Open Call: In Other Tongues Now Accepting Registrations

In Other Tongues is now accepting registrations. Held at the beautiful Dartington Hall in southwest England from June 7-14 2017, it comprises an international gathering/conference from June 7-9 followed by a small-group residential short course from June 10-14.

Keynote speakers at the conference are Prof. Wendy Wheeler and poet Alyson Hallett; other presenters include sound artist Tony Whitehead, leading us into the sonic world of night-time and dawn-time; Felix Prater, Laura Cooper and Cherie Sampson helping us discover animal lives and our animal selves; Lori Diggle, Nancy Miller and others reminding us of the power of myth and story-telling and its continuing and new relevance; John Hartley will take us on to the river; Stephan Harding will be joining us to explore the science of interspecies communication. Others are materialists, guiding us to new insights into stone, field, water, fungi. We will encounter languages familiar and strange, and we’ll aspire to co-annunciate new forms of communication together through this unique gathering amongst the long, heady days of summer along the River Dart in some of England’s most beautiful countryside.

Download more details at or visit

The short course is led by Alyson Hallett and writer-illustrator Mat Osmond. Throughout the course visiting guests will (thus far) include acclaimed poet Alice Oswald and’s Director Richard Povall. Creative use of words form the core of the course along with image-making, voice and embodied exercises. We will work both indoors and outdoors as we deepen and attune more to ourselves and our experiences of place. Numbers are very limited.

Open Call: Inner Nature, Against the Tide 2017/18


until April 30th, 2017

1. Open call

In its third edition, INNER NATURE EXHIBITION has consolidated its reputation as an independent international exhibition about art, ecology and contemplation. Its interdisciplinary and decentralized vocation transcends the conventional form of audiovisual festivals to include other strategies for mobilizing and connecting very different territories around the world.

The intention is to contribute to a critical cultural movement that can help, through eco-social commitment, to create awareness and to invite collective participation. The first two editions of the exhibition took place in different art spaces in Spain, France, Finland, USA and Chile. Starting from this year, the show becomes biannual with the aim of widening and strengthening the interaction among all the art centers adhering to INNER NATURE NETWORK.

2. Theme

The third edition will revolve around the theme of water, an essential element for life. Water cycles and availability have been drastically modified by the effects of climate change and pollution, two anthropogenic phenomena that, among others, are causing alterations of ecosystems.

Moreover, the evocative potential of water and its antithesis – the aridity of the desert – is a recurrent element in the work of artists who re-signify traditional symbols and iconography from a more contemporary perspective. Our purpose is to collect some contemporary proposals that tackle this issue through an ecological approach.

3. Participants

Artists working both individually and collectively are welcome to apply. All submissions must be original. If they contain images whose copyright belongs to other authors, the participants must meet the national legislation on copyright.

4. Format

Artists may submit video artworks in formats such as AVI, MOV, MPEG, FLV, ASF, 3GPP, with a good screening quality in order for them to be shown on different types of screens and devices. Their duration must not exceed 5 minutes.

5. Submission of works

Artworks can be submitted until April 30th, 2017 through the online application form available at:

In order to ensure anonymity and transparency in the selection process, artists have to use a pseudonym. Moreover, the works must not contain any information regarding their authors. If the author’s name were visible in the opening or closing credits, it should be covered or pixelated before the submission of the work.

Therefore, an anonymous version of the work must be uploaded to an online repository (like vimeo, youtube, etc.) where it can be viewed at the highest possible quality. Artists should not use their personal youtube or vimeo account but must create a new one in which any reference to their identity is omitted. When completing the online form, artists will include the link and -in case of a private video-  the password to view the artwork. Files directly submitted to Inner Nature e-mail address or sent on physical formats (DVDs, USB, etc.) will not be accepted.

Selected artists will be notified by e-mail and will be asked to send the original work and personal details within a period of 15 days after the notification. If the organizers do not receive any information after this deadline, the artist and his or her work will not be included in the exhibition. The file submitted in this last phase must be exactly the same as the one that was uploaded online. Any change or re-editing of the work will result in exclusion from the show.

6. Evaluation criteria

The submitted videos will undergo a pre-selection process in which the works that do not meet the minimum technical requirements for a proper display on different types of screens and devices will be excluded. Then, a panel of experts will choose the works that proceed to the final selection according to the following criteria:

– coherence with the exhibition concept

– originality and innovation of the artwork

– formal and technical quality

– meaning and conceptual strength

The final selection will be carried out by the centers hosting the travelling exhibition. The centers’ coordinators will vote in full independence according to the above-mentioned criteria. Focus on the following thematic areas will be positively valued:

– Visibilization of eco-social issues related to water: global warming, waste, ice loss in polar areas, flooding of coastal regions, pollution and overexploitation of aquifers, etc.

– New ecological transition models giving priority to basic human needs over economic and business interests.

– Innovative formulas for effective community management of water resources.

– Critical analysis of the impact of large infrastructures for water exploitation and management.

– Opportunities for critical interventions of new media technologies for alternative approaches to water management.

– Symbolic and evocative aspects related to water, exploring the potential of contemplation for fostering empathy, interdependence and environmental care.

7. Selection results

The selection results will be published on INNER NATURE´s site in July 2017. Selected artists will be notified personally by email and will be asked to send the original work and personal details within a period of 15 days after the notification. In case of shared authorship, one artist shall act as a representative of the collective that created the submitted artwork.

The selected works will be divided into two sections:

  • Official section: it includes the most appreciated and best rated artworks. The total duration of this selection will be of approximately 30 minutes.
  • Variable section: it consists of highly-appreciated videos that were not included in the official section and whose total duration does not altogether exceed 20 minutes.

In case of a technical tie between two or more videos, the team of the Polytechnic University of Valencia will decide which artwork will be included in the show.

The official section is the core of the exhibition and will be shown at all art centers participating in the project. The official selection may also include the work of an artist of international renown invited by the organizers and whose research is particularly significant in relation to the theme of the show.

In addition, partners and collaborating centers have the possibility to adapt the selection of works to their specific needs and local concerns by adding one, some, all or none of the videos belonging to the variable section. All artworks belonging to the variable section will be included in the opening of the exhibition in Valencia, and will be granted visibility through INNER NATURE website, press releases, publications, social media, etc.

8. Travelling exhibition

The selected videos will be part of collective show which is scheduled to travel to several exhibition spaces in Spain and internationally. The opening of the show will be held in Valencia (Spain) at the IVAM Museum of Contemporary Art ( in November 2017, concomitantly with the Conference of the Parties (COP 23) to the UN Convention on Climate Change.

The exhibition will then travel to other places in Spain such as Las Palmas de Gran Canaria (Espacio Guia), Teruel (Human and Social Science Department), Salamanca (Espacio Zink), Gijón (PACA), Valencia (La Posta Foundation) and Las Tablas de Daimiel National Park (Cultura de Ribera). Furthermore, it will also be shown in other countries: at Climate, Sustainability & the arts (CSArts) at Temple University in Philadelphia (USA), at the Botanical Garden of Marnay-sur-Seine (France) and El Lobi in San Juan (Puerto Rico).

The organizers will make all the necessary effort to maximize exhibition opportunities during 2018 in order to give the widest possible visibility to the works. Artists will be informed about each exhibition and at the end of the travelling show will receive a certificate including all the venues.

9. Funding

INNER NATURE is a non-profit initiative that runs on volunteer work and depends on grants offered by public institutions related to the mission of the project. Artists agree to show their works in the exhibition without a fee and are offered international exposure. INNER NATURE team works actively to obtain funding: our aim is to create a network as a strategy to gain collective strength and visibility in order to influence public institutions and demand greater commitment to the field of culture and the environment.

Depending on the budget of each edition, our team will consider the possibility of supporting the people and/or the art centers involved in the project to cover expenses related to the acquisition of equipment, display rights, artists, technicians or cultural managers´ fees, etc.

10. Intellectual property rights 

The authors of the selected artworks will transfer their rights for free exclusively for the public screening of the videos in the travelling exhibition. Their authorship will always be acknowledged, contributing to the widest possible visibility of their work. Moreover, the videos will be included in the website of the show ( in the form video fragments or in their entirety, according to the authors’ will.

The organizers can use stills of the artworks or little fragments of the videos (less than twenty seconds) to promote the show through posters, press releases, the internet, etc., always mentioning the authors’ names in the photo credits.

If the videos contain fragments whose copyright belongs to other artists, INNER NATURE EXHIBITION is not responsible for the misappropriation or misuse of those images. The authors must certify that they hold the intellectual property rights of the submitted works according to the legislation in force.

11. Acceptance terms and conditions

Participation in this project implies understanding and acceptance of these terms and conditions in their entirety. The organizers hold the right to make changes and take initiatives, if they contribute to improve the quality and impact of the exhibition.

Download pdf


Visual Arts Residency / Sabhal Mòr Ostaig – National Centre for Gaelic Language, Culture and the Arts, Isle of Skye, Scotland.

Applications for the 2017 International  Jon Schueler Scholarship will be open on 27th February 2017.

The residency will take place from Mon 25th September –  Friday 15th December 2017.

Closing date for applications Monday 3rd April 2017,  5pm GMT


Applications are now being welcomed for the fifth Jon Schueler Scholarship, Visual Artist in Residence, an exciting international residency opportunity  to take place in Skye in the summer/autumn of 2017. In a unique international partnership between Sabhal Mòr Ostaig, the National Centre for Gaelic Language, Culture and the Arts (Scotland) and the Jon Schueler Charitable Trust, with support from the Royal Scottish Academy.  The successful applicant will have the opportunity to come and research, develop and produce work for 3 months in the dedicated artist’s studio in a spectacular setting overlooking The Sound of Sleat, the place which so inspired Schueler as an artist.

The Scholarship is open to international artists (including Scottish and UK) working to the highest level of contemporary professional practice in a visual medium and with a particular interest in landscape and the environment. Artists must have completed formal arts education at least 3 years previously.

The annual (2013 -2020) visual arts scholarship has been set up in celebration and in memory of the life, work and artistic influence of internationally renowned artist and abstract expressionist, Jon Schueler (1916-1992), in recognition of his very special relationship with the landscape and environment of the Sound of Sleat.

The aims of the residency are 1. to provide a visual artist working to the highest level of contemporary practice a period of research, development and production in a unique environment, 2. to promote Skye, The Gaeltachd and Scotland as an exciting, distinct and inspiring place to work for a contemporary artist, and to promote the exchange of ideas.

The residency is for 12 weeks from  Mon 25th September – Frid 15th December 2017.

The Artist will receive:

• a residency fee of £8,000 for the 12 week period

• an allowance of £500 for materials

• provision of an artist’s studio with ICT support

• reasonable travel costs of a single return trip to undertake the residency in Skye (12 weeks) met in full as part of the scholarship

• accommodation on campus

The Scholarship will enable a visual artist to come and work in and from the large Visual Arts Studio, based within the FÀS Centre for the Creative and Cultural Industries, Sabhal Mòr Ostaig, in a rich and multi-disciplinary arts environment. The Stiùidio Ealain is a custom-built working Visual Artist studio. Perched high over the rocky shoreline and looking out over the Sound of Sleat and Knoydart, its generous space includes double height ceiling (in part), outside access, sink room, storage and blackout blinds.

In addition to the provision of the generous studio, the Artist will have access to our sound recording studio and extensive reference library with two collections of  national and international significance – the ‘MacCarmaig’ and ‘Celtica’ Collections, together creating one of the most important collections of antiquarian books of Gaelic and related materials in existence anywhere in the world. It may also be possible, by special arrangement, to have access to a range of film, editing and post-production facilities on site.

Artists will be given the opportunity during their residency to engage with the Gaelic Language and Culture and also have the opportunity to meet with other artists working in different art forms: film, literature, drama and music. There will also be opportunities to meet with artists working within the local area. This is hoped will encourage the exchange of ideas.

“ I am so grateful to be given this opportunity of discovery, that has opened my eyes to a new way of looking. I will treasure this experience. It will remain with me and influence my work for the rest of my life.” Takeshi Shikama, Jon Schueler Artist in Residence 2013.

“Being given the opportunity to work for three month in the unique context of Gaelic Culture and Language, based on the breathtakingly beautiful Island of Skye, and surrounded by supportive and engaging people, has opened new routes in my work for me. This residency is without doubt one of the most stimulating I have ever been involved in.”

Helmut Lemke, Jon Schueler Artist in Residence 2014.

   Sabhal Mòr Ostaig Background Notes

   Visual Arts Studio Plan

   About the Jon Schueler Scholarship

   Scholarship Guidelines



Mon 27th Feb  2017 – applications open  for SJS 2017, web-link live

Mon 3rd April 2017, 5pm GMT – Closing date for applications

Wed 20th April 2017- shortlisted artists invited for interview

Frid 26th May  2017 – Interviews , Royal scottish Academy, Edinburgh/ and via skype

Frid 9th June 2017 – announcement of successful candidate with press release


Frid 1st September  2017 -applications open  for SJS 2018, web-link live

Mon 16th Oct, 5pm GMT 2017 – Closing date for applications

Thurs 2nd Nov 2017 – shortlisted artists invited for interview

Friday 24th Nov  2017 –  Interviews, Royal scottish Academy, Edinburgh (tbc)/ and via skype

Frid 8th Dec 2017 – announcement of successful candidate with press release


Frid 31st Aug 2018 -applications open  for SJS 2019, web-link live

Mon 15th Oct, 5pm GMT 2018 – Closing date for applications

Thurs 1st Nov 2018 – shortlisted artists invited for interview

Friday 23rd Nov  2018 –  Interviews, Royal scottish Academy, Edinburgh (tbc)/ and via skype

Frid 7th Dec 2017 – announcement of successful candidate with press release


Frid 30th Aug 2019 -applications open  for SJS 2020, web-link live

Mon 14th Oct, 5pm GMT 2019 – Closing date for applications

Thurs 31st Oct 2019 – shortlisted artists invited for interview

Friday 22nd Nov  2019 –  Interviews, Royal scottish Academy, Edinburgh (tbc)/ and via skype

Frid 6th Dec 2019 – announcement of successful candidate with press release

“Ambulatory Knowing”: Architecture, Access, and the Anthropocene

This post comes to you from EcoArtScotland

This post is jointly authored by Holly Keasey and Fiona P McDonald (Bio below), another resident on the Santa Fe Art Institute’s Water Rights Programme.

By ‘becoming knowledgeable’ I mean that knowledge is grown along the myriad of paths we take as we make our ways through the world in the course of everyday activities, rather than assembled from information obtained from numerous fixed locations. Thus it is by ‘walking along’ from place to place, and not by building up from local particulars that we come to know what we do.
‘Footprints through the weather-world: walking, breathing, knowing’ – Tim Ingold (2010)


Walking is generally assumed as a basic mode of transportation. However, walking (or any movement based on ability) through a place when undertaken as a collaborative tactic finds its way into becoming something else – a way of knowing and doing. Walking for Holly is a way to get lost and yet find what she did not know was already embodied knowledge through making connections between her feet, this place and that which she carries with her from other places. The practice of walking is something she shares with Fiona, who uses walking as a methodology central in her anthropological and collaborative work. By embracing anthropologist Tim Ingold’s logic of “ambulatory knowing”, Holly and Fiona set off on foot and offer a narrative of their shared visual observations from almost 20miles of walking, particularly considering how architecture may be tied to accessibility in New Mexico during the Anthropocene, our human-made geological epoch.

72 hours after arriving in Santa Fe, a group of Santa Fe Art Institute (SFAI) Residents headed to learn more about local fabrication facilities. While we left our residency on the campus compound by car to arrive in the industrial area where these facilities are located, we then left this industrial zone on foot. We set our destination to be the downtown plaza, a major tourist site. According to Google Maps, it was going to be a mere 4.2mile walk. The intent of our journey on foot was to get a better handle on what we perceived to be the urban sprawl of Santa Fe. In this instance in Santa Fe, we are both tourists and temporary residents/researchers in-place to carry out work that contributes to global conversations around water. To know the terrain, its waterways, and its urban nuances is critical to our work, knowledge we felt was best acquired through walking through place where we will be for several weeks and months.


As we moved beyond the industrial area, a space that appears to be in the process of revitalization with a range of art centers tucked around each corner, we arrived at Agua Fria Street, a main traffic artery that draws commuters to and from the downtown plaza. Unaware at this point that we were undertaking an ethnography on foot, what has since resulted is the realization that we were not only becoming geographically oriented, but we were witnessing the socio-economic divides that the main transportation arteries create in Santa Fe, observations that now inform core research questions during our tenure in Santa Fe.

We crossed Agua Fria to consider a brief toilet break at Frenchy’s field. However, we pressed on without stopping. Unbeknown to us, had we abandoned the path set out by Google Maps and embraced Holly’s approach of wandering, our first impressions of the socio-economic divide of Santa Fe would have been very different. We might have followed the Santa Fe River trail (see our observations below on that walk, taken more recently) that moves pedestrians and cyclists through more affluent communities. Yet we continued on the path of Aguia Fria Street where we observed what appeared to be makeshift wooden and wire fences guarded by a variety of dogs from frantically barking Pit Bulls to a jack-in-a-box Pekingese who warned residents of our presence on the pavement. Our perception of the American ideal of independence and property ownership played out along this single 3 mile stretch, with individual properties reflecting a range of values from ornamentation to fortification, to clustered communities off the beaten path.

Holly pausing in her footsteps to look at cluster dwelling in Santa Fe, New Mexico

Holly pausing in her footsteps to look at cluster dwelling in Santa Fe, New Mexico

As we pressed closer to downtown in the space between the intersectional roads of St. Francis Drive and South Guadalupe Street an economic divide became apparent. The adobe vernacular we had seen in the previous three miles, often in disrepair, was now well-maintained and occupied by art galleries, restaurants, schools and homes with low-fences so that passersby could see the manicured yards with local vegetation accompanied by rock installations. It felt to us that the community along Agua Fria Street is undergoing a constant compression of gentrification from both ends. We wondered, when squeezed so far, where will this community go and what policies are driving property shifts in Santa Fe?
The following Saturday, to escape the campus compound once more and locate Santa Fe in the greater expanse that is New Mexico, we abandoned our feet and took the highway seventy miles North following the Rio Grande to Taos. The main area of Taos holds many similarities to Santa Fe, with adobe-style housing and dramatic shifts in socio-economic situations radiating outwards from the central tourist orientated plaza to the leisure mecca of Ski Valley. Yet beyond the town, and truly off the beaten path, is the ‘Greater World Earthship Community’ – a 633 acre subdivision containing nothing but earthship style homes. Here we ventured on foot to explore what we could of this biotecture community.

Holly taking steps in learning about biotecture in New Mexico.

Holly taking steps in learning about biotecture in New Mexico

Sample structures of the Greater World Community of Earthships, New Mexico

Sample structures of the Greater World Community of Earthships, New Mexico

Investing $7 each to enter the Earthship Visitor Center to learn about structures, materials, etc., (too complex to go into here) our conversation drifted to the concept of “sustainability” in the anthropocene. We found ourselves mesmerized by the exclusivity of the community and what the front-end costs are for participating in this lifestyle. As one of three Earthship communities in New Mexico, and part of a larger network across the US that began in the 1970s, one can join this community and purchase a newly built structure for just over $1.5 million US Dollars (as we were told in the visitor center). Playing in here to what Van Jones terms the “eco-elite” (2007).

On our third excursion off the campus compound in the three weeks since arriving, we decided to explore the Santa Fe Rail Trail multi-use pedestrian system, the elusive path we did not know to take during our pause at Frenchy’s field on our first walking odyssey. In walking this trail for 8 miles, we, again, observed disparate socio-economic communities, this time divided by the parched bed of the Santa Fe River. Again, closer to the main roads where the Santa Fe Trail crosses over, communities similar to that along Aguia Fria Street are visible. Edge deeper along the trail network and communities framed by high fences appear as they conceal well-maintained adobe homes with renewable energy sources on their roofs and water catchment practices in their backyards.

Sample of Sustainable Energy on a private residence

Sample of Sustainable Energy on a private residence

What we discovered in the act of ambulatory knowing in Santa Fe is that development and accessibility to secure, sustainable lifestyles appears to be exclusive. The individuals and families to whom it appears inaccessible are those being compressed by brownfield and urban gentrification, or hugging major roadways. By prioritising economic growth, and then the environment (as a capitalised resource) over social equality, there is something in our current understandings of sustainability that grows mainly out-of-sight in the interstitial spaces of policy, urban planning, and environmental consciousness. Something that can become knowledge through curbside learning and walking. It is in this action of walking and visual observation where we find the questions we need to ask in our own work about policy, law, regulation, and planning as our work here develops with each passing day and the paths we find ourself walking down.

Photos by Fiona P. McDonald


Ingold, Tim. 2010. “Footprints through the weather-world: walking, breathing, knowing.” Journal of the Royal Anthropological Institute: S121-S139.

Jones, Van. 2009. Beyond Eco-Apartheid. Available at:–beyond-ecoapartheid

Welch, Bryan. 2009. “Earthships: The Power of Unconventional Ideas.” Available at:

Taos and the Greater World Earthship Community. Homepage:

Bio for Fiona P. McDonald, PhD. (Anthropologist, Curator)

Fiona P. McDonald is the 2016-2019 Postdoctoral Researcher at Indiana University—Purdue University Indianapolis (IUPUI) Arts and Humanities Institute. She is also a 2017 Water Rights Resident at the Santa Fe Art Institute. Fiona completed her PhD (2014) in the Department of Anthropology at University College London (UCL) in visual anthropology & material culture. Her dissertation is entitled Charting Material Memories: a visual and material ethnography of the transformations of woollen blankets in contemporary art, craft, and Indigenous regalia in Canada, Aotearoa/New Zealand, and the United States. This project was undertaken as both an historic and contemporary visual and material ethnography of the material nature and transformations of woollen (trade) blankets that were produced in the United Kingdom since the seventeenth century. Her work addresses both historical and contemporary uses of woollen blankets through a direct examination of the pluralistic histories that things and objects have when re-worked and recycled by contemporary artists and customary makers in North American and Aotearoa New Zealand. Fiona is currently translating this research into a book project.

Fiona is also the co-founder of Ethnographic Terminalia Collective (ETC) (est.2009), an international curatorial collective that curates exhibitions at the intersections of arts and anthropology. ETC have curated and organized exhibitions and workshops across North America (Philadelphia, New Orleans, San Francisco, Montreal, New York, Austin, Chicago, Denver, and Vancouver) where they aim to move academic research beyond the academy through public engagement.

Research interests are: Water, Energy studies, Indigenous material and visual culture, repatriation, oral histories, contemporary Indigenous art, curatorial theory, performance theory, and museum studies.


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 ResearchGray’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

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Stop the Presses! It’s Community Supported Paper at Fresh Press

This Article Appeared First on Paperslurry 

What if handmade paper was at the farmer’s market, along with your favorite tomatoes and freshly baked loaf? Or, maybe there’s a snazzy notebook made from prairie grass paper in your CSA box.

You’re not daydreaming—community supported paper is a reality, thanks to Fiber by Fresh Press.


Fresh Press is a hand papermaking studio at the University of Illinois at Urbana-Champaign. Founded by Eric Benson and Steve Kostell in 2012, this microbrewery of paper researches agri-waste fibers for possible use at the commercial scale (read this overview here).

Fresh Press, handmade paper posterHand papermaking from farm and agricultural plants at Fresh Press

Driving on the highway through the center of Illinois, through blurry stretches of cornfields, the idea of using farm fiber starts to make sense. Fresh Press experiments with farm fibers such as cornstalks and eggplant vines, instead of forests, opening up the potential to reduce greenhouse gas emissions and help American farmers.


Fiber by Fresh Press is the newest project stemming from their mission.

You might already be familiar with Community Supported Agriculture (CSA), an alternative economic system for local food distribution (individuals subscribe for a share of the farm harvest, and then receive yummy fresh food at regular intervals).

Take the same idea, but replace the food with handmade paper made from nearby soy stalks, tomato vines, prairie grasses, and recycled paper scrap.

Fibers by Fresh Press, hand made papers

Currently, Fiber by Fresh Press offers drawing papers, notebooks, and sketchbooks, packaged for students and professors on campus (they hope to expand the project to the public soon). The papermakers are students at the University of Illinois who also grow and harvest the plants at the Student Sustainable Farm.


Serendipitously, I had a chance to stop by the studio to meet co-founder Eric Benson and also Natalie Smith, the Fresh Press studio manager. They were kind enough to give me a tour, take a peek through the flat files, and poke around the farm.

Handmade paper at Fresh Press

Fresh Press papermaking studio flat filesHandmade paper by Fresh PressFresh Press at the University of Illinois Urbana-Champagne

The papermaking studio is nicely outfitted with a David ReinaHollander Beater, hydraulic press, and an enviable group of moulds and deckles.

Fresh Press Papermaking Studio, moulds and deckles, Reina Hollander Paper Beater, Hydraulic Paper Press

Student Sustainable Farm

Student Sustainable Farm

Imagine having this alternative for buying paper—a delivery of art papers and journals from your local hand papermaker. Excited yet?

by May Babcock


The CSPA Quarterly, our print and digital publication on issues related to Sustainable Development and the Arts, is now offering advertising space! Support this excellent publication and the CSPA while reaching a unique audience.

Ad space purchased in the digital and print versions include cross-platform promotions our homepage.

Download the CSPA Advertising Guidelines to see rates and options. To submit a request for space, fill out this form or email





Arts & Sustainability 2016 Residency Report Published

This post comes from Creative Carbon Scotland

“CCS’s Arts & Sustainability Residency is becoming a major intersection point for artists and the most significant thinkers in sustainability.” Chris Fremantle, independent arts producer, writer & researcher

In September 2016, eight artists were invited to participate in CCS’s annual Arts & Sustainability Residency, working with facilitators Jan Bebbington (Professor of Accounting and Sustainable Development, Director, St Andrews Sustainability Institute) and Lex ter Braak (Director, Van Eyck Institute, Maastricht, Netherlands), and partnering with Cove Park.

Over an intensive three-day programme, participating artists were asked to reflect upon and develop their understanding of how their practices connected with themes surrounding the burgeoning field of the Anthropocene, and the wider cultural shift towards a more environmentally sustainable society.

Key questions and themes discussed included:

  • The contested starting points of the Anthropocene and the social, political and creative implications contingent on each of these;
  • The cultural responses that an understanding of geological deep time provokes;
  • The historical role of the artist in society;
  • Developing robust theories of change which can provide practical hope in addressing the transition away from unsustainable practices.

Download the Arts & Sustainability 2016 Report.

Arts & Sustainability 2016 Report Published 1

As well as supporting the development of artistic practices in Scotland, the Arts & Sustainability Residency plays an important role in shaping CCS’s thinking and work. Key learning points stemming from the residency on CCS’s role included:

  • Actively developing and brokering relationships artists and sustainability experts and institutions, helping to set the right terms for the ways in which artistic practices can contribute to environmental sustainability contexts;
  • Supporting and facilitating commissioning opportunities for the development of new artistic
    work in this area with other cultural organisations;
  • Continuing to create opportunities for learning and knowledge/practice exchange such as the residency and Green Tease events;
  • Making the most of artists’ curiosity and readiness for the unknown within the context of
    the challenges surrounding issues such as climate change.

CCS created a space where artists were not under pressure to produce new work, however, this hothouse of ideas organically gave way to inspiration, learning and forward planning. This allowed for a thorough reflection on creative practice and I left the residency feeling enriched, reassured and, in question of my working practices – all alongside a new, and growing, understanding of what my practice is about. I found [the Arts & Sustainability Residency] to be a transformative learning experience and I am excited to see where these new connections and understandings will lead.” Kathy Beckett

The post Arts & Sustainability 2016 Residency Report Published appeared first on Creative Carbon Scotland.

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.

Go to Creative Carbon Scotland

Holly Keasey: Santa Fe Art Instutite Water Rights Residency – Introduction

This post comes to you from EcoArtScotland

Holly Keasey is currently undertaking a residency at the Santa Fe Art Institute as part of the Water Rights programme. During the next 8 weeks Holly will be sending regular updates.

“156. Why is the sky blue? -A fair enough question, and one I have learned the answer to several times. Yet every time I try to explain it to someone or remember it to myself, it eludes me. Now I like to remember the question alone, as it reminds me that my mind is essentially a sieve, that I am mortal.

157. The part I do remember: that the blue of the sky depends on the darkness of empty space behind it. As one optics journal puts it, “The color of any planetary atmosphere viewed against the black of space and illuminated by a sunlike star will also be blue.” In which case blue is something of an ecstatic accident produced by void and fire.”
― Maggie Nelson, Bluets (Wave Books, 2009)

A primary observation when arriving in Santa Fe, New Mexico is blueness. Blueness not of water like I am accustomed – that blue filled with surrounding green and a durational dampness – but rather blueness that reflects a niggling lack. A blue where no cloud resides.

A second observation enforces that niggle further as you become physically aware that breathing in this geographical climate, and therefore basic survival here, is a laboured task.*

And a third observation then pushes that niggle down into the gutturals, as the dominant ‘Santa Fe Style’ architecture** conjures up an uncanny reminder of Disney World and yet inside a fe-adobe building you can still find an independent coffee shop, generic in style and intended cliental to any recently gentrified area.


Yet, it is observations like these that make Santa Fe a prime site for reflections on ecological situations developing across the globe and fortunately, many individuals, community groups and organisations here are already undertaking such reflections and acting upon them. This includes Santa Fe Art Institute (SFAI) that run an annual residency programme with set thematic, which for 2016/17 is ‘Water Rights’.

SFAI was established in 1985 by William Lumpkins and Pony Ault to provide unique opportunities for artists to conduct brief, intense periods of study. The current programme format continues and expands upon this original intention, hosting over fifty local, national or international creative thinkers, artists, designers, educators, policy makers, poets, architects, journalists, and activists to reflect on the issue of ‘Water Rights’ for one to three month periods. During these times, residents are able to establish a network of peers working within a common context; are provided support to develop collaborations such as with the Land Arts of the American West programme and the Academy for the Love of Learning; encouraged to develop their professional profile through press coverage with media consortiums such as Circle of Blue; given access to the community workspace MAKE Santa Fe; and invited to attend interdisciplinary discussions with other research institutes such as Santa Fe Institute that conduct research on complex system-theory application.

That said, the primary purpose is to provide residents the time and space to conduct research and/or develop new work in relation to ‘Water Rights’ which may, one-day, indirectly impact the water rights of the surrounding area.

New Mexico is a state where all its waters sources are transboundary (i.e. are shared with other States), a situation that continues to add to a complex history of water rights influenced by the cultures of the Pueblos, the Spanish Colonists and US Federal Government. This history includes occurrences, such as the use of written law as a weapon of dominating power, that reflect Karl Wittfogel’s theory of the Hydraulic Empire, when control of a society is established through the manipulation of its water supply.11 My particular area of research during this 8-week residency will be on this misuse of law and whether non-specialists can develop tactics that makes use of their potential misunderstandings of intended meaning to create space to dream of alternatives. This research will be part of an on-going body of performative work that aims to establish a need for critical formations of public art to aid ecologically sensitive modes of living, with a particular focus on Water Sensitive Urban Design.

So far though, myself and several of my fellow residents have spent our time soaking in much needed doses of vitamin D as we say hello to the sun after dark winters whilst accepting that altitude sickness has a similar and undesirable effect of a heavy night of drinking and a life-time smoking habit, and it can last twenty-five days.

* The human body works most efficiently at sea level whilst at high altitudes the saturation of oxyhemoglobin in the blood plummets. Santa Fe is situated at 7198 feet above sea level.

** Also known as Pueblo Revival style, it is a regional architectural style that is mandate on all new-buildings in the central Santa Fe area. This includes the use of rounded corners, irregular parapets and thick battered walls to simulate original adobe construction.

Holly Keasey is an artist currently based between Dundee and Stockholm. She graduated with a BA in Art, Philosophy and Contemporary Practice from the University of Dundee in 2011 and completed a post-masters course in Critical Habitats from the Department of Architecture at the Royal Institute of Art, Stockholm in 2016. Holly’s focus is on the performative role of public art and her approach to practice has led her to take on a variety of roles including Chair-person for the Generator Projects Committee, lead-artist for the Clyde River Foundation and writer-in-residence for Doggerland. More recently, Holly has produced collaborative designs with artist-design Jessie Giovane-Staniland including finalists in the tender competition for the restaurant design of the Dundee branch of the Victoria and Albert Museum; been the DD artist-in-residence at THIStudios; and recently exhibited a solo show at the Scottish Jute Museum. She is currently working with Studio Mossutställningar to program work challenging the urban development at Norra Djurgardsstaden, Stockholm and producing a one-off publication with Kathryn Briggs of Ess Publications on over-coming trauma through aesthetics.

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 ResearchGray’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

Retrofitted yacht uses off-the-shelf solar & wind products to power its educational journey to Cuba

This post comes to you from An Arts and Ecology Notebook

Vittoria Energy Expedition is sailing from DC to Cuba, visiting communities along the way where renewable energy is making a difference.

An overhauled and retrofitted 31-foot yacht has been transformed into a floating classroom and mobile renewable energy adventure vessel, with the aim of documenting how communities and individuals are putting clean energy to work for them.

As opposed to some of the other solar and wind powered boats we’ve featured, which entail either cutting-edge or custom renewable energy systems, as well as huge funding investments, the Vittoria Energy Expedition (VEE) team put together its systems entirely from off-the-shelf products that are readily available right now. This approach fits with its mission to highlight the reliability, affordability, and practicality of wind and solar power, and to bridge the gap between the concept of renewable energy and actually employing it.

“The world is changing. In our back yards, across distant lands and oceans, ordinary people are transforming the way we power our lives. Our journey is to uncover their stories. This is why we explore. To see the future. To draw a new map of what’s possible and where we’re going.” – VEE

Vittoria Energy Expedition

© Vittoria Energy Expedition
The Vittoria is said to be capable of producing all of its own electricity, not just for its onboard navigation and lighting systems, but also to power its 14 kW electric motor as well, with the aim of being completely energy-independent on its voyage. The vessel sailed from Washington DC in the fall of 2016, has sailed some 900 miles so far, and is currently in Hilton Head, South Carolina, where it will soon set off again to sail down the coast to Miami and Key West, and from there to Cuba. Along the way, the crew is documenting the ways that renewable energy is changing lives and making a difference in practical and affordable ways, with the intent of bringing those stories to life via digital media and a web video series.

Vittoria Energy Expedition

© Vittoria Energy Expedition

“We believe in learning by doing. Moving beyond talking points into practical application, the team designed and built out our 100% renewable-powered cruising classroom, Vittoria. Using only off-the-shelf clean energy products, the off-grid ship embodies Team Vittoria’s pursuit of energy independence. Sharing lessons learned along the way, we host renewable energy classrooms in the destinations we visit, offering community groups, youth organizations, and local leaders first-hand experience with these readily-available technologies.” – VEE

“I think Vittoria Energy is really about the future. It’s about the future of energy policymaking. It’s about the future of energy thinking. It’s about the future of how we educate and inspire people to think about how we can really deliver on 21st-Century energy technology, which is rooted primarily in renewables.” – Michael K. Dorsey, Sierra Club Board of Directors

The VEE team aims to document the expedition through a combination of film, interactive mapping, and social media, in order to “tell the captivating story of everyday people pioneering real-world energy solutions,” with the renewable energy innovations that are already readily accessible. Find out more at the Vittoria Energy Expedition website.

This post comes from the RSS feed of Treehugger, you can find more here!

An Arts & Ecology Notebook, by Cathy Fitzgerald, whose work exists as ongoing research and is continually inspired to create short films, photographic documentation, and writings. While she interacts with foresters, scientists, and communities, she aims to create a sense of a personal possibility, responsibility and engagement in her local environment that also connects to global environmental concerns.

Go to An Arts and Ecology Notebook

Upcoming Events in the New York Sustainable Arts Community

Pictured Above: Global View of the Blued Trees Symphony 20′ x 30′ on view at KRICT, Daejeon, South Korea, until May 31st 2017.

Care as Culture:
Artists, Activists and Scientists Build Coalitions to Resist Climate Change
A Convening Around the Peace Table
February 12th, 2:00pm to 5:00pm
Location: Queens Museum
Mierle Laderman Ukeles’ Peace Table, serves as the site for convenings on peace, from
the personal to citywide to global. Ukeles and the Museum have conceived a series of
public programs meant to engage and contemporize some of Mierle Laderman Ukeles: Maintenance Art‘s important themes.Care as Culture is the final convening that brings the perspectives of eco-artists, activists, and experts on climate change together to interrogate and enrich culture’s place in the movements for environmental justice.

Reflecting What prevents us from working together and how can we advocate for change? Case study speakers include Newton HarrisonThe Natural History Museum,Natalie Jeremijenko, and Mary Mattingly.

Respondents include Carol BeckerFrancesco FiondellaAllan FreiHope Ginsburg, Alicia GrullonAmy LiptonLisa MarshallJennifer McGregorAviva RahmaniJason SmerdonStephanie Wakefield, and Marina Zurkow.


February 16, 8:30am to 10:00am
Location: Nassau Suite East/West, 2nd Floor
Chairs: Katharine J. Wright, The Metropolitan Museum of Art; Gillian Pistell,
The Graduate Center, The City University of New York
General Idea’s Normal Art
Alex Kitnick, Bard College
Chris Burden’s Institutional Accomplices
Sydney Stutterheim, The Graduate Center, The City University of New York
Using Copyright Law to Reclaim the Spirit of Art as a Revolutionary Act in
The Blued Trees Symphony
Aviva Rahmani, Institute of Arctic and Alpine Research, University of Colorado Boulder
Regular Sessions; Sessions
Art History-Contemporary Art
Art History-Public Art
Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism

Inclusion in
The Wasteland?
Opening February 9, 6pm – 8pm
Location: Central Booking, 21 Ludlow St., NYC, NY

Finally, check out the most recent Gulf to Gulf recording: “After the Tsunami.