Lipton

Where Have All the Flowers Gone

This post comes to you from EcoArtSpace

ecoartspace has a current exhibition of works by 32 artists on view at The Paramount Hudson Valley in Peekskill, NY through October 6th. Many of the works included are inspired by the Pete Seeger song Where Have All the Flowers Gone? on the occasion of his September 8, 2013 “Return to Peekskill” concert at the Paramount in partnership with WAMC radio. The exhibition is jointly organized by Amy Lipton of ecoartspace and Simon Draper, founder of Habitat for Artists. To read the full blog post and view the artworks for sale please click HERE.

ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

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Sue Spaid reviews Expo 1: New York, Dark Optimism at PS1. Intro by Amy Lipton

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244820899c73d0d08db6fa098f16eab2Expo 1: New York, focuses on some of the most pressing environmental and sociopolitical issues of the day. It takes the urgent and pragmatic sensibility of “Dark Optimism” as its position. Dark Optimism addresses ecological challenges set against the backdrop of economic turmoil and sociopolitical upheaval that has made a dramatic impact on daily life. In response to these global challenges, the magazine and editorial collective Triple Canopy calls for “dark optimism,” an attitude that encompasses both the seeming end of the world and its beginning, one that is positioned on the brink of apocalypse and the onset of unprecedented technological transformation. Climate change has generated storms, droughts, and floods that occur with greater frequency and severity. Economic volatility around the world has precipitated political action, giving rise to manifestations and uprisings in regions such as Northern Africa, the Middle East, Western Europe, and New York’s Wall Street. Meanwhile technological innovations and novel architectural initiatives offer the tantalizing promise of a brighter future. Recent advancements have facilitated communication – which at times has helped organize political protests-as well as access to information with such ease and volume that it threatens to become overwhelming in scale. The works exhibited in Dark Optimism make note of these paradoxical conditions and the instabilities of both natural and artificial systems. – wall text at PS1 MoMA

I’ve made three visits to PS1 MoMA’s exhibition Expo 1: New York, Dark Optimism, and have tried unsuccessfully to find anything in the exhibition that reflects the museum wall statement quoted above. As a curator who has focused on working with ecological artists for over a decade, I went to PS1 with excitement to see this challenge (finally) being taken on by a major New York institution for contemporary art. The show was organized with good intentions in direct response to the effects of last year’s Hurricane Sandy and its far-reaching impact on our local environment and economy, on coastal communities and in New York City. Unfortunately I have to express my disappointment. The works in the exhibition refer to the title Dark Optimism, presenting the dark, apocalyptic and catastrophic in current art trends.  My co-curator of the landmark 2002 exhibition Ecovention, Sue Spaid, aptly calls it “catastrophe art” in her review below. Sadly missing are examples of the many important artists working today whose efforts do offer some cautious optimism. Our environmental situation is dire to say the least. Myriad issues conspire towards our demise – climate change; land, sea and air pollution from the relentless extraction of fossil fuels; oil spills and nuclear leaks; habitat destruction; species extinctions; the list goes on and on.

In the New York area alone there are numerous artists, established and emerging, making profound and inspiring works that tackle these issues, but they are not represented in this exhibition. Brandon Ballengee, Lillian Ball, Joan Bankemper, Jackie Brookner, Betsy Damon, Michele Brody, Wendy Brawer, Mel Chin, Elizabeth Demaray, Peter Fend, Katie Holten, Natalie Jeremijenko, Kristin Jones, Eve Andree Laramee, Ellen Levy, Lenore Malen, Mary Miss, Maria Michaels, Mary Mattingly, Aimee Morgana, Eve Mosher, Leila Christine Nadir, Cary Peppermint, Aviva Rahmani, Andrea Reynosa, Christy Rupp, Jenna Spevack, Alan Sonfist, Katrin Spiess, Tattfoo Tan, Mierle Ukeles, – to name a few. And that list doesn’t include the many artists outside of New York, internationally, or the hundreds of painters and photographers who make work representing and bringing awareness to environmental issues. No exhibition can be completely inclusive – but a show on ecological challenges in New York City has been long awaited and this is a real missed opportunity to give the topic the seriousness and depth it deserves.

Thanks to the daily programming of lectures, debates and discussion by Triple Canopy at PS1 in conjunction with the exhibition – Speculations (“The Future is____________”). A few of the artists I mentioned above, Natalie Jeremijenko, Mary Mattingly and Mierle Ukeles (and Agnes Denes, the one historical ecological artist included in the show) were invited to come discuss their visions for the future and give a presentation on their works that go beyond addressing environmental challenges to offering creative, imaginative and pragmatic approaches to the dire problems we face. That is what I call optimism.

Expo 1: New York “Dark Optimism” remains on view through September 2, at MoMA PS1

Amy Lipton
Curator ecoartspace NY

Expo 1: New York
Dark Optimism May 12-September 2, MoMA PS1
Rain Room May 12-July 28, MoMA, West Lot
School May 13-July 28, MoMA PS1

According to its press release, Expo 1 is a “festival-as-institution,” enabling people to explore “ecological challenges in the context of 21st century economic and socio-political instability.” This statement indicates MoMA PS1’s neoliberal delusion, since instabilities rather mitigate “ecological challenges.” Consider Europe’s diminished car sales since 2008. Greater stability typically invites capital investments and development, which deplete natural resources and animal habitat, while intensifying climate change, flooding, desertification, and groundwater contamination. Consider the BRICS nations, whose swelling ecological challenges reflect their expanding ecological footprints.

Dark Optimism, which assembles 35 solo exhibitions, is the satellite around which Expo 1 revolves. The curatorial team (more than twenty collaborators) has also organized a school (50+ Triple Canopy events), kitchen garden (for M. Wells dishes), colony inhabiting cultural agents, cinema, ProBio (mini-expo), community center (VW geodesic dome sited in Rockaway to showcase relief shelters and 25 proposed climate-change survival plans), and Rain Room. As compared to Olafur Eliasson’s magical Your strange certainty still kept (1996), the high-tech Rain Room adjacent MoMA eradicates wonder. The metaphorical approach of the smaller exhibition ProBio fails to uncover anything remarkable as compared to works by dozens of artists who explore technology’s actual impact on human bodies.

The curators claim that the presence of so many simultaneous activities enables PS1 to experiment with “social practice,” yet none of the invited artists are especially known for sparking conversations or engaging unsuspecting spectators. Absent merry makers, “social practice” is reduced to ever more festival spectacles and educational programs. Of the fifty artists, filmmakers, and novelists invited to lecture and/or lead discussions in response to Triple Canopy’s suggestion, “The future is___”, only Ruth DeFries, Natalie Jeremijenko, Agnes Denes, Mary Mattingly, and Mierle Laderman Ukeles confront ecological issues. This dearth of eco-personnel further devalues this festival’s stated goals.

Opposing Dark Optimism is The Politics of Contemplation, fifty dramatic Ansel Adams photographs from 1932 to 1968. Shot mostly in Yosemite National Park, Yellowstone National Park, and the San Mateo County Coast, they record nature’s fragility and majesty. One might say that Dark Optimism “surveys a landscape of wilderness and ruins, darkened by uncertain catastrophe. Humankind is being eclipsed and new ecological systems struggle to find a precocious balance.” However, I am quoting the New Museum’s 2008 press release for Against Nature. As a trilogy, Against NatureSeptember 11 (2011), and Dark Optimism launch a new genre, “catastrophe art.”

Exemplary of stability’s role in augmenting ecological challenges, Olafur Eliasson’s Your waste of time (2006/2013) presents twelve glacier chunks transported from Vatnajökoll (Iceland’s largest glacier) and displayed in a solar-powered refrigerated gallery. Equally cynical is Cinthia Marcelle’s video depicting a bulldozer performing crazy eights atop an already flattened field. Equally over-the-top is Adrián Villar Rojas’ La inocencia de los animales (2013), an indoor amphitheater whose colossal scale evokes Berlin’s Pergamon Museum. With its simultaneous references to antiquity and post-apocalyptic Earth, La inocencia seems straight out of Planet of the Apes. Absent bathers, Meg Webster’s reconstructed Pool (1998/2013) makes promises but negates possibilities, which is this exhibition’s leitmotif.

By presenting artworks focused on natural or manmade catastrophes, Dark Optimism overlooks artists’ endeavors to prophesy or alleviate preventable disasters. Rather than exhibit any of the novel ecological solutions that dozens of ingenious artists working on every continent have implemented —over the past forty years—the curators present artworks that merely react to our planet’s terrible situation, leaving Earth’s ill-health as yet another arena for appropriation. Colonization offers a better description. In this context, Agnes Denes’ Wheatfield:A Confrontation, which presaged Wall Street’s ascendancy and global food shortages, is less a testament to human potential and more a nostalgic monument to pre-9/11 innocence. Once a clever solution, Gordon Matta-Clark’s Fresh Air Cart (1972) is now a sign portending doom. One leaves thinking, “What’s bad for Earth is good for art,” as if disaster photographs now provide artistic inspiration. Peter Buggenhout’s three fascinating sculptures evoke mud-encrusted metal structures, while Anna Bettbeze fabulous wall hangings hint at acid-stained or flood-ravished carpets.


Pierre Huyghe
Zoodram 5 (after Sleeping Muse by Constantin Brancusi) 2011
Live Marine ecosystem, sculptured shell, basalt rock and filtration system


John MIller, A Refusal to Accept Limits (detail), 2012
The curators claim that Dark Optimism reflects the future that is, “if you want it to be there,” yet few artists here glance forward and most treat catastrophes too lightly. Given wolves’ moose diets, Mircea Cantor’s short video Deeparture (2005) proved to be incredibly scary, as I envisioned the wolf devouring its lone cohabitant. Belittling lynchings, Mark Dion’s Killers Killed (2004-2007) features nine tarred and lynched predators. As remarks on consumer excess, Klara Lidén’s nine trashy trashcans and John Miller’s gold-plated recyclables feel trite.

No “catastrophe art” exhibition would feel complete without Chris Burden’s model Titanic ships balanced on the Eifel Tower, Latifa Echakhch’s shattered tea-glass installation, Mitch Epstein’s menacing power-plant photographs, Paweł Althamer’s outerspace zombies, or Pierre Huyghe’s staged battle between elegant arrow crabs and a hermit crab inhabiting Brancusi’s Sleeping Muse.

Premised on utopia’s twin promises of harmonious nature and technological liberation, “catastrophe art” actually distracts us from Earth’s generosity, leaving us unwilling to face our destructiveness fully and practically. Only Ugo Rondinone’s sensorial soundscape and Dan Attoe’s intriguing paintings rise above this exhibition’s passivity towards disaster, precisely because they invite possibility. Attoe’s hidden messages warn people to pay attention to past mistakes, and remind us, “This world has everything that you could ever want.”


Meg Webster. Pool. 1998/2013. Installation view of EXPO 1: New York at MoMA PS1.
Photo: Matthew Septimus.
Sue Spaid, 2013

This review first appeared in Issue 113 of H art, a Flemish art journal


Natalie Jeremijnko top and Mierle Ukeles bottom (photos: Amy Lipton) from Triple Canopy’s School at PS1 Speculations (“The Future is____________”) 

ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

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Beyond the Surface: Environmental Art in Action

This post comes to you from Cultura21

A conference investigating relationships between art and the environment

May 31, 2013, 9 am – 5 pm, Schuylkill Center for Environmental Education, Philadelphia (USA)

Bringing artists & arts professionals to Philadelphia to explore ways art can create environmental awareness while restoring ecological systems. With: Lillian Ball, Sam Bower, Jenny Laden, Stacy Levy, Amy Lipton, Eve Mosher, Frances Whitehead.

“No longer content with scratching the surface of environmental problems, these artists want to move beyond the surface to engage audiences in becoming part of the solution.”

5-7 pm: Reception celebrating Rain Yard, the Schuylkill Center’s new permanent environmental artwork by Stacy Levy.

Conference Details & Online Registration: click 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

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It’s the End of the World as We Know it (and I Feel Fine)

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It’s the End of the World as We Know it (and I Feel Fine) curated by Amy Lipton, opened on January 31st at Ramapo College Gallery in Mahwah NJ and will be on view through March 6th. The exhibition explores contemporary views of nature and habitat expressed through landscape painting and drawing. The artists included; George Boorujy, Adam Cvijanovic, Peter Edlund, Joy Garnett, Kimberley HartEve Andree Laramee, Sarah McCoubrey, Jason Middlebrook, Aviva Rahmani, Lisa Sanditz, Charlotte Schulz, Eva Struble, Sarah Trigg and Marion Wilson envision the natural world in relationship to pressing environmental issues.

Taken from a 1987 song by the band R.E.M., It’s the End of the World as We Know it (and I Feel Fine) this somewhat ironic title suggests the possibility that by avoiding complacency and with awareness, intelligence, compassion and activism, solutions to environmental problems will be found to avoid potentially catastrophic results. The works attempt to meet the challenges of the new ecological imperative by bringing attention to the viewer of the need for protection, preservation and action.  Artists often have a prophetic role and throughout history have alerted us to problems that are unforeseen or overlooked. Using realism, fantasy or process as a source for imagination and transformation, they seek to create an awareness of loss and beauty in the marginal, the overused and the threatened.

Images of the exhibition taken by Joy Garnett can be seen HERE.

ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

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Shifting Baselines exhibition close Feb. 6th, 2013

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The Santa Fe Art Institute has extended Shifting Baselines with installations by Cynthia Hooper and Hugh Pocock through Feb. 6th, 2013. Here is a sneak peak of the exhibition:


ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

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Agnes Denes stretches the canvas as far as it can go – NYTimes.com

This post comes to you from EcoArtScotland

Thanks to Amy Lipton for highlighting this interesting article in the NY Times on Agnes Denes and her multifaceted work.  If you don’t know Wheatfield – a confrontation, then check it out, but also look at Denes’ drawing.

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.
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Hello 2013 from EcoArtSpace

This post comes to you from EcoArtSpace

Amy Lipton and Patricia Watts of ecoartspace would like to wish you all a transformative 2013! Since 1999 we have worked with hundreds of artists to bring art and nature programming to both traditional and alternative venues across the globe. We have recently updated our 2011 and 2012 projects pages and are looking forward to upcoming programs this year. We will continue to interview artists for the ecoartspace video archive and have residency/exhibitions opening this winter including Shifting Baselines at the Santa Fe Art Institute in New Mexico opening January 7th, and It’s the End of the World as We Know It (and I feel fine) at Ramapo College, New Jersey opening January 30th. And, this spring at the World Financial Center in conjunction with the Festival of Ideas and the New Museum Ideas City in New York City we will curate an outdoor shipping container project titled “Untapped Capital.” More information on these shows coming soon!

ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

Go to EcoArtSpace

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Works on Water at the Marin Community Foundation

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Works on Water opened at the Marin Community Foundation on October 5th and will be up through February 5th, 2013. This is the second of three exhibitions curated by Patricia Watts of ecoartspace for the foundation over a year period. Included are 30 artists and 120 artworks that address water issues in a wide range of media and focus. To see a list the artists and images of the works please go HERE. Given the extreme water scenario we find ourselves dealing with here in the USA with Hurricane Sandy on the East coast and a severe drought in the Southwest, this exhibition could not be more timely. The foundation offices are open Monday through Friday 9-5pm and admission is FREE. For more information and directions to the foundation please visit the Facebook event page HERE.

ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

Go to EcoArtSpace

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Monsantra

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Patricia Watts, ecoartspace founder and west coast curator was recently invited to write a short essay for a gallery exhibition catalogue titled Monsantra published by TNG Gallery in Calgary featuring the work of Canadian artist Wendy DesChene and American artist Jeff Schmuki. The essay is online HERE. Since 2006 when she curated Hybrid Fields at the Sonoma County Museum, there have been numerous exhibitions and many artists creating work that explores our food systems. Most recently at the Smart Museum is Feast: Radical Hospitality in Contemporary Art curated by Stephanie Smith, which closes June 10th in Chicago, and upcoming Fall 2012 Green Acres at the CAC in Cincinnati curated by Sue Spaid.
 

“Using GMO seed obtained from the Monsanto Corporation, artists Wendy Deschene & Jeff Schmuki have grafted genetically modified food plants onto remote controlled robotic bases, constructing artificial organisms with no clear heritage or future.”
The exhibition runs through June 9th, 2012.

ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

Go to EcoArtSpace

Amy Lipton’s 5×5 Project

This post comes to you from EcoArtScotland

Amy Lipton of ecoartspace has been selected as one of the five curators for DC Creates’ 5×5 project.  She has in turn selected five artists (Brandon Ballengée, Chrysanne StathacostoHabitat For ArtistsNatalie Jeremijenko, Tattfoo Tan) develop work for sites across Washington.  The project runs from 5 March to 27 April and ecoartscotland will post more on this project in due course.  Richard Hollinshead of Grit and Pearl based in NE England has also been selected. 

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