Thanksgiving long past, and holiday feasts ahead, but I’m already stuffed, thank you, with this years’ steady eco-art diet of Land Art adventures and COP15 coverage. It’s hard not to feel overwhelmed with art-nerd-glee. There is such a thing as an information coma, I swear.
The art-and-landscape dishes started churning out of the Nevada Museum of Art kitchen with its LAND/ART symposium way back in June: that event kicked off a summer-into-fall series of lectures, performances, exhibits and tours that made NMA the best excuse to want to go to Nevada since Burning Man. Later in the year Land Arts of the American West, a field program directed by Chris Taylor, took some lucky followers on a tour of renowned site-specific installations and Land Artworks. Unfortunately, some of us had to stay at home with our Winnebagos, experiencing most of the glory over the internet.
This month, while the delegates at COP15 tried to negotiate our way into a non-binding middle ground, Ian Garrett and William Shaw told us what artists were doing to mitigate the damage. There’s great coverage of actions, protests and memes by Shaw on the RSA blog– Garrett did comprehensive exhibition coverage and interviews for CSPA. It seems the artworks that struck the most resonant chord were also political actions: New Life Copenhagen, The Yes Men’s fake press release, actions that addressed COP15’s inaccessibility and ineffectiveness. Comedian Eugene Mirman voiced a couple of unanswered questions. The philosophical culmination is GOOD COP, an alternative Bella Center installed at Gallery Poulsen Contemporary Fine Arts in Copenhagen, where everyone from Daryl Hannah to Bill McKibben got some time on the mic to make their international declarations. If the dialogue keeps running this fierce, I’m not worried. That is to say: Burp.