The University Museum at SIUC is seeking applications for Sustain, a juried collegiate recycled art exhibition. Sustain has been organized to feature college artists working with recycled and waste materials in their work.

Three winners will be selected whose work and artist profile will be printed in a pamphlet about the exhibition and in the online catalog on the SIUC University Museum website.  The online catalog will also feature all of the exhibitions selected works.

Artwork will be selected for the exhibition on the basis that it consists of at least 70% waste material, and innovatively transforms this material into an intriguing work of art.  Jurors for the exhibition will be recycled glass artists, John Drury and Robbie Miller of C.U.D who have pioneered methods for creating art from recyclable materials.

The prospectus is available on our website,  http://www.museum.siu.edu/documents/Sustain%20PDF.pdf

Questions contact Nate Steinbrink Curator of Exhibits, nstein@siu.edu

As ecoartspace prepare for exhibitions, projects, and program for 2012, we realize that our website has not been updated in two years. In the coming weeks we will post a review of our 2011 activities. Stay tuned, we have our largest and most interesting projects happening this year!!!

ecoartapace is one of the leading international organizations in a growing community of artists, scientists, curators, writers, nonprofits and businesses who are developing creative and innovative strategies to address our global environmental issues. We promote a diverse range of artworks that are participatory, collaborative, interdisciplinary and uniquely educational. Our philosophy embodies a broader concept of art in its relationship to the world and seeks to connect human beings aesthetically with the awareness of larger ecological systems.

Founded in 1997 by Tricia Watts as an art and nature center in development, ecoartspace was one of the first websites online dedicated to art and environmental issues. New York City curator Amy Lipton joined Watts in 1999, and together they have curated numerous exhibitions, participated on panels, given lectures at universities, developed programs and curricula, ad written essays for publications from both the East and West Coasts. They advocate for international artists whose projects range from scientifically based ecological restoration to product based functional artworks, from temporal works created outdoors with nature to eco-social interventions in the urban public sphere, as well as more traditional art objects.

ecoartspace has been a project of the Social and Environmental Entrepreneurs in
Los Angeles since 1999.
Go to EcoArtSpace

Too Shallow for Diving: the 21st Century Is Treading Water

The “Land“ artists in the 1970s as well as artists like Joseph Beuys and Agnes Denes in the 1980s paved the way for the ecological artists today and for art to act as an agent for social change.

Today environmental art includes various approaches and issues. Artists employ urban landscapes as well as other environments in order to serve as a platform to show their concepts to their audience. Sustainability has found its way to art and culture and artists see new ways of enacting change and of collaborating e.g. with scientists.

The exhibition Too Shallow for Diving: the 21st Century Is Treading Water contributed to this process and the artists’ desire for social engagement. This wide-ranging show supported this trend, which has been the theme of numerous films, writings and exhibitions over the past decade.

Too Shallow for Diving put the focus on problems surrounding water and its impact on our natural world, human health and public welfare. The Curator Carolyn Speranza stated, that “…the sixteen artists aim to provide viewers with new insights and perspectives about our existing world and the enormity of the dilemma facing our water supply.”

More information about the artists and the exhibition can be found in a review in the Artes Magazine here.

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

- Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
- Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
- Hans Dieleman (based in Mexico-City, Mexico)
- Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

On May 6, 2011, H20: The Art of Conservation, at the Water Conservation Garden, San Diego, CA, will open to the public. Green Public Art reviewed over 1100 artists portfolios before inviting 14 San Diego artists to participate in the exhibition which offers San Diego homeowners an artistic alternative to incorporate water conservation into their own garden spaces. Green Public Art awarded each artist a mini-grant to develop their site-specific sculptures. In the weeks leading up to the exhibition opening the artist’s concepts will be revealed on this site. Questions? Contact Rebecca Ansert, Curator, Green Public Art at rebecca@greenpublicart.com.

CONCEPT: My sculpture will mimic the flow and reflective qualities of water. By recycling plastic bags to build my structure, I urge others to consider our uses of man-made materials, especially that of plastic which takes 10-20 years to decompose. People do not recycle their plastics consistently, possibly because of the confusion of which kinds are recyclable. Here, I do not wish to mandate how we should consume products, but only to question how we consume them and to what degree we are dependent on them.  My sculpture will cover the rock layout on the east side of the Cactus and Succulent Garden with my crocheted plastic form.  The design will split off after 144 inches, as does the rock formation and continue to the end of this formation, 164 inches further.  The piece will be 48 inches wide, covering all the rocks laying on the ground, and will be anchored down with rocks as well as ground stakes

ABOUT: Dia Bassett was born and raised in San Diego, California.  She is a Masters of the Fine Arts candidate at San Diego State University.  She received her B.A. from Point Loma Nazarene University in 2003.  In 2001, she began an eight-month stay in Florence, Italy to study sculpture, archeological conservation, and Italian.  She has a background in theatre, which led to her participation in the Eveoke Dance Theatre Performing Group from 2004-2005.  Most recently, she has exhibited works at UCSD in the Hyperlocal Identities exhibition. In June 2010, Dia traveled to London using the Isabel Kraft Sculpture Scholarship, in order to participate in an Oxford workshop with Lucy Brown and to research textile and art collections at various institutions such as the Tate Museums, The Victoria and Albert Museum, the Royal College of Art, and the Saatchi Gallery.

Rebecca Ansert, founder of Green Public Art, is an art consultant who specializes in artist solicitation, artist selection, and public art project management for both private and public agencies. She is a graduate of the master’s degree program in Public Art Studies at the University of Southern California and has a unique interest in how art can demonstrate green processes or utilize green design theories and techniques in LEED certified buildings.

Green Public Art is a Los Angeles-based consultancy that was founded in 2009 in an effort to advance the conversation of public art’s role in green building. The consultancy specializes in public art project development and management, artist solicitation and selection, creative community involvement and knowledge of LEED building requirements. Green Public Art also works with emerging and mid-career studio artists to demystify the public art process. The consultancy acts as a resource for artists to receive one-on-one consultation before, during, and after applying for a public art project.

Go to Green Public Art

ecoartspace is one of the leading international organizations in a growing community of artists, scientists, curators, writers, nonprofits and businesses who are developing creative and innovative strategies to address our global environmental issues. We promote a diverse range of artworks that are participatory, collaborative, interdisciplinary and uniquely educational. Our philosophy embodies a broader concept of art in its relationship to the world and seeks to connect human beings aesthetically with the awareness of larger ecological systems.

Founded in 1997 by Tricia Watts as an art and nature center in development, ecoartspace was one of the first websites online dedicated to art and environmental issues. New York City curator Amy Lipton joined Watts in 1999, and together they have curated numerous exhibitions, participated on panels, given lectures at universities, developed programs and curricula, ad written essays for publications from both the East and West Coasts. They advocate for international artists whose projects range from scientifically based ecological restoration to product based functional artworks, from temporal works created outdoors with nature to eco-social interventions in the urban public sphere, as well as more traditional art objects.

ecoartspace has been a project of the Social and Environmental Entrepreneurs in
Los Angeles since 1999.

Go to EcoArtSpace

About the Exhibition:

TPS Reports: Performance Documents is an exhibition of the “stuff” that results from performances: detritus, photographs, drawings, sculptures, videos, etc.  We are not interested in the documentation of the performance itself, just the results. We are mostly looking for the items that were made as the primary goal of the performance.

About The Theme:

How does this stuff live on after the performance? Is it possible or necessary to understand the performance based on what is created through it?

Eligibility:

Open to all artists worldwide.  Work is limited in size to no more than 1x1x1 meter.

How to Submit Your Work:

Please submit the following items in one email to tpsreports@spacecampgallery.com

• Up to 5 artworks
  • You may include up to 3 views of detailed or 3D work)
  • JPG or PDF for non-moving work
  • MP4, WMA, or Quicktime for video or other time based work
• Artist Statement about the work
• Artist Biography, 3rd person
• Artist Resume or CV
• Image List including size, media, date, and sale price (if for sale)
• List of special instructions/requirements for installation
  • Please include your name in each file title (i.e. Jane Doe, Resume.doc)
  • Messages are limited to 25MB
  • Links are acceptable for large video files
  • All documents must be in either Word or PDF format.
  • Any accepted work may be used in promotional materials such as show cards or on the website.

Review and Selection:

Work will be reviewed by the curator. Artists will be contacted by November 15, 2010 and informed what works are selected for the exhibition.  Work will be due to the gallery by January 15, 2011.

Costs:

There is no submission fee to enter or participate, but artists are responsible for shipping both directions. Artists will receive 70% of the sale price for anything sold during the show.

Dates to Remember:

• Submissions due: October 5, 2010
• Artists informed of artwork selected for exhibition by: November 15, 2010
• Work received by gallery: January 15, 2011
• Exhibition: February 2011
• Opening Reception: First Friday February 4, 2011
• Artwork returned: End of February

About the Location:

SpaceCamp MicroGallery is a small contemporary arts gallery located in the Murphy Arts Building in Indianapolis, Indiana. SpaceCamp is dedicated to bringing small (size wise) but large (idea wise) national and international art to Indianapolis. The co-gallerists are Flounder Lee, Paul Miller, and Kurt Nettleton. http://www.spacecampgallery.com 

The Murphy is a collection of galleries, studios, and restaurants. It is also the temporary home of the Indianapolis Museum of Contemporary Art. The Murphy and SpaceCamp are located in the Fountain Square Arts District near Downtown Indianapolis. 

About the Curator:

Flounder Lee is an artist/curator/educator living in Indianapolis, Indiana. He has curated several recent shows such as Double Vision: A Dual Channel Video Festival and One Performative Night. He is an Assistant Professor of Photography at Herron School of Art and Design at IUPUI. He received his BFA from the University of Florida and his MFA from California State University Long Beach.

Thank you

Olive Bieringa, SEEDS co-curator

The theme of this year’s 10-day long SEEDS festival is NOURISHMENT: A crop’s environment—including soil, topography, and climate—imparts a characteristic taste and flavor and must be taken into consideration in cultivation. With care, through interaction we hope to create an ultra-lush, enriching, and regenerative culture in which to grow our art.

Come for a performance or a film, a workshop, a jam, or the whole festival!

You are also invited to sign up for workshops, for the whole festival, for research projects, in addition to evening  performances, discussions, jams, and films as well as the Saturday Community Day as part of your participation.

SEEDS workshops:

• Diego Piñon/Butoh Ritual Mexicano Dance<
• Benoît Lachambre/Extending the Comfort Zone<
• K.J. Holmes/Weathering<
• & PineCones <(an overnight event)
• Pedro Alejandro/Soft Body/Soft Terrain, Open Artist’s Projec<
• Dave Jacke/Eden Arising: Ecological Design as a Spiritual Practice<
• Plus performances, an ECO jam, disucssions, films, artists-in-residence, green m-Art, and more.

WWW.EARTHDANCE.NET/seeds

	Go to Flickr for behind-the-scenes photos and installation views.
	Read the Guided-Tour Guidelines.
	Curator Anne Strauss talks to Doug and Mike Starn about the exhibition.
	Download the audio file.  (7.97 MB)

Invited by The Metropolitan Museum of Art to create a site-specific installation for The Iris and B. Gerald Cantor Roof Garden, the twin brothers Mike and Doug Starn (born in New Jersey in 1961) will present their new work, Big Bambú: You Can’t, You Don’t, and You Won’t Stop, opening on April 27. The monumental bamboo structure, ultimately measuring 100 feet long, 50 feet wide, and 50 feet high, will take the form of a cresting wave that bridges realms of sculpture, architecture, and performance. Visitors will witness the continuing creation and evolving incarnations ofBig Bambú as it is constructed throughout the spring, summer, and fall by the artists and a team of rock climbers. Set against Central Park and its urban backdrop, Big Bambúwill suggest the complexity and energy of an ever-changing living organism. It will be the thirteenth-consecutive single-artist installation on the Roof Garden.

Above: Installation in progress, March 2010. Photo by Doug and Mike Starn. © 2010 Mike and Doug Starn / Artists Rights Society (ARS), New York.

More about the Exhibition
Big Bambú is a growing and changing sculpture―a vast network of 5,000 interlocking 30- and 40-foot-long fresh-cut bamboo poles, lashed together with 50 miles of nylon rope. It will continue to be constructed throughout the duration of the exhibition. The first phase of the structure―measuring about 100 feet long, 50 feet wide, and 30 feet high―will be completed by opening day, April 27. Subsequently, the artists and rock climbers will build up the eastern portion of the sculpture to an elevation of 50 feet. By summer, the western portion of the sculpture will be about 40 feet high. An internal footpath artery system will grow along with the structure, facilitating its progress. The evolving state of the work will be documented by the artists in photographs and videos.

Visiting the Exhibition
Visitors will be able to experience Big Bambú from the Roof Garden level, open to everyone during regular Museum hours, weather permitting, and to walk among a forest of bamboo poles that serves as the base of the sculpture. Alternatively, visitors will be able to explore the artwork on brief tours led by Museum-trained guides. On the guided tours, held during regular Museum hours, weather permitting, small groups of visitors will be able to walk along the elevated interior network of pathways roughly 20 to 40 feet above the Roof Garden. Tickets will be required for the guided tours, and specific guidelines will apply to those interested in participating. Please read them for details and requirements.

Tickets for guided tours will be able to be obtained only in person and will be available on a first-come, first-served basis with Museum admission at the Big Bambú Registration Desk, in the Uris Center for Education, located at the 81st Street ground-level entrance. Tickets will be available twice a day on Tuesdays, Wednesdays, Thursdays, Sundays, andHoliday Mondays, when the Museum is open to the public, and three times a day on Fridays and Saturdays. Tickets for morning tours will be released at 9:30 a.m. Tickets for afternoon tours will be released at noon. On Fridays and Saturdays, tickets for evening tours will be released at 3:30 p.m. There will be a limit of one ticket per person, and tickets will be nontransferable. All tour participants (other than children without identification) will be required to present photo identification to obtain a ticket.

About the Artists
Born in New Jersey in 1961, the identical twins Doug and Mike Starn work collaboratively and defy categorization, combining traditionally separate disciplines such as sculpture, photography, painting, video, and installation. In spring 2009, the Arts for Transitprogram of the Metropolitan Transportation Authority of New York City unveiled See it split, see it change, the Starns’ first public commission. The work, which is installed permanently at the South Ferry subway station, won the Brendan Gill Prize. Their work has been exhibited internationally and is included in public and private collections worldwide. Their solo exhibitions include Gravity of Light (2004, 2008), Absorption + Transmission (2005, 2006), Behind Your Eye (2004), Sphere of Influence (1994), Mike and Doug Starn: Selected Works 1985-87 (1988), and The Christ Series (1988). The artists live and work in the New York area.

Exhibition Organization and Credits
The exhibition is organized by Anne L. Strauss, Associate Curator of the Department of Nineteenth-Century, Modern, and Contemporary Art at the Metropolitan Museum.

The exhibition is made possible by 
Additional support is provided by Cynthia Hazen Polsky and Leon B. Polsky.
The exhibition is also made possible in part by the Jane and Robert Carroll Fund.
Rope is provided by Mammut Sports Group, Inc.

Doug + Mike Starn on the Roof: Big Bambú | Current Exhibitions | The Metropolitan Museum of Art.

February–November 2010

EAT LACMA is a year-long investigation into food, art, culture and politics. Fusing the richness of LACMA’s permanent collection with the ephemerality of food and the natural growth cycle, EAT LACMA’s projects consider food as a common ground that explores the social role of art and ritual in community and human relationships. EAT LACMA unfolds seasonally, with artist’s gardens planted and harvested on the museum campus, hands-on public events, and a concurrent exhibition, Fallen Fruit Presents The Fruit of LACMA (June 27-November 7, 2010). It culminates in a day-long event (November 7, 2010) in which over fifty artists and collectives will activate, intervene, and re-imagine the entire museum’s campus and galleries. EAT LACMA is curated by Fallen Fruit—David Burns, Matias Viegener and Austin Young—and LACMA curator Michele Urton.

Go to EcoLOGIC LA

Deadline for applications 5pm, Monday 23 November 2009

Call for artists from all disciplines interested in developing performance elements in their work

Artists (including students) from Devon and Cornwall are invited to make a proposal for Performance Market. Internationally acclaimed performance artist Marina Abramović will select seven artists to develop a site-specific durational performance work around Plymouth City Market. The aim of Performance Market is to support emerging performance practices and selected artists who will have the opportunity to take part in workshops and surgeries to develop their idea. 

Presented by Plymouth Arts Centre and the Marina Abramović Institute for Preservation of Performance Art in collaboration with the Live Art Development Agency. Performance Market is part of the symposium and exhibition The Pigs of Today are the Hams of Tomorrow, presenting new live durational performance works at The Slaughterhouse, Royal William Yard in Plymouth.

Deadline for applications by email: 5pm Monday 23 November 2009.
If you are unsure if your work is eligible please feel free to contact us. 
Find out more about how to apply or contact Caroline Mawdsley, Education and Outreach Curator

Performance Market is devised by Helen Pritchard and Caroline Mawdsley.

Go to RSA Arts & Ecology

http://www.spacescheshire.com/spacesapp/commissions.aspx

The deadline for submission of applications is midnight Wednesday 30 September 2009. Interviews will be held on Thursday 15 October 2009.

Framing Identity

8 May to 26 September 2010

From 8 May to 26 September 2010, Tatton Park will stage its second Biennial of contemporary art, with up to 20 commissioned works responding to the site and notions of identity that emerge from it. Landscape as a social platform; social divides reflected in landscape; a sense of place in relation to the macro- and immediate vicinity of the Park; the relevance of the boundary wall that encircles its 1,000-acres; people who work at the site and know it intimately and those who live in the very different estates that ring Tatton and are not included among its current visitors are all subjects of enquiry. The opportunity to re-examine the site as a living and evolving subject rather than as an historical keepsake is at the heart of 2010. 

Partners from across the arts and cultural sectors in the Northwest and the UK are working with the Biennial to deliver a programme that will extend the reach of the event to national and international audiences. There will be several commissioning opportunities involving multiple sites and organisations like museums, universities and community groups. 

There are three commissioning schemes: curators’ invitation; peer recommendation and open competition, which will work to develop the artistic scope of the Biennial as it locates itself as a dynamic laboratory for experimentation and exchange. Artists working internationally will be commissioned alongside some of the most innovative emerging artists in Britain, with work taking on a variety of media, from large-scale installation to film, video, book & web-works and performance, with new collaborations throughout.

www.tattonpakbiennial.org

Go to RSA Arts & Ecology

EXYZT | The Dalston Mill from RSA Arts & Ecology on Vimeo.

Radical Nature curator Francesco Manacorda and EXYZT architect Nicolas Henninger on the site of The Dalston Mill during the installation.

Go to RSA Arts & Ecology

There have been some blips and blurps over the past few weeks on the greenmuseum blog as we settle into this new, fancy-pants version of WordPress. It didn’t like our old theme. So we changed to this one. It’s Green. To mark the occasion, here’s a link to an excellent interview of Maja and Reuben Fowkes of translocal.org,  with discussion of everything from Sustainable Art with capital letters to curator Nicolas  Bourriaud, pictured above. A quote:

In general we prefer to talk about the sustainability of art,
rather than Sustainable Art with capital letters, as our
primary interest is in the implications of a broad notion
of sustainability for the whole of contemporary art,
rather than just a niche area, such as is associated with
the term Environmental Art. Artists that consider the
ethical aspects of their formal decisions, such as what are
the implications of the use of animals in art or of people
in community art projects, are in that sense giving
precedence to ethics, rather than aesthetics.

Fascinating. Discuss.

Go to the Green Museum

“I thought one could fuse the political ideal of social change with art”

Emma Ridgway, curator of The RSA Arts & Ecology Centre, interviews Gustav Metzger

Born in 1926 to Polish-Jewish parents in Nuremberg, Gustav Metzger is an artist known for his radical approach. His work responds directly to political, economic and ecological issues. Creating manifestos and events in the UK since the early 1960s, he developed the concept of Auto-Destructive Art and Art Strike movements, which addressed destructive drives both in capitalism and the art industry. He still makes challenging work and his ideas continue to be influential.

With his Flailing Trees one of the centrepieces of the Manchester International Festival, Gustav Metzger’s reputation as a major figure in radical art continues to grow. Emma Ridgway talks to the artist about his long career in art and activism.

via RSA Arts & Ecology – Interview | Gustav Metzger.

Go to RSA Arts & Ecology

From the Ashden Directory Blog:

Our DVD contribution to Earth Matters On Stage is now online. The interviewees address the question: ‘What Can Be Asked? What Can Be Shown? British Theatre in the Time of Climate Instability.’ (The interviews can also be watched individually.)

Quoting Rilke, Dan Gretton considers the value of quickening the pace of artistic response and cautions against the narcissism of frenzy.

On her allotment, Clare Patey explains how a year-long project changed the quality of the conversation amongst its participants.

In Brazil, João André da Rocha draws attention to the movement and shapes of rural life, especially popular dance, as a way of getting closer to Brazilian culture. (Transcript here.) 

From his office in the East End, Paul Heritage raises the question ofthose who are talked about rather than those who are talking.

With the Lake District as her backdrop, Wallace Heim asks how climate change differs from other political situations and how this might alter the ways in which theatre can be made.

Finally, Mojisola Adebayo performs the first moments of her play Moj of the Antarctic and wonders if some people in theatre think they’re above climate change.

You also can watch each person’s contribution as a separate sequence:
 

Dan Gretton

Dan Gretton, co-founder of PLATFORM 
responds to Mojisola Adebayo’s question, 
‘How far is art worth the damage?’ 
watch here
 

Clare Patey

Clare Patey, artist and curator 
responds to Dan Gretton’s question, 
‘Can you talk about the role that slowing down and reflectivity plays, both in your creative process and your interaction with your audiences?’ 
watch here 

João André da Rocha

João André da Rocha, performer, producer, People’s Palace Projects and Nós do Morro, Rio de Janeiro, Brazil
responds to Clare Patey’s question, 
‘How can we reunite culture and agriculture through performance?’ 
A transcript is here 
watch here 

Paul Heritage

Paul Heritage, producer, director People’s Palace Projects and Queen Mary’s University 
responds to João André da Rocha’s question, 
‘What steps are you taking to descrease the impact of your life in the world?’
watch here 

Wallace Heim

Wallace Heim, co-editor Ashden Directory, academic 
responds to Paul Heritage’s question, 
‘How can we listen to, see, feel and learn from those who are talked about rather than those who are talking in the great climate change debate?’
watch here 
 

Mojisola Adebayo

Mojisola Adebayo, artist, theatre-maker 
responds to Wallace Heim’s question, 
‘What would you keep from theatre and performance practice and what needs to change in response to climate instability?’ 
watch here 

The film is edited by Adam Clarke and directed by Wallace Heim.

‘What can be asked? What can be shown? British theatre and performance in the age of climate instabilit

For news of a panel debate here at the RSA around topics raised by this public commissioning initiative, featuring Grayson Perry, Munira Mirza, Andrew Shoben and Jonathan Jones, and hosted by Jon Snow see the main Arts & Ecology site.

Photo of Dream by Jaume Plensa courtesy of Channel 4

Go to RSA Arts & Ecology

Editors’ note: This commission is unique among those dealing with art and climate change in its focus on performance and theatre.

The Tipping Point Commissions are inviting artists to submit proposals for new performance work in the context of climate change. The proposals will be considered by a selection panel, leading to around four commission awards of at most £30,000.

The theme of climate change is intended to provide a springboard for the commissions. Artists are invited to submit projects that stimulate audiences towards the radical and imaginative thinking necessary to comprehend a world dominated by climate change. The Tipping Point Commissions are seeking proposals that offer creative reflections on a world that is rapidly changing and on humanity’s role and responsibilities within it.

Proposals can be made by practitioners of any performance discipline, as individuals or groups, by artists on their own or together with curators or producers.

Proposals must be submitted by 4 May at 5pm. Shortlisted applicants will be invited to develop ideas and attend an interview. The selection panel which will include:

• Graham Devlin: Chairman, Tipping Point (Chairman of Selection Panel)
• John Ashton: UK Foreign Secretary’s Special Representative for Climate Change 
• Nick Starr: Executive Director, National Theatre 
• Maresa von Stockert: Director, Tilted Productions 
• Cecilia Wee: Writer, Broadcaster and Curator

The criteria for the TippingPoint Commissions and the application form is available here.For further information, contact Angela McSherry.

www.tippingpoint.org.uk/commissions

Go to the Ashden Directory

Linda Weintraub, writer, curator, educator, and artist and author of a series of college textbooks entitled Avant-Guardians: Textlets in Art and Ecology.
Go to EcoArtSpace

The RANE ’Comprehending Nature’ Lecture Series for 2009 will include:

Andrej Zdravic 
9 March
Slovenian film and sound artist Andrej Zdravic has lived and worked across the US and Europe. Inspired by music and nature, he has created over 30 independent films focusing on the energies and spiritual aspects of natural phenomena. This screening of his film ‘Riverglass’ will be followed by a question and answer session.

Linda Weintraub 
20 April
Linda Weintraub is a curator, educator, artist, and author of several popular books about contemporary art. She is currently writing the fourth book in her eco-art series that is titled Avant-Guardians: Textlets in Art and Ecology. This series is designed to highlight and accelerate the integration of environmental principles throughout university art pedagogy.

Entry to the events is free, but you need to reserve a place.

www.rane-research.org

 Go to the Ashden Directory