.
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.
A Studio in the Woods has announced the 2018-2019 Adaptations: Living with Change Residents. In its second year of a three year cycle, Adaptations: Living with Change residencies invite artists to examine how climate driven adaptations – large and small, historic and contemporary, cultural and scientific – are shaping our future. In 2018 -19 A Studio in the Woods will host six residencies to competitively selected artists from all disciplines that have demonstrated an established dialogue with art as social practice and a commitment to sparking creative discourse. Each artist will host a dinner and presentation of their work during their residency as well as public programming specific to their project.
Jonathan “rat de bois farouche” Mayers, Louisiana, October – November 2018 – Jonathan “rat de bois farouche” Mayers is a Louisiana Creole artist and writer from Baton Rouge, LA. While in residence, Jonathan will create high-relief, mixed-media works presenting landscapes from Grand Isle, Bayou Segnette, St. Bernard Parish and Maurepas Swamp. They will be populated with imaginary beasts using paint and physical materials from the region to bring awareness to consequences surrounding environmental change, human conflict, cultural identity, and attitudes toward la Terre. To further these narratives and in celebration of historic multiculturalism in Balbancha, the Tricentennial year of New Orleans, and the 50th Anniversary of CODOFIL, he plans to write a bilingual French and English mythological micro story or poem for each work completed, some of which will be crafted in collaboration with members of the community.
Jonathan Mayers, La Louve blanche protégeant Rayne (The White Wolf Protecting Rayne), 2018, acrylic, sediment and blue crawfish claws from the L’Eau est La Vie camp in Rayne, Louisiana on panel, repurposed frame.
Aurora Levins Morales, California, October – November 2018 – Aurora Levins Morales is an internationally known Puerto Rican Jewish feminist poet and essayist whose work explores issues of identity, social justice, and the interwoven social and natural histories of our landscapes and our bodies. While in residence Aurora will produce a prose poetry book and podcast series exploring the connections between the ecological and social histories of the Mississippi River and the Caribbean Sea, as well as the shared experiences of New Orleans and Puerto Rico of hurricane devastation and disaster capitalism, drawing from community story circles, and extending into visions for just and resilient futures.
Aurora Levins Morales
Manon Bellet, Louisiana, November – December 2018 – Manon Bellet is a French visual and olfactory artist who has lived and worked in New Orleans since 2016. Manon will extract scents from strategically chosen historic places in New Orleans and its surrounding regions which are destined to disappear soon due to ecological issues. This work aims to highlight the notions of being rooted and uprooted, especially in Louisiana. The project intends to show the risks for people who remain attached to their land, their territory, their place. Through the experience of these scents the artist hopes to broaden awareness of environmentally vulnerable areas.
Manon Bellet, Toxicité Radieuse, 2017, mixed media
Geraldine Laurendeau, Canada, January– February 2019 – Geraldine Laurendeau is a multidisciplinary artist from Montreal. A trained ethnologist, she collaborates with First Nations, museums and research institutions as an independent curator, designer and consultant on projects related to environment, land planning, heritage, culture and biodiversity conservation, food security and health. During her residency, Geraldine will look at how Louisiana’s diverse cultural groups have developed strategies to adapt and deal with the abundance of water in the region. Geraldine will use drawing and photography to document the biogeography of the area, studying topography, water movements, landscape forms and vernacular architecture. Through this work Geraldine will explore solutions while creating a water resilient site-specific earthwork that will evolve over time.
Geraldine Laurendeau, Under Arthur’s Seat, 2008, digital photography
Ash Arder, Michigan, December 2018 and May 2019 – Ash Arder is a transdisciplinary artist who creates idea and object-based systems for interpreting and re-imagining interspecies relations (i.e. relations between humans and plants). This highly flexible, research-based approach examines these relationships primarily through pop culture and historic lenses. Ash will continue developing a multi-sensory body of work that examines human-plant relations through the lens of agricultural experiments in 19th century Louisiana. Archival reports from these experiments and found field recordings will be used as source material for new works that question historic human-plant relations and speculate about the future of that exchange.
Hannah Pepper-Cunningham, Louisiana, March – April 2019 – Hannah Pepper-Cunningham has been creating performance work in New Orleans since 2009. A member of Mondo Bizarro from 2009-2018, Hannah served as co-artistic director of training programs and collaboratively developed and performed in “Cry You One” and “The Way at Midnight.” A member of Southerners on New Ground and Alternate ROOTS, Hannah organizes in multi-racial, multi-issue coalitions for racial and economic justice and LGBTQ liberation. In collaboration with New Orleans-based artists and organizers Hannah will create “Unfamiliar” (working title), a touring performance and workshop that will engage people to shift their relationships of care and responsibility in the era of climate change. Drawing on Hannah’s work in live performance, actor training and traditional music; the performance and accompanying workshop will be built to support organizing in multiracial movements for climate justice in the Southeast.
A Studio in the Woods, located in 7.66 forested acres on the Mississippi River in New Orleans, is dedicated to preserving the endangered bottomland hardwood forest and providing within it a peaceful retreat where artists and scholars can work uninterrupted. A program of Tulane University’s ByWater Institute, A Studio in the Woods focuses on interrelated areas of programming including artistic and scholarly residencies, forest restoration, and science-inspired art education for children and adults. For more information, visit: www.astudiointhewoods.org.
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
The Climate Museum will also be celebrating the Climate Museum hub, the Museum’s first temporary space. The hub features an interactive room where you can create and share your own climate signal. In addition, together with the NYC Climate Action Alliance, they are presenting Climate Changers of NY, a series of large-scale portraits by David Noles celebrating New Yorkers who are making a difference.
The climate crisis requires us to think, talk, and act together. The intention of both Climate Signals and Climate Changers is to move us toward that connection and engagement. Join The Climate Museum!
Danielle Eubank, a Los Angeles-based painter dedicated to painting bodies of water across the world, has been nominated for the Human Impact Institute’s 2018 Creative Climate Awards in Manhattan, NY, opening Sept 17, 2018.
“I have made it my life’s work to show audiences the preciousness of water,” says Eubank. “I have dedicated the last 17 years to showing the diversity of water and encouraging audiences to really look at it.”
Her depictions of the oceans are a mixture of realism and abstraction, inviting us to create our own ideas of water from different perspectives. Examining water from different parts of the world, she deconstructs its form into separate abstract stacks of textures, shapes, and colors.
In addition to enticing audiences to reallylook at distinct water sources she paints, she will ask the audience to do two practical things, now, to take action to address climate change. She has created handheld cards with her artwork on one side and suprisingly simple steps we all can take to help combat climate change, on the other. The audience is encouraged to put two on their person, in their pocket, and carry them around with them.
Eubank began painting all of Earth’s oceans in 2001. She has traveled over 30,000 miles on sea, painted more than 200 bodies of water, and visited 21 countries. She strives to facilitate public conversation about water issues through her work and experiences. Using mostly oil paints to document these bodies of water, she works to bring awareness to issues like climate change and water conservation.
She plans to visit Antarctica in February 2019 to paint her last ocean–the Southern Ocean. For more information see www.oneartistfiveoceans.com
Human Impacts Institute are social entrepreneurs who create and share innovative approaches to tackling social and environmental issues. Programs pair artists and scientists to engage new audiences in climate change solutions, bring youth to the boardroom, and get policy makers’ hands dirty as they care for local street trees. The Institute is action-oriented. The Institute helps people of diverse ages and backgrounds connect personally to the most pressing environmental issues. The Institute believes the environment is not separate from our society and that healthy communities, stable economies, and social equity cannot exist without environmental well-being. They go beyond doling out information in hope that people will change. Instead, they inspire people to transform their behavior by making issues personal to their lives.