tag:blogger.com,1999:blog-88136837913972135772024-03-14T00:41:52.008-07:00Aldo & LeonardoA Wilderness Science and Art CollaborationGrant Poundhttp://www.blogger.com/profile/17131623254718360968noreply@blogger.comBlogger118125tag:blogger.com,1999:blog-8813683791397213577.post-14149049833106249162014-04-12T15:35:00.000-07:002014-04-12T15:37:57.656-07:00Noatak National Preserve Residency Interview with Andrea Spofford (July 15th-August 15th, 2014)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Floatplane return, backcountry trip two.</td></tr>
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<span style="color: #535353;">Bio:
<a href="http://andreaspofford.com/" target="_blank">Andrea Spofford</a>'s essays and poems have appeared or are forthcoming
in </span><i style="color: #535353;"><a href="http://velamag.com/walk-it-down/" target="_blank">Vela Magazine</a>, <a href="http://www.around-around.com/semantics/" target="_blank">Revolver</a></i><span style="color: #535353;">, the</span><i style="color: #535353;"> <a href="http://www.kudzureview.com/3.2.pdf" target="_blank">Kudzu Review</a></i><span style="color: #535353;">, the </span><i style="color: #535353;"><a href="http://www.cameron.edu/okreview/pdf/14_2.pdf" target="_blank">Oklahoma Review</a>, <a href="http://redpainthill.com/andrea-spofford.php" target="_blank">Red Paint Hill</a>, <a href="http://www.towncreekpoetry.com/FALL13/SPOFFORD_PIKES.htm" target="_blank">Town Creek Poetry</a>, <a href="http://www.sugarhousereview.com/current_issue.html" target="_blank">Sugar House Review</a>, </i><span style="color: #535353;">and </span><i style="color: #535353;"><a href="http://www.snakenationpress.org/product/gulf-stream-poems-of-the-gulf-coast/" target="_blank">The GulfStream: Poems of the Gulf Coast</a>,</i><span style="color: #535353;"> among others. Her chapbook, </span><i style="color: #535353;"><a href="http://dulcetshop.ecrater.com/p/18796907/everything-combustible-andrea-spofford" target="_blank">EverythingCombustible</a></i><span style="color: #535353;">, is available from Dancing Girl Press and her chapbook </span><i style="color: #535353;"><a href="http://www.redbirdchapbooks.com/" target="_blank">Qikiqtagruk: Almost an Island</a> </i><span style="color: #535353;">is
forthcoming from Red Bird Chapbooks. A native Californian transplanted to the
South, Andrea is Poetry Editor for <a href="http://www.apsu.edu/zone3/currentissue" target="_blank">Zone 3 Press</a>.</span><br />
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<a href="https://www.blogger.com/blogger.g?blogID=8813683791397213577" name="OLE_LINK4"></a><a href="https://www.blogger.com/blogger.g?blogID=8813683791397213577" name="OLE_LINK3"><span style="mso-bookmark: OLE_LINK4;"><span style="color: #535353;">It
is the intersection of person and physical place that characterizes Andrea’s writing
overall and the collaboration between science and art—the point where
conservation meets poetry—that most interests her. </span></span></a><span style="color: #535353;">Andrea participated in
the Noatak National Preserve residency in northwestern Alaska
from July 15th to August 15th, 2014.</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Q:
Why were you interested in participating at the Noatak National
Refuge residency?</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="color: #535353;">A.S.</span></i><span style="color: #535353;"> All of my work deals
with nature and conservation issues, place specifically. Recently my focus has
been on conservation and wilderness, but also how humans find their place in
wilderness and how we define wilderness.</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Alaska
was particularly appealing because it is stereotypically known as this last
frontier. Alaska is a wilderness area that I had never been to, and had wanted
visit for a very long time.</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">I
planned some Alaska trips, and they kept falling through, so I applied to this
program thinking, “Wow, this is right up my alley.” <span style="mso-spacerun: yes;"> </span>This is funny because Tama, Jess, and I
were all recommended by friends to apply to this program. I read through the
listing, and I thought that the Alaska biome sounded really perfect. It sounded
like the goals of the residency—celebrating the Wilderness Act while exploring how
we define wilderness and how we experience wilderness—seemed to be exactly what
I was doing in my poems and essays. I am always trying to find my place in the
natural world and reconcile my impact and influence upon it. That’s why I
applied and was specifically interested in Alaska. I was very excited when I found
out the location because there’s so much historical human interaction within
the landscape of the Noatak National Preserve. Getting to see how people
interacted with their landscape thousands of years ago was specifically
appealing to me.</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Q:
Why is the intersection of Art and Science so important to you and your work?</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Tundra and the onset of fall.</td></tr>
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<i><span style="color: #535353;">A.S.</span></i><span style="color: #535353;"> Well, first I
think scientific language is really interesting and I think there’s a lot of
overlap between scientific thought processes and creative thought processes. I
like to compare writing a formal poem like a sestina or a sonnet to
something that has a very specific format—much like an equation. You want to
get to a final product in as few steps as possible, but there’s an element of
creativity and thinking outside the box that’s necessary as well. There’s
satisfaction with writing a sestina that not only successfully follows
the pattern but is also very creative. I think there’s a similar thought
process that happens in the sciences and I think there’s a specific part of the
brain that both the sciences and the arts explore. <o:p></o:p></span></div>
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<span style="color: #535353;">My
writing reflects my interests. I read a lot of scientific articles and I
like to steal from that language because it is foreign and exciting to me as a
writer. I like to take these articles or issues and try to work through them in
my poems and essays; at the same time, I like to dissect the language and make
it something that I understand and that a layperson reader would understand as
well. In that way I feel like a translator, beholden to the original as
well as the new product. <o:p></o:p></span></div>
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<span style="color: #535353;">I
think there is a necessary collaboration between science and art when it comes
to wilderness in that there is an element of subliminity experienced by both
scientists and artists who devote their lives to wilderness issues. The overlap
is great and it just makes sense that there would be collaboration.<o:p></o:p></span></div>
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<span style="color: #535353;"> I
write so much about environment and place that I see part of my made-up job
description as being a translator for that. It seems it’s the same part of the
brain that goes into vivid descriptions, and a lot of my writing is very vivid.
The most exciting thing for me is to combine my personal experiences of
abstractions like place and environment with very physical and concrete
sciences. <o:p></o:p></span></div>
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<span style="color: #535353;">An
essay I wrote about Alaska can be found in <i style="mso-bidi-font-style: normal;">Vela
Magazine; </i>it addresses fishing but also ideas like, what is wilderness and
how do we interact with wilderness? There are hard facts in the essay but it is
also more thoughtful, philosophical, and tends to wander off into
tangents—that’s one of the best parts about writing, the ability to wander. <o:p></o:p></span></div>
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<span style="color: #535353;">I
like learning, and that’s why combining science and art is especially
interesting. It’s this opportunity to learn something I’m not familiar with; I
mean I’m not a scientist but sometimes I wish I was. This has become a
chance for me to explore something different and learn something new.</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Q:
What are some of your first reactions to the Noatak Wilderness?<o:p></o:p></span></div>
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<i><span style="color: #535353;">A.S. </span></i><span style="color: #535353;">It is really large, and it is
really, really quiet.</span><span style="color: #3e003f; font-family: Arial;"> </span><span style="color: #535353;">Mike
and I were the first floatplane trip out. At camp it was just Mike,
me, and the group’s gear. Tama, Jess, and Hannah were meeting us on the second
flight. It was so absolutely quite out there.<span style="mso-spacerun: yes;">
</span>When Tama, Jess, and Hannah arrived we could hear the plane from miles
and miles away because there was literally no other air traffic.<o:p></o:p></span></div>
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<span style="color: #535353;">That
said, it wasn’t completely silent; we heard some loons and foxes and the sounds
of grass and wind. It was quiet compared to the busy sound of Tennessee, almost
painfully so. </span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Q:
What do you believe to be a highlight to your time spent in
the Noatak Wilderness?</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="color: #535353;">A.S. </span></i><span style="color: #535353;">I think the three of us got
really lucky in terms of the people we worked with in the Park Service. The
Park Service employees in the Western Arctic National Parklands are some of the
most generous, kind, intelligent, and wonderful people I have ever met.
They went above and beyond to make sure we had an excellent experience so my trips
to the backcountry became this magical time. <o:p></o:p></span></div>
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<span style="color: #535353;"> In
terms of the backcountry, going into the Noatak the first day, that
rush of silence and how big Alaska actually is was amazing. <o:p></o:p></span></div>
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<span style="color: #535353;">On
the Nigu River, we got to participate in archaeological surveys. The
day we dug exploratory 50 x 50 centimeter squares was such a
great opportunity. In the pit Hannah and I dug, Hannah found an almost
perfect atl-atl spearhead that was dated to about 4000 years old. The next day they
found datable charcoal in the same pit. That time, at that place, felt like we
were doing real archaeology. We were getting to learn so much about the
people that worked with and lived upon the landscape thousands and
thousands of years ago.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Prepping fireweed blossoms for syrup.</span></td></tr>
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<span style="color: #535353;">In
town there was a day when we made fireweed syrup. We got up early,
and Tama and I went with Norma Booth and Frank Hays to collect
blossoms. Together we spent all day just making fireweed syrup and taste-testing
it. Later, Mike and Ann and Levi came over for lunch. It turned into
this all day, hanging out in Kotzebue experience. <o:p></o:p></span></div>
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<span style="color: #535353;">That
night everyone came over to our house and I made the salmon I caught the day
before. I caught my salmon off the seawall and it weighed about fifteen pounds
after it was cleaned—it was a huge salmon and my fishing pole was broken after!
It was just this enormous fish, and it didn't even fit on the cookie
sheet we put it on; it was bent over in the oven.<o:p></o:p></span></div>
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<span style="color: #535353;">All
the kids in Kotzebue were so excited when I caught that fish. I think
partially because I’m a girl and I caught a really big fish, but also because I
was a visitor and I caught a really big fish. They were giving me
directions on how to reel it in because I had never used
a snagger before and I didn’t even bring a knife. I mean, we weren’t
planning on going fishing. It was just a group of us walking home and we decided
to throw a line in and see. Once I had the fish pulled up the boat ramp, one of
the boys killed the fish for me and cleaned it too. The kid’s father
said, “So next time you’ll bring a knife.”<o:p></o:p></span></div>
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<span style="color: #535353;">There
was also a day at the first backcountry location when we sort of took the day
off to explore, read poetry, and fish. That day we caught trout. We had six
trout when all was said and done. We caught them on a homemade fly. I had a
lure and the fish weren’t biting so Hannah made a fly from materials from the
surrounding environment. We all started catching fish with the fly that Hannah
made—we were fly fishing with a spinning reel, which is pretty funny. <o:p></o:p></span></div>
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<span style="color: #535353;">This
was totally the perfect residency and I kept thinking, can it get anymore
perfect?</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Q:
Did the residency make any impact on the way you view the natural world, or
facilitate ideas for future work?</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;"> <i>A.S.</i> In
terms of focus, my writing the past couple of years has really taken more of
environmental direction. I just finished my Ph.D. in the beginning of the
summer and my major areas of study were American literature and Environmental
Poetics. I’m really interested in early American literature and contemporary
writing about environment. I think there is a certain bigness to wilderness,
and certain people are drawn to wilderness because of that. I think I’m really
drawn to wilderness and gravitate toward people who are drawn to wilderness for
that same reason.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Backcountry camp.</span></td></tr>
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<span style="color: #535353;">Writing
about wilderness is just one of those things that is so large it is hard to put
into words. I think this residency really influenced my writing. It helped me
focus my ideas even more than they have been in the past. It gave me a subject
that is really unique—wild in a lot of ways—but also a place people have been interacting
with for a long time. There is not a separation from people and wilderness in
Alaska; there are people interacting with their landscape. Ideas of ownership
are really different in Alaska and I think that made me reconsider how I think
about wilderness. <span style="mso-spacerun: yes;"> </span></span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Q: As
an artist do you feel like you influenced the scientist that you worked with?</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #535353;">A.S.
When we were in the backcountry we worked with Michael Holt who is
the lead archaeologist and head of cultural resources as well as his assistant,
Hannah Atkinson. Having us around—the three of us who are
not archaeologists—asked Mike and Hannah to explain things they may not
have explained if they had been with a team of other archaeologists.
I noticed the small details of things, but the types of rocks and the stories those
rocks told were not as apparent to me as they are to Mike. I think the artists’
presence really asked Mike and Hannah to express these things. I think the
thing they really had in common with the three of us is that we are all storytellers. Jess
tells stories through visual art, Tama tells stories though her photography,
and I tell stories with my writing. Mike especially is a storyteller—a huge
part of his job is telling stories about the way people interacted and
experienced their landscape. I think Mike was excited to have us there; he’s so
earnest and so invested in his resource and so willing to share. I think that
quality can be rare.<o:p></o:p></span></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXL2qWgTrvPz8BNhTrssvBX696vBbTxOH-HlybWT_Cu0ajAa7wfIEAKNeLWhLn4b7B52xkQK6nlYL0CyC7Ii8UqAyRKZoc2eId3lFdp6X7ZfCTLKEKjn_2OCMJ6QWTk15ECZx-L61NXE/s1600/IMG_0299.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXL2qWgTrvPz8BNhTrssvBX696vBbTxOH-HlybWT_Cu0ajAa7wfIEAKNeLWhLn4b7B52xkQK6nlYL0CyC7Ii8UqAyRKZoc2eId3lFdp6X7ZfCTLKEKjn_2OCMJ6QWTk15ECZx-L61NXE/s1600/IMG_0299.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Stone tools.</span></td></tr>
</tbody></table>
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<span style="color: #535353;">I
think there is a question, especially in archaeology, about what we present to
the public and what we hide away. I think when we present something to the
public a lot of times the public wants to destroy it. But if we don’t present
it to the public they don’t know that they should care about it; it’s a
catch-22. Because they were so willing to share, I think Mike and Hannah took
on the role of teacher more than they would have otherwise. I like to think
that maybe they experienced the backcountry a little differently, not just from
the lens of an anthropologist, but also from the lens of a writer,
photographer, and visual artist. <o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #535353;">I
think we realized we were telling similar stories in different ways. We don’t
do exactly the same thing but there is a lot of overlap in our goals and in
what we value. </span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #535353;">Q:
What were some of the beneficial outcomes of your experience?</span><span style="color: #3e003f; font-family: Arial;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgj74PKha9eXzlp-nmD3CnW8drQ-dJTAlVV9BHGgc4_c6BWrLCC3rKCvl807GeWSWPFGhHnxaSh1W655hXtMqOFTX80jJnCpELah91PIYr-dogPWrVZPOltTAil_nKhvMZ2PO3j9Ebeo/s1600/IMG_0369.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitgj74PKha9eXzlp-nmD3CnW8drQ-dJTAlVV9BHGgc4_c6BWrLCC3rKCvl807GeWSWPFGhHnxaSh1W655hXtMqOFTX80jJnCpELah91PIYr-dogPWrVZPOltTAil_nKhvMZ2PO3j9Ebeo/s1600/IMG_0369.jpg" height="320" width="240" /></a><i><span style="color: #535353;">A.S. </span></i><span style="color: #535353;">I think the amount of work
I produced is a hugely beneficial outcome. There’s so much more to say! I think
experiencing this place, a place most people don’t get the opportunity to
experience, was hugely beneficial to my creative process as well. I also
think that getting to work with Tama and Jess was fantastic. I don’t
get to work with people who are visual artists very frequently, which is a
shame. I think there should definitely be more collaboration across mediums and
I really admire what both of them do. Just seeing and getting to hear about
things from their perspective and observing what they noticed compared to what
I noticed became very eye-opening. Tama is a writer (in addition to being a
photographer) so I feel like she and I really bonded; we will always have this
shared experience.<o:p></o:p></span></div>
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<span style="color: #535353;">I
also think getting to work with the Park Service was great. Like I said earlier, everyone we encountered
was dedicated, generous, and excited to share—that is really refreshing. The
level of care for these parks demonstrated was admirable. </span><o:p></o:p></div>
Andrea Spofford http://www.blogger.com/profile/04881337506173816045noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-30789576051632041672014-02-04T11:33:00.000-08:002014-02-04T11:33:14.989-08:00Lots of new work from Artist Leslie Sobel (Canyons of the Ancients) <div id="artwork_info" style="background-color: white; border: 0px; margin: 0px 0px 1em; padding: 0px;">
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<span class="accent" style="border: 0px; margin: 0px; padding: 0px;"><span style="color: black; font-family: 'Times New Roman'; font-size: small;">Check out Leslie's latest work!</span></span></div>
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<div id="folder_name" style="border: 0px; margin: 0px; padding: 0px;">
http://lesliesobel.com/home.html</div>
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<span class="accent" style="border: 0px; margin: 0px; padding: 0px;">Encaustic monotypes from my September 2013 artist residency at Canyons of the Ancients National Monument. One of the most powerful aspects of this trip was the dramatic weather and the impact it had on all of our activities. September 2013 was a month of huge weather in Colorado. In a wilderness setting where one is outdoors in an immense landscape big weather is an overwhelming and powerful experience.</span></div>
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<a href="http://s3.otherpeoplespixels.com/sites/40056/assets/4MEEYLS7qlx_CbiN.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Rain Over Desert" border="0" src="http://s3.otherpeoplespixels.com/sites/40056/assets/4MEEYLS7qlx_CbiN.jpg" /></a></div>
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<span class="accent" style="border: 0px; margin: 0px; padding: 0px;">Storm - works on paper(Leslie Sobel)</span></div>
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Anonymoushttp://www.blogger.com/profile/01471566396010186525noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-55193594887369051652014-01-26T11:14:00.001-08:002014-01-26T11:58:26.484-08:00McDiarmid Aldo & Leonardo project @ Kennedy Museum<style>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Wall Text:</span></b><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">you can find images from exhibit at:</span></b><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">http://woub.org/2014/01/19/photos-ou-school-art-design-faculty-exhibition</span></b><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"> scroll down to find the Kotwa Headress worn by viewers as a means to experience space & terrain</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Artist Statement Duane
McDiarmid exhibition Kennedy Museum of Art Athens Ohio</span></b><br />
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">In
2013 The Colorado Arts Ranch in partnership with the <span style="mso-field-code: "HYPERLINK \0022https\:\/\/mail\.ohio\.edu\/owa\/redir\.aspx?C=1CW56ZqgX0eTmuHsj3z_nIPXFAjj2dBIrrdPNmM81mwwKAbJF4WpPwT3ljp0_gKArz-J2viBKKc\.&URL=http%3a%2f%2fr20\.rs6\.net%2ftn\.jsp%3ff%3d0018N2vLL4SWp8Mun4v2duJfRqXbY63hOB6kllUfQ9FpBs46VKg8zowcZydff3cwGphBAH7SzaTM0SX1gDhv5sNfVpWczI9EX7micM5of_3VTDAkVUdY2ksBVL4ZwLpKcO7mFytkspDYHqhgrq24CHRckfX_oNDyHiFTZ1OFIurx9K-JA_fR1-mrq5Ypf7933-aBDyT-t0SluUmZ_S9BjhoR9H2I6B8C6FT77jatJrbjciY45eDHalDXyulMwth9SzZA34a3qY-F-yf56F7shWzfthI4nXohl_AM0L-_URIrO193l1xsANiE4Tfm-n6V38xDq-quO_1Lxo%3d%26c%3d1XtHb-tV8sVrMZ3Sa9UmiQjiWuY-xy_jKE_-s2d-gyJhJCWV15PkaQ%3d%3d%26ch%3drutliWRoMRWBczzJ2VfOG5r1ACuPpNHfUykK6w0Qh1364WGEsSvYKw%3d%3d\0022 \\t \0022_blank\0022";"><span class="MsoHyperlink"><span style="color: #004db4;">Aldo Leopold Wilderness Research
Institute</span></span></span>, selected 24 artists to commemorate the 50th
anniversary of the U.S. Wilderness Act Sending these artists to work in situ
with scientists and wilderness rangers in six different wilderness biomes
across the United States and its Territories.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">I
was selected as one of these Aldo & Leonardo Fellows and traveled to the
907 square miles that is The John Muir Wilderness Area. Located in the alpine
biome of the Sierra Mountains, the John Muir sits within the 2,974 sq mile Inyo
National Forest and is adjacent to the 721 sq miles that make up the Sequoia
and Kings Canyon National Park. It is a remote and isolated place and for 30
days my mandate was to create my work while also working with wilderness
rangers on the move in the field. I spent 16 days on foot within the wilderness
traversing well over 100 miles and climbing and descending between 1000 and
4000 ft daily. I spent the other 14 days at the National Forest service’s Jack
Ass Lake Cabin which served as studio, orientation center, and the base for Aldo
Leonardo operations—located near the John Muir wilderness boundary and some 2hrs
by car to the nearest cell phone reception, store, phone line, mail service or
access to the electrical grid—the cabin was equipped with a propane
refrigerator and generator that provided evening electricity.</span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The
‘Wilderness Act’ mandates the preservation of the ‘Wilderness Character’ of
lands, and among its provisions is the prohibition of the development of roads,
the building of structures, the extraction or altering of resources and the use
of mechanized transport. Much of this can be implemented interpretively—but it
is worth noting that I was inspired by Wilderness Manager Adam Barnett who suggested that an interpretation when discussing finding a campsite-- campsites are found not made...if you need to move pine cones or stones perhaps you are making rather then finding camp. <span style="mso-spacerun: yes;"></span>In light of these restrictions my response was to create an
embodiment of wilderness character as described by federal legislation and in
the spirit there-of I entered and encountered the Wilderness. </span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Embedded
with Wilderness Rangers I accompanied them on their official duties and roamed
on extensive off trail solo excursions--Along the way I employed a series of
props that like myself were both in and interruptions to wilderness. On foot in
the Sierras I like others performed myself in reaction to wilderness while seeking
a communion with it--and I like many sought an adventure with the environment
that would be transformative. This came to include sharing the wilderness with
a 19,000 acre forest fire which at lower elevations 7000-9000 ft. snowed ash
and reduced visibility to well under 100 yards, My climb off trail to glacial
fragments along the ridgeline above the Piute Plateau, and many other off trail
excursions where I employed props and actions for others visitors or in their
absence.</span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The
Document presented here seeks to elude to a multifaceted experience, marked by
a profound physical activity and space, and inclusive of a schism deriving from
being both rejoined and forever alien to wilderness, all residing within metaphysical
experience. </span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">To
experience this document you may wish to swing the Chime-Can and wear the Kotwa
Banner. To do so, free the Chime Can’s blue cord from the tripod hook, shift the
Banner’s carabineer from tripod strut to your own belt or belt loop. Dangle the
Chime Can from the cord 4—12 inches above ground features, and gently and
without self consciousness swing the can back and forth while negotiating the ‘local
terrain’. You may also wish to dress yourself in the headdress and loincloth. </span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Transpiring
within physical space and inseparable from material environment the mark is not
made upon material—Through process and event, physical force and dream I allow the
wilderness to sculpt and reveal I.</span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">On
the Aldo & Leonardo Project blog you'll find profiles and interviews with
artists and scientists and samplings of their experiences and contemplations.
My own entries here are drafted under the author name <i style="mso-bidi-font-style: normal;">abracadabra.</i> You are encouraged to supplement your viewing of the
documentation here with learning more about the related art and thoughts of
Aldo and Leonardo Fellows and to learn of my other actions in the John Muir
Wilderness Area, that collectively make up the Kotwa Project.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Excerpts from the Wilderness
Act:</span></b></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Assuring
that expanding settlement and mechanization does not occupy and modify all
areas within the United States, Congress will secure for the American people
and future generations the benefits of an enduring resource of wilderness.</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Wilderness
Areas shall be administered for the use and enjoyment of the American people in
such a manner as will leave them unimpaired for the future use and enjoyment as
Wilderness and the preservation of their Wilderness character and for the
gathering and dissemination of information regarding their use and enjoyment as
Wilderness.</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">A
Wilderness in contrast to those areas where Man and his works dominate is
recognized as an area where the earth and its community of life are untrammeled
by man, where man himself is only a visitor who does not remain…1) a land
retaining its primeval character and influence where the imprint of mans work
is substantially unnoticeable, 2) has outstanding opportunities for solitude or
a primitive and unconfined type of recreation 3) exceeds 5000 acres in an
unimpaired condition, 4) contains ecological, geological, or other features of
scientific, educational or historic value</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Conveyed to us by Area
Manager at our orientation</span></b></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">* nothing
of human origin shall be left within the boundaries of a wilderness area with
the exception of heritage objects of 50 years of presence or greater</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">* no
mechanized or motorized transport (boats, vehicles, wheelbarrows) tools (power
tools, chain saws, scaffolding, blasting caps) or devices (electric razors)
shall be employed—as the use of these have been specifically identified as
outside of the wilderness character in statute or subsequent litigation.</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">* no
aircraft shall land or be launched within a Wilderness Area</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">*
there are 5000 official and unofficial fire rings within the wilderness each
contains the remains of aluminum foil.</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">* Any
encampment within the wilderness area should be located 100 feet from water and
trail—almost none are placed with respect to this mandate</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">*
no fires are allowed above 10,000 feet—and currently there is a fire ban
throughout the Sierra—given that conditions of<span style="mso-spacerun: yes;"> </span>the forest are drier then a kiln dried 2 x 4 at Lowes</span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">*
human waste should be either packed out or buried 6 to 8 inches<span style="mso-spacerun: yes;"> </span>below grade in loose soil—leaves from
native plants should be employed as wipes.</span></div>
<div class="MsoNormal">
<span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">*
all foods soaps medications sunscreens or other aroma sources must be secured
within a bear can </span></div>
abracadabrahttp://www.blogger.com/profile/14224427286416993245noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-60314563378682576952014-01-15T14:58:00.001-08:002014-01-15T15:08:58.160-08:00Site 16 and Site 5, A collaboration between Troy Nickle, Mark Jirsa, The Minnesota Geological Survey and the University of Minnesota<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMMPsbLBSxXDDwfALF1IDB3-KXRQc5X-HXMbNcWY2gloJMe4TCO9h6QFmfH3niqIGnzmo6clBrvlz0-fk32xcpU68-xnfvNvOiCq7HlWoujZVzhRQcgUWozKKDCOuD4Ir5E-R3Xqc21k/s1600/Site+16-7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMMPsbLBSxXDDwfALF1IDB3-KXRQc5X-HXMbNcWY2gloJMe4TCO9h6QFmfH3niqIGnzmo6clBrvlz0-fk32xcpU68-xnfvNvOiCq7HlWoujZVzhRQcgUWozKKDCOuD4Ir5E-R3Xqc21k/s1600/Site+16-7.jpg" height="640" width="295" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph and artwork by Troy Nickle, geological notes by Mark Jirsa</td></tr>
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<b>Site 16</b><br />
UTM = 62217/5325277 On Birch Lake, side of portage to Carp Lake.<br />
Canada on shore to right (N), image on US side.<br />
Mudstone and slate – here with strong slaty cleavage, pieces of cleaved rock<br />
have been “jumbled” together at different orientations presumably by fault movement.</div>
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These are two of sixteen site specific works that were done in collaboration with Mark Jirsa of the Minnesota Geological Survey and the University of Minnesota. The work was initiated through a dialogue between Mark and I about how we could bridge geology with art. Through this project I accompanied Mark in canoe and on a 10km walk near our camp site on the South Arm of Knife lake in The Boundary Waters Canoe Area Wilderness of Minnesota to document and map a variety of ancient bedrock crusts throughout the area. The South Arm of Knife Lake was of interest to Mark because there had been a fire there a few years earlier. This meant that much of the moss and lichen that covered these rock outcrops had been burned off, allowing the rock to be easily mapped.</div>
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For each site we created a square section approximately 1 meter by 1 meter, to frame different geological events and rock formations with locally found materials like wood, reeds and stones. Each site corresponds to a Universal Transverse Mercator reading. As Mark was taking notes mapping the site I would create the frame in the landscape and document it with close up shots of the rock within the frame and an image of the frame in context to the land.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWGARotpPsTaVv8EBMu4EFXN48kD5Am-hK2DEexs5NXmW4tH8xEkuwLzbHebuCh1q5ieNKzdS9mvEszW9RCgvCLl_Nsqi6Pn0ObGI2-SxNMctilU0CWC9OTCVH68GErHbtxUGAjnEeLk/s1600/Site+5_3-7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWGARotpPsTaVv8EBMu4EFXN48kD5Am-hK2DEexs5NXmW4tH8xEkuwLzbHebuCh1q5ieNKzdS9mvEszW9RCgvCLl_Nsqi6Pn0ObGI2-SxNMctilU0CWC9OTCVH68GErHbtxUGAjnEeLk/s1600/Site+5_3-7.jpg" height="640" width="342" /></a></div>
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<b>Site 5</b></div>
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636081E/5328209N</div>
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Interlayered white weathered sandstone and mudstone, B = N 10 E / 80 W</div>
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T= <u>W</u></div>
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<span style="text-align: left;">Below is a map of the area and the sites that we mapped and documented.</span></div>
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I express my deep gratitude to The Colorado Art Ranch in collaboration with the Aldo Leopold Institute for allowing me to go on such a great adventure and Mark Jirsa for making coffee every morning, sharing his jolly rancher candy and for his enthusiasm and knowledge of geology.</div>
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Troy Nicklehttp://www.blogger.com/profile/15264605055812027266noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-20638966183570674302013-12-18T19:06:00.000-08:002013-12-19T11:36:40.038-08:00Around the Center<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Artwork and Photograph by Troy Nickle</td></tr>
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During my residency I created an intervention titled, “ Around the Center,” which was made in the Superior National Forest on a large stone along a path between the Ranger Station and the Vermillion College.<o:p></o:p></div>
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I started to contemplate the symbolic nature of this work and could relate it to when a stone is thrown in the water and ripples expand outward around the stone’s impact in the water. The stone’s impact creates energy and this energy radiates outward. This to me this also represented the energy created by the artists and scientists when they were able to learn about each other’s disciplines, collaborate and share common interests in nature.</div>
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From the creation of this work I began to consider what is at the center of my experiences in this unique place, and what surrounds this center? It is really absurd to try to define this center as a fixed thing because reality is continually changing from moment to moment. All phenomena are impermanent and therefore subject to change. What once was at the center of my experience has since dissolved with each new moment and as I have begun to intellectualize it, it is no longer what it was. Things begin to disintegrate and suddenly we realize that they do not exist in a fixed manner or exist independently but rather they exist in relation to, and in dependence on everything and are therefore interconnected. At the time that I am writing this, the ephemeral artwork that I have created has since devolved back into the environment and is no longer recognizable as an artwork.<br />
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The materials that I have used to create this work came from the needles of a White Pine and mosses that were collected from the shady forest floor. These materials could not exist without the elements of nature in balance creating the right conditions for the vegetation to grow. Without the glaciers that deposited this rock some 10,000 to 12,000 years ago I would not have a site to create this work. The White Pine grows in this area because of the well-drained soil and cool, humid climate of northern Minnesota. These beautiful trees provide food and shelter for numerous animals including, forest birds, squirrels, lynx, and wolves. It also provides cool damp shaded areas for a variety of vegetation like mosses and mushrooms to grow. Many people are drawn to this area to experience this unique beauty. Out canoeing on the water or sitting by the lake there is no need to worry about deadlines or being late for a meeting. Somehow living in the moment and the simple experience of traveling on water by canoe, setting up camp, cooking dinner by fire and enjoying the sights and sounds of the Boundary Waters Canoe Area Wilderness feels liberating. When we can stop, breathe, and listen to what is around us, we are more open and receptive to the world around us.<o:p></o:p></div>
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While I was in Ely, I learned that an issue central to many people in the area revolved around the developments of a new mine. The town seemed to be polarized between those that supported the mine for their livelihood and those that were worried that the mine would affect the environment by bringing changes to the area that were damaging and irreversible. Many people depend on the area for a variety of things in order to sustain a livelihood. The mining companies depend on the valuable minerals in the bedrock while people who are supported by tourism depend on the landscape and wildlife for recreation activities such as canoeing, backpacking, dogsledding, fishing and hunting. I began to think since everyone depends on the land and it’s central to the health and livelihood of everyone, isn’t preserving the landscape in everybody’s best interests both sustainably and economically? As Chief Seattle said, “Humankind has not woven the web of life. We are but one thread within it. Whatever we do to the web, we do to ourselves. All things are bound together. All things connect.” The development of the mine would permanently alter the landscape; affect water and air quality and take hundreds of years to fully recover. Does this outweigh the benefits that the mine will bring to the community? Are there other ways of creating jobs that won’t negatively affect the environment? And what are the prevailing attitudes that justify the development of a mine in this area? Aldo Leopold writes, “We abuse land because we regard it as a commodity belonging to us. When we see land as a community to which we belong, we may begin to use it with love and respect.”<o:p></o:p></div>
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As a stone strikes the water and creates energy, this unique residency allowed for artists and scientists to bridge creativity with observation and research. While residing in Ely, Minnesota during our residency we learned of the complex issues regarding this unique community and have grown from our shared experiences. From our varied perspectives we are creating new energy to move forward to inspire others to be concerned about the future of our planet, to become aware of our environment and to bridge gaps between the divisions that separate us.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaIkRULKUqOOViZu_qn1SqxfgFgmKekvd7i-AbRLeFanOLdj-SLboyDgbb4M71P3KA-Ufgi8R5OB79NdawzVI5vunaYOwcfNoJO9bEtMurf8JJZpJa5WWcG-Thm57GXN94aMixn6Fd0s0/s1600/P9170457-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaIkRULKUqOOViZu_qn1SqxfgFgmKekvd7i-AbRLeFanOLdj-SLboyDgbb4M71P3KA-Ufgi8R5OB79NdawzVI5vunaYOwcfNoJO9bEtMurf8JJZpJa5WWcG-Thm57GXN94aMixn6Fd0s0/s400/P9170457-5.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph by Lawson Gerdes</td></tr>
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<o:p>A photo of artists </o:p><o:p>Anaya Cullen (left), Troy </o:p>Nickle (center) and Katherine Ball (right), at Sigurd Olsen's cabin near Ely, Minnesota.</div>
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Troy Nicklehttp://www.blogger.com/profile/15264605055812027266noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-92131828282242165422013-12-18T04:13:00.000-08:002013-12-18T04:13:18.061-08:00October morning collaboration between Maple, Spruce, Aspen, wicker, wind, water and Anaya Cullen<div class="separator" style="clear: both;">
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--></style><span style="font-size: small;"><span></span><span>It's a
crisp October morning here in Ely, MN. I'm working outside the Cedar
bunkhouse at the Kawishiwi Ranger Station where the three Artists-in-Residence,
are staying along with</span> <span>Becca
Orf, Biological Plant Technician/Wilderness Ranger, a Wolf Biologist,
Firefighter and the occasional surprise visitor.<span> </span>This is my first time experience the full changing of the
color guard in the fall and the colors are eye-popping and ever changing, and contrasting brilliantly with the dark bark of the maple wet from morning rain. </span>I weaving wicker this morning, letting my eyes taken in the color and my mind wander into making movement phrases watching the trees moving in the breeze. The spruce is practicing stillness mostly while the apsen seems to be working on allegro steps when the breeze kicks up.<span> </span>The dampness has actually become a collaborator at the
moment, allowing me to weave for longer before the wicker becomes brittle and needs re-soaking. There is something about getting in to a good
rhythm with your hands, doing something thumb-over-thumb like weaving, that I love. It’s
meditative, and often good brainstorming or daydreaming time. </span></div>
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<span style="font-size: small;"><span>I’m
reminded of a poem I have loved for years by a Palestinian American Poet, Naomi
Shihab Nye called</span></span><span style="font-size: small;"><span> The Man
Who Makes Brooms...</span></span>
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<span style="font-size: small;"><i><span>The Man Who Makes Brooms</span></i></span></div>
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<span style="font-size: small;"><i><span>Naomi Shihab Nye</span></i></span>
<span style="font-size: small;"><i><br />
So you come with these maps in your head<br />
and I come with voices chiding me to<br />
"speak for my people"<br />
and we march around like guardians of memory<br />
till we find the man on the short stool<br />
who makes brooms.<br />
<br />
Thumb over thumb, straw over straw,<br />
he will not look at us.<br />
In his stony corner there is barely room<br />
for baskets and thread,<br />
much less the weight of our faces<br />
staring at him from the street.<br />
What he has lost or not lost is his secret.<br />
<br />
You say he is like all the men,<br />
the man who sells pistachios,<br />
the man who rolls the rugs.<br />
Older now, you find holiness in anything<br />
that continues, dream after dream.<br />
I say he is like nobody,<br />
the pink seam he weaves<br />
across the flat golden face of his broom<br />
is its own shrine, and forget about the tears.<br />
<br />
In the village the uncles will raise their kefiyahs<br />
from dominoes to say, no brooms in America?<br />
And the girls who stoop to sweep the courtyard<br />
will stop for a moment and cock their heads.<br />
It is a little song, this thumb over thumb,<br />
but sometimes when you wait years<br />
for the air to break open<br />
and sense to fall out,<br />
it may be the only one.</i><span></span></span></div>
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<span style="font-size: small;"><span>Beautiful
poem, I think, painting strong images with her words, subtle in moments, yet bold
in thought. <span> </span>It’s looking like a
downpour now, time to pack up the weaving studio and head for cover. <span></span>Good morning. Amazing moments and the
day is still new.</span></span></div>
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<span style="font-size: small;"><span><i>Anaya </i></span></span></div>
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Anaya Cullenhttp://www.blogger.com/profile/06061254393558459864noreply@blogger.com1tag:blogger.com,1999:blog-8813683791397213577.post-44908024406614877512013-12-17T06:36:00.001-08:002013-12-17T06:37:49.284-08:00"Walk it Down" and Vela Magazineby Andrea Spofford<br />
<br />
<br />
As I'm writing an "update" post--where I've been and what I've been doing after Alaska--I wanted to take a moment and share an essay I wrote about fishing in the Kotzebue Sound. Vela Magazine (an excellent magazine that publishes "creative nonfiction inspired by travel, written by women") was gracious enough to publish my work.<br />
<br />
If you have ten minutes take a moment to <a href="http://velamag.com/walk-it-down/">check it out.</a><br />
<br />
Happy, happy travels.Andrea Spofford http://www.blogger.com/profile/04881337506173816045noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-87047528004313401442013-12-16T14:47:00.000-08:002013-12-16T19:36:01.887-08:00Ben McCarthy//Benjamin Ceramix :: Canyons of the Ancients Artist in Residence 2013 I wholeheartedly give thanks to everyone involved with my artist residency at the Canyons of the Ancients National Monument in Colorado, USA. The entire experience was informative, inspirational, and motivating for my artwork. During my time in the Southwest, I worked with several biologists, archaeologists and curators of the Bureau of Land Management Anasazi Heritage Center. We conducted many field observations, which entailed hiking and camping throughout the mountains and valleys of the Monument—giving the artists a clear understanding of the land once inhabited by the ancient people, known as the Ancestral Puebloans, or Anasazi.<br />
The landscape that was home to the Ancient Ones (Anasazi) is shaped with majestic mountains and canyons made up of astonishing geological formations. The sky constantly reveals a story of vivid color, cloud patterns, and bright stars. On a clear night, one can see far to distant galaxies—deep blue spills behind the constellations. I imagine the life of these people, building sandstone structures into the valley walls and surviving entirely from what Earth has offered them. The architecture truly commanded my attention as an artist, embracing the thought that generations of people can live off of only the earth and its resources, still while developing a strong, resilient, and creative community who have left their traces to be discovered thousands of years later. The bold, angled and curved construction of the cliff dwellings built into the canyons were designed carefully by expert masons of sandstone. Mesa Verde, as well as many other places nearby the Canyons of the Ancients, contains these archaelogical sites that unfold ancient stories through sprawling artwork carved into rock faces, artifacts, and towering pueblos balanced on islands of stone.<br />
The geometrically painted ceramic vessels made by the Ancestral Puebloans are another essential component to understanding their sense of creation. Not only is the precision and sense of design visually compelling, but one must also take into consideration the daily ritual crafted into the hand built pottery that was being produced by the communities. The process was utilitarian and selfless—no artist signed his or her pieces; however, their fingerprints are embedded into each coil. One can find several shards of black-on-white painted pottery in the piles of midden throughout the canyons—detritus from ancient Native American life: pieces of vessels, dippers, and sharpened arrowheads embedded into the land that have slept for over a thousand years.<br />
I created several different types of artwork during my residency. I began by making a large piece with a clay I brought from Kansas City, which is called MesaMan, resembling an architectural figure influenced by Cliff Palace at Mesa Verde. When it was raw clay, it acquired the name RainChild. It has now been fired once again and treated with a chrome glaze finish, giving it the final title of PuebloPerson—a sculptural manifestation of an ancient architectural idea. After finding a source of quality clay in the McPhee Reservoir (a prominent archaeological excavation site), I decided to make a few small sculptures with the grey malleable clay from under the ground. They are simple beings—spirits and animals. The clay, once fired at a low temperature, turns to a bright, brilliant orange. If it is fired too high, it melts to a foamy, green goop. I plan attempt more, larger structures using this peculiar clay.<br />
With countless photographs of the places I visited, I also began to experiment with digitally altering my photos on the computer. My sculptures became able to enter the landscapes and archaeological sites of the Canyons of the Ancients, and the LED pictures started to unfold an exciting story. Using tiles of geological samples, I arranged natural colors and patterns within the rocks and skies into my own tessellations and mandalas. They are sketches and paintings using a new technique and a sense of humor to illustrate future ideas. My artwork continues to be translated into digital media, which has given insight to new possibilities of things to create.<br />
I was also granted the great privilege of working with Vince MacMillan, an archaeologist with the Bureau of Land Management and the Anasazi Heritage Center. He is currently working on a new method to document and archive artifacts, rock art sites, and Ancestral Puebloan towers with a process called photogrammetry. The technology includes taking hundreds of photos of an object or place from all perspectives of the piece. The photos are then entered into a computer program that renders all of the images together to create a 3D model of the artifact. Photogrammetry is being used to catalogue the museum's collection into a gallery of the art pieces and archaeological sites to be preserved and studied in the future without being affected by weather and decay. I have included a sample video, one of Lightning Tree Tower, and one of my sculptures, called the Volcano Vessel, which have been processed with photogrammetry. I believe this is a new platform for sculptural work, letting the viewer move the object as if it were weightless, zoom into high-definition detail, and experience the sculpture from all angles. Soon, the 3D model of my piece will be available in a downloadable PDF format. I plan to continue applying this technique to my artwork, and am currently incorporating photogrammetry into a computer animation that will be finished by the new year.<br />
Thank you for your time and the phenomenal opportunity. I hope you enjoy my latest artwork. There is already more in the making, and I will continue to post updates to the Aldo & Leonardo blog!
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Ben McCarthy<br />
(www.benjaminceramix.com)<br />
Colorado Art Ranch<br />
Aldo & Leopold: art + science<br />
Artist in Residence: BLM<br />
Canyons of the Ancients<br />
September 2013
Anonymoushttp://www.blogger.com/profile/10975725315563717811noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-91959214859659152132013-12-16T10:48:00.002-08:002013-12-16T10:48:29.743-08:00Reflections on my month at CANM<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP7XuJCZyfNraQGx0nY6rYoSknrg0yDHMojOmhhrbvuavz8cOMFpVV1orTVnU-H0-A5GM5WWIkf_wy1qjbO951pdWEhRXfxW9BBgVZhZZRvg8qgKSYLrdTj4pW_RBxKCpmvyTo7U24pw/s1600/storm-over-cannonball-.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP7XuJCZyfNraQGx0nY6rYoSknrg0yDHMojOmhhrbvuavz8cOMFpVV1orTVnU-H0-A5GM5WWIkf_wy1qjbO951pdWEhRXfxW9BBgVZhZZRvg8qgKSYLrdTj4pW_RBxKCpmvyTo7U24pw/s320/storm-over-cannonball-.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Storm over Cannonball</i>, encaustic on panel, 24" x 48"</td></tr>
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My month was spent at Canyons of the Ancients National Monument (CANM) in far SW Colorado. It was a month of exploring a desert wilderness filled with archeology since CANM was densely populated by the Ancestral Puebloans until ~1270 AD when they moved south to areas with more water after a long and severe drought which was at least partially caused by human activities. My time at CANM was marked by many unseasonable dramatic storms moving across the mesas and canyons, producing flash floods, runoff and very dramatic lightening on the heights. At the same time the Front Range of Colorado was having severe flash flooding resulting in $2 <b>billion</b> of damage - all likely caused by climate change.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOqlkS38kb8QWNM1AjbzH9fHeO2-2eC3fVp8gEbpAUQSSQH-rPd1PMEFmoApXYgHAljL5nXKjhV1cNnUrN0-kybuSdbEjtIFze_IGDilgWGFcT0lmKpzjgmt30BkAxjSkYtrsdhmW_sA/s1600/oncoming-storm-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOqlkS38kb8QWNM1AjbzH9fHeO2-2eC3fVp8gEbpAUQSSQH-rPd1PMEFmoApXYgHAljL5nXKjhV1cNnUrN0-kybuSdbEjtIFze_IGDilgWGFcT0lmKpzjgmt30BkAxjSkYtrsdhmW_sA/s320/oncoming-storm-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Oncoming storm 1</i>, encaustic monotype on kozo, ~ 18 x 24"</td></tr>
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I came away from this trip with a heightened appreciation for the power of nature and the reach of human activity to accelerate big weather events. Being in wilderness is making oneself open to nature and also vulnerable to it in ways that in normal life we tend to assume won't happen. Climate change brings bigger more powerful weather events making us vulnerable even when we aren't backpacking in the high desert.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNsWLqvMZE1ntVI3ME5TWk3jMpKs7g8VCC-i3ur8Cx8_Y9hh_30dPkbolegTImlYkwrLftpji-Mg1hdLYIs7MlP3jXvwnhAWFKWudlsvQG39bIlmF-fY27NnqX2Vb_CyU645hlz9OOPQ/s1600/oncoming-storm-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNsWLqvMZE1ntVI3ME5TWk3jMpKs7g8VCC-i3ur8Cx8_Y9hh_30dPkbolegTImlYkwrLftpji-Mg1hdLYIs7MlP3jXvwnhAWFKWudlsvQG39bIlmF-fY27NnqX2Vb_CyU645hlz9OOPQ/s320/oncoming-storm-2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><i>Oncoming storm 2</i>, encaustic monotype on kozo, ~ 18 x 24"</td></tr>
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<div style="text-align: left;">
<span style="font-size: small;">This residency pushed me. I am an experienced hiker and backpacker but had not backpacked in many years and am in my 50s. It was physically challenging - I am in good shape but was hiking with people who are younger and fitter than I. I drove on rougher 4WD roads than I have ever tried and realized that I was more competent than I had given myself credit for being.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ1HCRppkUCyYDFfYlkrh37QA2_QJS-3eEjkq_g-x09vAdveYqQtRsCvob663tX9WEX17Vyztct_cOtuqeentyRmlv19m2Abp73sCDCr4Tznw6imyjnx6_vHjsl59ZAb1Jd4Uy11ZyBw/s1600/oncoming-storm-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ1HCRppkUCyYDFfYlkrh37QA2_QJS-3eEjkq_g-x09vAdveYqQtRsCvob663tX9WEX17Vyztct_cOtuqeentyRmlv19m2Abp73sCDCr4Tznw6imyjnx6_vHjsl59ZAb1Jd4Uy11ZyBw/s320/oncoming-storm-3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><i>Oncoming storm 3</i>, encaustic monotype on kozo, ~ 18 x 24"</td></tr>
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<div style="text-align: left;">
<span style="font-size: small;">It was not a studio based residency given the amount of time we spent in the back country. I did a lot of photography much of which I have posted previously. Now that I am back in the studio I am painting and making monotypes - both using encaustic. Unsurprisingly much of this work is about weather. Hiking in high desert brings sky, horizon and weather to the forefront of one's experience.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbS3E82K3MjgP077vHhoRCwqocBsFRVoM6jvnvuwrnThjL9G30x2OBl7EcVkjMSQTzUNydWCblC1aX-2hBeP5zvEgHPoEM1j74malRVOUUDlVgwnI73Rf4_gZOAWa1fwYIPnxrhHHhg/s1600/lowering-storm-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbS3E82K3MjgP077vHhoRCwqocBsFRVoM6jvnvuwrnThjL9G30x2OBl7EcVkjMSQTzUNydWCblC1aX-2hBeP5zvEgHPoEM1j74malRVOUUDlVgwnI73Rf4_gZOAWa1fwYIPnxrhHHhg/s320/lowering-storm-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Lowering storm 1</i>, encaustic on cedar shake, ~7 x 10"</td></tr>
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I am deeply grateful to Colorado Art Ranch and the Aldo Leopold Wilderness Research Institute for making this experience possible. It was immensely rewarding and even life-changing. Working with the wonderful staff at the Anasazi Heritage Center was a pleasure. We were very supported by their generosity in sharing their expertise with us.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTOXglj8zzlt-9A_w31dpL-fv4Igq0YYb0EEDnhEfuLgDOGqcQ6hAHYmhFxYLh9nBMhyBAVXJ_FxlvdKPVIICcfHzVu8vie-8po6ZU5MnuN0hzm9tFCH5SkQ7360DSqi8AG7Klb0Bvw/s1600/storm-ground.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTOXglj8zzlt-9A_w31dpL-fv4Igq0YYb0EEDnhEfuLgDOGqcQ6hAHYmhFxYLh9nBMhyBAVXJ_FxlvdKPVIICcfHzVu8vie-8po6ZU5MnuN0hzm9tFCH5SkQ7360DSqi8AG7Klb0Bvw/s320/storm-ground.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>storm/ground</i>, encaustic on panel, 6 x6"</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-8Z2CuG3cd06jH6ctD1zdG9I7NAofYnFnXJMZZ739kuv05dAI5DFWu7nwvBBcclXJ0WYE_MThJsPgq4RQBQhAXmlFmJczR2nXNls4Y_1NX8eljQIndqloAje-FNIgIGJdxTUVNW0Vmg/s1600/storm-series-5down-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-8Z2CuG3cd06jH6ctD1zdG9I7NAofYnFnXJMZZ739kuv05dAI5DFWu7nwvBBcclXJ0WYE_MThJsPgq4RQBQhAXmlFmJczR2nXNls4Y_1NX8eljQIndqloAje-FNIgIGJdxTUVNW0Vmg/s320/storm-series-5down-1.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Storm series 5 down, ink & encaustic on partially silver coated kozo, ~15 x 25"</td></tr>
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<br />painting with firehttp://www.blogger.com/profile/01578014572547587329noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-64753474053865957052013-12-03T16:59:00.001-08:002013-12-09T11:47:47.156-08:00Interview with artist Tory Tepp: John Muir Wilderness (July 10-August 7, 2013)<br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Biography:<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: xx-small;">Tory Tepp, a native of Wisconsin, received
his undergraduate BFA in painting from Parson’s, the New School for Design in
New York City with a minor in non-traditional art histories. While at Parson’s,
Tory studied painting under Joan Snyder. The following 15 years saw his work
expand into printmaking, metalworking and furniture making. In 2009, Tory
earned his MFA in public practice as part of the inaugural class of Suzanne
Lacy’s community engaged art practice program at Otis College of Art and Design
in Los Angeles. These years saw the emergence of art projects sited within
specific communities that drew upon urban agriculture, the reclamation of
derelict public spaces and the use of earthworks as a means of shaping space.
After a temporary relocation to New Orleans, Tory assumed the role of the
driver of a vintage armored car for Mel Chin’s Fundred Dollar Bill Project and
proceeded on a 19,000 mile journey around the country as the public face for
the nationwide public art project devoted to remediating lead contaminated soil
in New Orleans. This, in turn, led to the development of an itinerant art
practice that has kept him on the road for the past three years, working from
project to project in New Orleans, Milwaukee, Los Angeles and Death
Valley, until the wheels finally came off in Florida. Now, after
completing the inaugural community arts residency for the Atlantic Center for
the Arts, Tory continues to develop the two projects started within the New
Smyrna Beach community.</span><span style="font-size: x-small;"><o:p></o:p></span></span></div>
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<span style="font-size: 10pt;">Q: Why were you interested in participating at the John Muir
Wilderness residency?<o:p></o:p></span></div>
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<i><span style="font-size: 10pt;">T.T. </span></i><span style="font-size: 10pt;">I
had been doing projects in Los Angeles and New Orleans that were about the different neighborhoods in relation to
the corresponding waterways. I started doing earthworks,
so wanting to do an environmental residency has always been a part of the
agenda.<o:p></o:p></span></div>
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<span style="font-size: 10pt;">It seemed like out of all the residencies that
Colorado Art Ranch offered, this one was one I may have been somewhat familiar
with. It seemed to really offer some interesting connections between what is
going on in the world and my art work. It was interesting because we thought it
was going to be in Montana and I know they had to switch partners which ended
up in John Muir, CA. So for me I ended up making alternative plans because
I didn't think the residency was going to come through. Those
plans actually included driving to California just days before the residency
started. It was this strange synchronicity between when Grant called and said-
well now the residency is in California, so I thought great I am going to be
there anyway. At that point I knew that I was exactly where I was
supposed to be.</span></div>
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<span style="font-size: 10pt;"><i>Q: Why is the intersection of Art and Science so important to you
and your work?</i><o:p></o:p></span></div>
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<i><span style="font-size: 10pt;">T.T.</span></i><span style="font-size: 10pt;">
I’m not a doomsayer but I feel like the human race is putting a great deal of
stress on the planet, its resources, and each other. I think it’s
blatantly obvious everywhere you look whether it’s over population, food
shortage, or water shortage. It seems to be mounting based on quite
simply the pressure we put on the planet. Quite honestly it’s our inability to
see down the road and find solutions that are a little more sustainable. The
fact that we have not been thinking about these things for a long time and it
has obviously caught up with us can be hard to deal with. <o:p></o:p></span></div>
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<span style="font-size: 10pt;"> The idea of sitting in a studio making art work was just
part of the same commercial system that has lead us down this path
and doesn't seem like any viable solution. For me and my art making, it became a search to find a mode of art making that made me feel like I
was part of the solution. Finding ways that could engage with these kinds
of issues and social environmental issues that seemed to be emerging became
important. Los Angeles was a great spot for that because there are so many
problems and it became a petri dish to get involved. That was what really led
me into wanting to combine the environmental issues with art making, because in
the end, I’m still an artist. So I ended up thinking - well how many ways can I
use my art to help in whatever capacity I can? This is when I started thinking
about straddling that gap of socio-environmental geographic issues. </span></div>
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<span style="font-size: 10pt;">I think one of things that art is really great at and why it’s so important is,
it can present information in a different light and recontextualizes information.
Art makes issues more digestible or apparent. If you can produce art in a
creative and interesting way it draws people in and gets them really thinking
about pressing issues. To me that’s why it’s so important to start working in
both areas of Science and Art.<o:p></o:p></span></div>
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<span style="font-size: 10pt;">There is so much information out there but when it’s in the
language of science it can be a bit uncomprehendable. You present it in a way
that is irrelevant to many groups of people; by changing the language from a science base to a culture based</span><span style="background-color: white; font-size: 10pt;"> platform can result in beneficial outcomes.</span></div>
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<span style="font-size: 10pt;"><i>Q: What are some of your first reactions to the John Muir
Wilderness?</i><o:p></o:p></span></div>
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<i><span style="font-size: 10pt;">T.T.</span></i><span style="font-size: 10pt;"> It
was interesting because I got caught on the road- by the road I mean that 30
mile stretch that takes three hours. I happened to catch it at night which was
actually better in terms of not looking over the edge. <o:p></o:p></span></div>
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<span style="font-size: 10pt;">It was really wonderful how remote it was, and there were still people up there
(Campers, Hikers, Fishermen ect.). You knew that you were as far as you
could go with a vehicle. There was a real sense of - alright this is as far as
civilization goes to some extent. The deeper you went on foot was like; you’re
really going into fairly unknown territory. That’s what I was surprised on, and
that was how many people are actually out in the remote wilderness.<o:p></o:p></span></div>
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<span style="font-size: 10pt;"> Being inserted that deep into the wilderness the first few
days was awesome. Both Duane and I had some trepidation because we realized we
were generating our own mystic about the Rangers that were going be taking us
on the trek. Once we started to assemble our packs and get our bear cans
together we started to realize how heavy our packs were. There was a little
element of terror involved as we prepared for the big eight day trek.</span></div>
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<span style="font-size: 10pt;"> I wrote about it in the blog that I had been coming from
personally a little bit of a dark place and I really needed this for my soul
and my psyche. Duane was a great companion on the trail and he really helped
lighten the load for me. Not only was it about his humor, he also is a college
professor and brought that to the table out there. He really made the trip
educational for me- so that was just another wonderful thing about the
residency.</span></div>
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<span style="font-size: 10pt;"><i>Q: What do you believe to be a highlight to your time spent in the
John Muir Wilderness?</i><o:p></o:p></span></div>
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<span style="font-size: 10pt;">T.T. We were at a place called Lake Marie and it was
our last camp before we had to turn back in towards the trail. The hike, the
work that we were doing and the exploration was finally coming into the soup.
It was that day up there at this perfect camping spot and lake to match where
the project just gelled. I remember I took the whole afternoon to just sit
up there to contemplate. It was just this moment that I
felt like I was in perfect harmony with the project, my creativity and the
surrounding environment. I didn't really do anything but sit,
write and sketch that whole afternoon alone. I thought to myself,
this is it…<o:p></o:p></span></div>
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<span style="font-size: 10pt;"> It’s amazing how the creativity came forth without it having
to be cold out. Sometimes you’re working on a project and your just struggling
to find these answers and these ideas and everything was so open in terms of my
perception, my ability to receive what I was looking at, and how I was feeling
within this environment was all pouring out.</span></div>
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<span style="font-size: 10pt;"><i>Q: Did the residency make any impact on the way you view the
natural world, or facilitate ideas for future work?</i><o:p></o:p></span></div>
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<i><span style="font-size: 10pt;">T.T. </span></i><span style="font-size: 10pt;">It
definitely had some impact on the way I view the natural world. I was surprised
how many hikers were up there doing the Pacific crest trail. It’s such an
arduous and amazing thing to accomplish, then you realize that every single day
you pass 15-20 people that hiking this trail. There are tons or people up there
yet it doesn't diminish the awesome nature of the feat.<o:p></o:p></span><br />
<span style="font-size: 10pt;">In essence the whole thing seemed in no way detracting to the
natural landscape, and its beauty was still incalculable. In terms of how the
Rangers and we interacted, was like a big theme park for outdoor wilderness
people. What the rangers do is they maintain the areas of the theme park that
allow people to actually access it. It changed how I thought about this
wilderness area. It seemed incredibly remote then you realize that it
really isn't. At first I was thinking of the Rangers as druids. I
thought of them as these people that have all this knowledge of the
wilderness. In reality it wasn't as much about knowledge of
the woods as it was about just loving and living the wilderness lifestyle;
that to me was what I really thought about the rangers. They’re campers and
they’re hikers and explorers. So it wasn't so much about
knowledge of the trees, wildflowers and taming this place as it was about having
a job that allowed them to exist within this place. </span></div>
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<span style="font-size: 10pt;">In terms of my art work, it had some impact because this was one
of the most personal projects that I have been able to work with ever. It was a
small group of people and they really invested their energy into providing me
with the poems and the stories. It was a really nice opportunity for it to be
extremely personal for a change.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhewJl8d280MZgtR3k0-Cl7LZSRraPaR1Y690votsST-5XvA8EfwZgPAAHjykeyURaq12bV2g8YlE81dRl1SNA1sfXzvZamPRm596qMeYLJIEyBzoMsojPYvAAhU6iMw6Y1sADhy0KbiMc/s1600/unnamed.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhewJl8d280MZgtR3k0-Cl7LZSRraPaR1Y690votsST-5XvA8EfwZgPAAHjykeyURaq12bV2g8YlE81dRl1SNA1sfXzvZamPRm596qMeYLJIEyBzoMsojPYvAAhU6iMw6Y1sADhy0KbiMc/s1600/unnamed.jpg" height="320" width="239" /></a><span style="font-size: 10pt;">I just got finished with some very large projects, with them it’s
hard to gauge how you feel about the final product. You may be working with 200
kids and you don’t know if they really care about it or not. Half the people
you’re trying to get involved end up not giving a shit.</span></div>
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<span style="font-size: 10pt;">So it’s relieving when you get this beautiful little cocoon of a
working group. Working with people on a very personal level made me realize
that I don’t need to do these gigantic gestures to make it meaningful. The Aldo
and Leonardo initiative was really nice backing off from some of the projects
that lead me into it. It was great all the way around for me.</span></div>
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<span style="font-size: 10pt;"><i>Q: As an artist do you feel like you influenced the Rangers that
you worked with?</i><o:p></o:p></span></div>
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<i><span style="font-size: 10pt;">T.T. </span></i><span style="font-size: 10pt;"> I
think it was having Duane and I there. Living in that kind of super intense
encapsulated moment was most likely influential. They were rubbing off on us
and I’m sure we were rubbing off on them. I say this because here are two
completely different groups with different views and expressions on the
experience. We were sharing our different paradigm’s which is really great. I
think if I had any effect, it was when we completed our project and we
interacted with the Rangers. Watching the Rangers go through and take turns
reading all of these poems-Several of them came to me and said they
never have been able to actually be involved in a piece of art like this.
In terms of both the making it but also they kind of became the tenders or the
care takers of this body of art after I left.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWOT5KquQKE0Bg8uG-0lAia7rX9R_h-y4uPXUNRCU90L9qMXyeaj54b7jYb1pPN6zM0cMhjMCDxsnlZO-pX-aSDgggb12sXSoxa1c5uUQKm7df9Jv62gPwaBjTUs5itn2erhm0Rzz0RRk/s1600/DSC05941.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWOT5KquQKE0Bg8uG-0lAia7rX9R_h-y4uPXUNRCU90L9qMXyeaj54b7jYb1pPN6zM0cMhjMCDxsnlZO-pX-aSDgggb12sXSoxa1c5uUQKm7df9Jv62gPwaBjTUs5itn2erhm0Rzz0RRk/s1600/DSC05941.JPG" height="240" width="320" /></a><span style="font-size: 10pt;">As far as influencing them, I think it helped them get an idea
that art is more expansive then just someone working alone in their studio
making an object. Here is an art that included their whole group and it is
something that was very personal to them. The piece was made public
and so I think that had some effect on them. Everyone was giving me these
extraordinarily personal poems about their experiences in the wilderness. I
think having this communal shared little space that we set up, helped develop new
ideas and thought for the future.This project may help others think about how
to better express their experiences out there in a different way. I
can’t really speak how it may or may not have influenced them. I do think that
the rangers were very into the project. They responded immediately which is
surprising. I’m not used to my constituents being so into it. It was a perfect
incident because as Rangers they have this really intense relationship with
nature. This was a chance for them to express that. Maybe it will spur them to
express more now that they have been goaded into producing something of that nature.<o:p></o:p></span></div>
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<span style="font-size: 10pt;"><i>Q: Did you experience any absurd situations in the John Muir
Wilderness?<o:p></o:p></i></span></div>
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<i><span style="font-size: 10pt;">T.T. </span></i><span style="font-size: 10pt;">You mean besides Duane?! Especially once he got his project
rolling, I actually tried to catch up with him the day after he left but it was
like trying to find a needle in a hay stack and I never found him. I wouldn't say
that I encountered anything too absurd.<o:p></o:p></span></div>
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<span style="font-size: 10pt;">The main thing that seemed off about the residency was the whole
final two weeks of the residency, it was like a nuclear winter. Literally
you couldn't see the mountains through the smoke, ash was falling
like snow. I still went out and hiked but it definitely screwed with my
lungs. This
happened it changed the entire feel; we really weren't in the
mountains anymore because you couldn't see the views,
you couldn't see the vistas and it was hard to hike. It changed
the whole relationship to the landscape by having that strange smoke cover.
That actually was pretty out of the ordinary but for me it changed everything.
The whole hike was extraordinary.</span></div>
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<i><span style="font-size: 10pt;">Q: What were some of the beneficial outcomes of your experience?</span></i><span style="font-size: 10pt;"><o:p></o:p></span></div>
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<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-size: 10pt;"> The experience brought to me a bolder life
and a newer life. It really gave me the time to actually work through this
project and through all of this strenuous physical activity. So that was one
benefit to me.<o:p></o:p></span></div>
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<span style="font-size: 10pt;">The project itself was very meaningful to me, not only in terms of process but also I feel like it really helped me become more aware of my own
process as an art maker. It helped me realize that it’s okay to be really
personal. It’s okay to be emotionally charged. Coming out of academia,
sometimes there’s a big push for things to be verifiable and anything that has
to do with spirituality is almost looked upon as being nonintellectual.
This whole projects foundation seemed to be roots raw and full of mysticism. It was nice
to be able to let that flourish through the project without feeling any
constraints. This was totally different than the art world in LA, where
everything is just so cynical and everything is just so cold hard and crisp. It
was nice to immerse myself in a project that was a little warm and fuzzy. It was just great to experience that environment before it’s
not there anymore.</span><span style="font-size: 10pt;">We experienced even on our hikes trying to get to glaciers that
were on the map and who knows I don’t think these maps could have been more
than 20 yrs. old. When we got to the location that they should have been at
they were melted. We thought – how cool is it going to be when we get up there
– and to see at the top of these ridges, but most of these glaciers are gone
now. You could definitely see the effects of climate change up there. </span></div>
Anonymoushttp://www.blogger.com/profile/01471566396010186525noreply@blogger.com1tag:blogger.com,1999:blog-8813683791397213577.post-42794266366644364912013-11-21T08:00:00.002-08:002013-11-21T08:00:45.636-08:00Here is a blog which I wrote for Spectrum Creative Arts about my experience at the AldoandLeonardo residency. I wrote about the equal value of science and art. The AldoandLeonardo residency continues to float around in my psyche and make its effects even now almost 2 months since finishing... I expect those effects will continue for many years. <br />
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<a href="http://www.spectrumcreativearts.org/science-art-by-esther-rogers/" target="_blank">Blog</a>erogerscellohttp://www.blogger.com/profile/15764766753632886437noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-12332800263900160342013-11-13T18:07:00.000-08:002013-11-13T18:07:05.182-08:00Interview with Elisabeth Nickles from Monomoy National Wildlife Refuge.Marine/Coastal June 17-July13, 2013<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QW2_Fk9CBMYtb_cb1KjXnsK4qoiFftXoAyDeIqmFSkTiV9GxHO9sEozm2uXw-RT635IWwfMJ25tKl1llrK-tzkWt-w1EAI5nMtwpCyH-DayqlP_1eTtxNglVo5NLdHQcWf3l0VZXngY/s1600/cropstudiome.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QW2_Fk9CBMYtb_cb1KjXnsK4qoiFftXoAyDeIqmFSkTiV9GxHO9sEozm2uXw-RT635IWwfMJ25tKl1llrK-tzkWt-w1EAI5nMtwpCyH-DayqlP_1eTtxNglVo5NLdHQcWf3l0VZXngY/s1600/cropstudiome.jpg" height="320" width="278" /></a><span style="color: #76a5af;">Elisabeth Nickles is a mixed media sculptor living in Philadelphia. She has produced bodies of work in bronze, glass and paper. She attended the Boston Museum School and The Pennsylvania Academy of Fine Art and in 2007 received an MFA from Alfred University.</span><br />
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<span style="color: #76a5af;">Elisabeth's website ~~~ <a href="http://elisabethnickles.com/">http://elisabethnickles.com/</a></span></div>
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Q: Why were you interested in participating at the Monomoy National Wildlife residency?</div>
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<i>E.N.</i> Because I’ve always been interested in wilderness and places were the environment and landscape is not dominated by the industrial era.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBiKPY9xMaGrm5FurGwQh-Q2hMx-uFYz0O2dLVr_Fag81XPz-1zPprl0JRRiVx97Devw-FwU21ajLKgwR1aWIQ-7IYt2d4DjgqTUjazJ4HmanJGVV7OVIS2g_dq3D1m9ysFd1zS4A_ZaA/s1600/IMG_8088.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBiKPY9xMaGrm5FurGwQh-Q2hMx-uFYz0O2dLVr_Fag81XPz-1zPprl0JRRiVx97Devw-FwU21ajLKgwR1aWIQ-7IYt2d4DjgqTUjazJ4HmanJGVV7OVIS2g_dq3D1m9ysFd1zS4A_ZaA/s1600/IMG_8088.JPG" height="240" width="320" /></a></div>
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Q: Why is the intersection of Art and Science so important to you and your work?</div>
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<i>E.N.</i> I don’t think it’s really specific to me. I think it’s the history of science that’s dominated by people. These people knew how to draw and needed artists to document their studies. These were the people who influenced actual anatomy, and somebody like Leonardo Da Vinci was very influential. He was doing dissections and discovering things with human body that no one else was doing. For me I have always been amazed with the natural world; which I don’t even like putting into those terms because we are the natural world. I especially enjoy studying artistic anatomy and discovering the comparative anatomy between myself and other species. This led me to more investigation of the anatomy of the animal world.</div>
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I really see this art science intersection as tempered, and most art is out of the landscape and born out of the landscape. It’s only recently that it isn’t, and modernism and minimalism is more based on human structures than natural structures. But before then most art was based on naturalistic ideas where artists painted landscapes, human form, animal form, and things people ate. So I guess I have always been drawn to art and the environment that surrounds us.</div>
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I think it’s really important to not ignore what’s going on in our environment, and the damage we are doing as a species. If I can enlighten or at least educate people through my work, I think that becomes important to at least have them respond to something that there not being fed through a television or computer or in social media/pop culture.<br />
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I think that artist have gotten way to egotistical; I mean I love <em><span style="color: #444444; font-family: Calibri, sans-serif;">Cézanne </span></em>but he always thought the artists job is to improve on nature and I think that’s a ridiculous statement. I think that is just another arrogant statement and it’s just not really accurate, it should be – to become more like nature, become like the rhythms you perceive.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 11px; line-height: 14px;">The orangish, yellowish, brownish water contrasted with the blues and light greens had me floating inside of a</span><br />
<span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 11px; line-height: 14px;">color field painting</span></td></tr>
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Q: What were some of your first reactions to the Monomoy National Wildlife Refuge?</div>
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<i>E.N.</i> Because of its location off of the coast of Cape Cod, Monomoy has been impacted by human settlement and development for hundreds of years. It is amazing how much is still present and to see the recovery in the seal populations. The exposure and harsh conditions of Monomoy kept it free of development, except for a brief time, and it has kept it wild. <o:p></o:p></div>
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There is a lot of human interference in the way the birds are studied, but I think that is necessary in the preservation of species. With that said I think the study of birds and the importance of their migratory habitats is very important for the overall diversity in the area.<o:p></o:p></div>
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There is no way anything can be totally 100% natural anymore. And by natural I mean, as it was before human population inhabited the area, especially before European settlement and commercial development.</div>
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Monomoy in itself is very stark. The colors, elements, currents, and how constant the water and wind are is pretty unique to Monomoy. I have noticed these things in various ocean environments, where you notice that the wind is shaping everything around you. Monomoy is a very exposed environment; there’s no canopy of trees for shelter and it’s all out in the open so the light is very intense. The diversity and the marine environment seem to go on forever. It becomes interesting to think about how many life forms existed before you.</div>
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Q: Did you experience any change in your perception or experience any form of enlightenment at Monomoy?</div>
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<i>E.N.</i> I think I did when we spent more extended periods of time on the southern end of the island. Honestly I would have stayed in a tent on a more remote part of the island, because in isolation from modern convenience, you get in a different rhythm and the simplicity is refreshing and exhilarating. Each moment in the landscape changes with weather and the course of the sun. I loved being there in the rain, seeing the storms come across the island, the colors change and the complete experience of staying in one place: looking up, down and across into each aspect of the place surrounding your body.<o:p></o:p></div>
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I think there is an important thing that happens when you’re not able to communicate with words. When there is no ability to talk and you just get into your own head space. I spent a lot of time on the ground, like lying down on the ground and by the bogs. I took videos and pictures of cranberries, bugs, and carnivorous plants.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkZRXezNxXRhJMa5EfbkAVbycgffBeCeexS-P1aPakMbfgTMLPf1_If6lS1upZ2cwifkkxpH8hLlo04zqo8cUJbKMOpr28IYHmn8c0up7O1pGx7OnweqEPMZfk23AEBGjmku-yXpQMaDo/s1600/IMG_0101.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkZRXezNxXRhJMa5EfbkAVbycgffBeCeexS-P1aPakMbfgTMLPf1_If6lS1upZ2cwifkkxpH8hLlo04zqo8cUJbKMOpr28IYHmn8c0up7O1pGx7OnweqEPMZfk23AEBGjmku-yXpQMaDo/s1600/IMG_0101.JPG" height="240" width="320" /></a></td></tr>
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I went out with a camera and my intention was to capture something. I felt I could take photographs and harm nothing, so it really was like a hunting experience for photographs. One notable experience occurred when I was hiking up the side of a sand dune and the vista suddenly opened up. A moment later, A hawk flew a few feet away from my head: it returned and swerved right over my head, I noticed it was being chased by several common terns. This chase went on for an hour. I got out my zoom lens and shot many photos. It was an amazing experience as the hawk kept on coming closer to me, checking out what the hell I was. It was great to see another species that is not completely afraid because you’re a human. That day stood out to me as a complete Monomoy experience: I explored, I observed, I read, worked on drawings, and went to sleep with the sun, perfect.</div>
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Q: As an artist do you feel like you influenced the scientist that you worked with?</div>
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<i>E.N.</i><span style="background-color: white;"> I think that seeing the beauty and talking about it reminded the scientists who are involved in completing a specific task. Of course they see the beauty but I think it is a different way of perceiving or what we pay attention to and what we omit when we have a goal. How specialization can limit our ability to perceive the total, at least for a moment. I suppose this is the difference between a specialized biologist and an ecologist and the difference between approaching the landscape with an agenda to follow rather than a purely perceptual experience. <o:p></o:p></span></div>
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<span style="background-color: white;">Regarding predator control, I have a point of view which I stated. I agree it has to be done but philosophically I had to question the practice in terms of how we prioritize our lives and the lives of other animals. What we perceive as damaging in other animal, like a coyote and a black-back gull, humans are guilty in magnitudes. Because of human development, these species thrive. They are survivors, they are cunning and resourceful. As humans, we admire this competitive edge; it is what has made our species thrive. Our adaptability and opportunism is the same, but judged quite differently.</span><span style="background-color: white;"> I only ask that we turn the mirror on ourselves and ask about our own impact on the world. </span></div>
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<i>E.N. </i> Powder Hole is a migratory bird’s stop, and while I was there these willets would squawk at me constantly, and fly away from me. I got tired of everything being scared of me.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvtqq7yjHL1fWX1mXBKiLNQiy3EFTrVvFjovd-LCgDYj0iyLU52lEcmo4d2hXB2ISGRUK-aaYG6KjyU_YFu7b4UUykVjtOQqx69JJPikNe6pknOrFZCcSHUYY8Xwl_GDNrjxHMU_wdK-Q/s1600/IMG_6703.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvtqq7yjHL1fWX1mXBKiLNQiy3EFTrVvFjovd-LCgDYj0iyLU52lEcmo4d2hXB2ISGRUK-aaYG6KjyU_YFu7b4UUykVjtOQqx69JJPikNe6pknOrFZCcSHUYY8Xwl_GDNrjxHMU_wdK-Q/s1600/IMG_6703.jpg" height="320" width="240" /></a></div>
Another moment was when Megan, Jeremy and I kayaked out to an area between Monomoy and the North beach, called The Break. We kayaked against the current which was really hard because the wind was so strong. It became a really special moment when suddenly seals were swimming alongside our boats. Then a seal tour boat comes along and scares the seals away. People came along with their party boats fitted with what seemed to be a bunch of chairs from their lawn. So I thought I was going to be in this isolated place but I ended up realizing how close we were to civilization.</div>
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Also there is the motorized vs. non-motorized thing; you begin to really realize how physically lazy we have become as a species. I think people should try to use their own physical power to appreciate the motorization vs. their own physical abilities. It definitely changes your perception of scale, distance, and physical effort. It also sets us apart from the other species. Think of the Terns and the other birds flying so far with only the strength of their little bodies. It is truly amazing.</div>
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Q: What were some of the beneficial outcomes of the experience?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicvs_Re0jlfx_TD0O7PlqftV8i4fdqK7tgT_N_cYeIMFZ0WcbxTqsSz9xHsx4j_g647R98vEqBY0Y_zIzSemOGKezGaZxnuAeVnexBGrmjFWzDtJqAJj_TRqtnEo7X8iqXFoCzyxAQXCs/s1600/sealspine.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicvs_Re0jlfx_TD0O7PlqftV8i4fdqK7tgT_N_cYeIMFZ0WcbxTqsSz9xHsx4j_g647R98vEqBY0Y_zIzSemOGKezGaZxnuAeVnexBGrmjFWzDtJqAJj_TRqtnEo7X8iqXFoCzyxAQXCs/s1600/sealspine.jpg" /></a></div>
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<i>E.N.</i> The relationship between artist and scientists was so enriching. Earlier in the year, I took a course through the Wagner Science Museum in Philadelphia in invertebrate anatomy and the evolutionary aspects of vertebrate development. I think the experience at Monomoy rounded my other investigations in science and sparked even more interest for me.</div>
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Also, when I came back from the residency I took my neighbors grandson to the Wissihickon park, an area of thousands of acres of protected land, within Philadelphia. The young man doesn’t get to the woods often, he is African American and the Trayvon Martin case had just been decided. Here was this young boy of eight so innocent, eager for life and knowledge . We went to the forest and walked through the creek. While we were playing in the water, a bald eagle landed above us on a branch and watched us. I thought, “how perfect, here we are- two humans in the landscape sharing the beauty, no labels and no lines, a part of nature” I believe you need to look for wilderness and the wild places where ever you are, find it and share it, it is vital, what could be more important?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhWLzHiG57Fc9-HXMKZO1hQtH1CW94lsHplyiYujbqKrfOmr4SZoSzQla9ipDvcC6fjPCw9kRCfVtRHVU1Ch_7kBGM4-J4Yy34ffkbdQi70N09zKL_M16KE6aHBWJmtKCUWH5VVxQtSTU/s1600/l_20130610-fairmount-park-1200.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhWLzHiG57Fc9-HXMKZO1hQtH1CW94lsHplyiYujbqKrfOmr4SZoSzQla9ipDvcC6fjPCw9kRCfVtRHVU1Ch_7kBGM4-J4Yy34ffkbdQi70N09zKL_M16KE6aHBWJmtKCUWH5VVxQtSTU/s1600/l_20130610-fairmount-park-1200.jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #333333; color: #999999; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 12px; text-align: start;">Philadelphia's Wissahickon Valley is one of the popular areas of Fairmount Park. (Photo courtesy of Friends of the Wissahickon)</span></td></tr>
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<a href="http://elisabethnickles.com/" style="color: #1155cc;"><br />http://elisabethnickles.com/</a><br />
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Photo Credit: Elisabeth Nickles </div>
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Anonymoushttp://www.blogger.com/profile/01471566396010186525noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-49735413654753065732013-11-03T13:33:00.002-08:002013-11-03T13:33:37.028-08:00Interview with Artist: Duane McDiarmid (John Muir Wilderness~July 10-August 7, 2013)<div class="MsoNormal">
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<span style="color: #666666; font-size: x-small;">By:Ryan Mudgett</span></h3>
<span style="color: #666666;"><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO4YX9l5n1E-v9yLu6KolZY2UMOSY-yGhxHAtZV7LCG8H4eC5RHgNRN70c49NB7CbO7RGG7xEXvYZLjt0r9qbLPjJUi6GNKYaLE9yV5hPad8fo8E1xvIFvGJ4707SXGPK3lPjUTsNkB4I/s1600/carin+of+eyes_6075.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO4YX9l5n1E-v9yLu6KolZY2UMOSY-yGhxHAtZV7LCG8H4eC5RHgNRN70c49NB7CbO7RGG7xEXvYZLjt0r9qbLPjJUi6GNKYaLE9yV5hPad8fo8E1xvIFvGJ4707SXGPK3lPjUTsNkB4I/s1600/carin+of+eyes_6075.jpg" height="216" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-size: xx-small;"><br /></span><span style="color: #666666; font-size: x-small;"> </span><span style="color: #666666; font-size: xx-small;">Duane McDiarmid
studied Biology, Anthropology, Urban Studies, and Dance, prior to completing
Fine Art Degrees at the Kansas City Art Institute and Florida State. He
constructs sculptures, performances, and initiates social intersections in fine
art venues, digital communities and in the landscape. He has fed the public ice
cream from a solar work in remote deserts, bathed in used motor oil for an
audience of animals in a wetland, worn a French-court inspired wig while
traversing mountain passes with a Mr. Coffee pot, and dressed an Arabian horse
in ‘I dream of Jeanie’ inspired garb in the Sierras. His work has been supported
by the National Endowment for the Arts, the Rockefeller Foundation, and been
presented at prestigious institutions including The Delaware Center for
Contemporary Art, and the Santa Fe Art Institute. </span></td></tr>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"> <span style="line-height: 14px;">Q:Why were you interested in participating at the John Muir Wilderness residency?</span></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;"><i>D.M.</i>My work has long time been really interested in placing itself in more remote locations for a much more happenstance audience. There was a natural affinity with the basic mission of moving art practice out of the studio, dissemination and the strategies of museums and galleries, into something that is more akin to the natural environment. I have a love for the high altitude locations because it’s like this limitation of flora and fauna, it keeps it from being overloaded, but I don’t get access to that sort of environment. So I applied for all the different biomes for the Aldo and Leonardo, but I made the Alpine biome my first choice.</span><br />
<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 14px;"> I think there is also a personal narrative prompt in there, which is that my grandparents had been trail riding on horseback into the high alpine areas of British Columbia. So I think I had a romance behind that, and I was interested in maybe repeating. At the application stage there was this question on, whether you had ridden a horse and it sounded like maybe the Alpine biome was going to involve that mode of transportation which also made it attractive. The high alpine environment is a completely different world and it has different kinds of hierarchies and I’m really interested in hierarchies. You have this wonderful scale shift between these really large scale things such as mountains and these really small scale things like the tiny little wildflowers and lichens. The middle zone of scale is what we normally deal with, houses, cars, and trees which tend to </span><span style="line-height: 14px;">disappear out of the spectrum.</span><span style="line-height: 14px;"> <o:p></o:p></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2O2QKaWmck2E4x-LjL4NnGGHAm6aUbQTbPsd2tFGaEq08Go4BAmNFgNK8-SpBOTmbsafRhotQaey37fxHc1DhC7CuHq6Tqh2KxpnX0jr6cbCCbDha5kZZ-ccfHhs0L2Ygu50gRd8Bx9A/s1600/chime+at+12000+.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2O2QKaWmck2E4x-LjL4NnGGHAm6aUbQTbPsd2tFGaEq08Go4BAmNFgNK8-SpBOTmbsafRhotQaey37fxHc1DhC7CuHq6Tqh2KxpnX0jr6cbCCbDha5kZZ-ccfHhs0L2Ygu50gRd8Bx9A/s1600/chime+at+12000+.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small;">Duane's Canister at 12,000ft.(Photo Credit: D. McDiarmid)</span></td></tr>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><i style="line-height: 14px;">D.M.</i><span style="line-height: 14px;">What I find is of interest for me is the breadth of spectrum with which human beings try to understand our existence within the world. As such I see science and art as different aspects of the same thing. This idea of having these experiences, and this curiosity of wanting to dig deeper for insights or enlightenment, as the case maybe. I think they’re a good pairing because they have sort of a yin-yang relationship. Science is really locked into the cone of vision of the rational. It can’t really be outside of rationality because scientific process </span><span style="line-height: 14px;">doesn't</span><span style="line-height: 14px;"> allow for that. I believe human beings are irrational creatures, that our perception is even more irrational than our beings. It means that cone is going to miss certain things. Art on the other hand can really indulge in those non-rational, </span><span style="line-height: 14px;">contradictory</span><span style="line-height: 14px;"> to rational aspects that are operative. So when you put those two cones in overlap with each other you get this more dynamic picture. The multiplicities and overlapping </span><span style="line-height: 14px;">realities</span><span style="line-height: 14px;"> that collectively add up to a greater sum is something that I always find interesting.<o:p></o:p></span></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;"><i>D.M.</i>Everyone’s first reactions to the John Muir Wilderness are – are we there yet? The road in is spectacularly long for how short it is. So that becomes a really dominant first impression, it’s a time space collapse were you can drive twenty minutes to go four miles. So you start to begin to understand even before you arrive, that the usual assumptions that you’re going make to measure things are not going to work here. Time and space have a different proportionally relationship to each other.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span style="color: #666666;"><span style="line-height: 14px;">The other thing that really stuck me, and I said it out loud even though I was alone was- “Oh my god this is what it would have been like to enter Yosemite 50-100 years ago.” There was a sense that you were in that space before it had become codified. In that, I found it immensely exciting because it was like time travel in a strange way. So that was the first impression of coming into the John Muir. </span></span></span><br />
<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 14px;">In some ways we </span><span style="line-height: 14px;">weren't</span><span style="line-height: 14px;"> in the John Muir quite yet because then you go out to the </span><span style="line-height: 14px;">trail head</span><span style="line-height: 14px;"> for awhile and then that’s when you actually cross the boundary into the actual wilderness. In many ways that boundary was kind of invisible. You </span><span style="line-height: 14px;">couldn't</span><span style="line-height: 14px;"> see it or feel it quite as profoundly as the boundary between the wilderness, its surrounds, and everyday life. </span><span style="background-color: white; line-height: 14px;">One of the things I found myself thinking a lot about was whether or not there should be a discernible shift when you cross these specific boundaries. I found myself leaning towards the side of whether there should be a distinct shift when you cross a boundary into something that’s actually designated as wilderness</span><span style="line-height: 14px;">. In terms of how we think about trail maintenance, and how we think about all these things. There are some real differences in terms of how you maintain the trails - hand tools vs. power tools, wheelbarrows yes vs. wheelbarrows no. But there’s a culture of what is a well maintained trail, and what are the measures that we are heading for, which seems to cross that boundary with utter oblivion to it, and that was something that I found myself pondering quite a lot out there.<o:p></o:p></span></span><br />
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;">Q: What do you believe to be a highlight to your time spent in the John Muir Wilderness?</span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><i style="line-height: 14px;">D.M.</i><span style="line-height: 14px;">I did two eight day tours walking in the John Muir with Wilderness Rangers. As fellas in the program we were sent on an eight day journey. I decided during that journey and the couple of days following as I was developing what my artistic response was going to be to that initial experience. I wanted to express that response actually on the trail in the John Muir, as opposed to off the trail about the John Muir Trail. So I decided to go on a second tour as an artist opposed to as artist/researcher. My fellow artist Tory did eight days on the trail and I ended up doing sixteen because it became really important to my work. It also profoundly changed the way I perceive the whole thing, and what my discourse around the John Muir would be long term. On my second tour I had prepared all of these props, discourses and these performative acts based on my first tour. On my first tour we were primarily on the John Muir and the Pacific Crest, which are pretty heavily trafficked by hikers. There was a great sense both for Tory and I, which we discussed a lot; we both were stuck by this Disney esc. quality of wilderness on our first tour. Not that we </span><span style="line-height: 14px;">weren't</span><span style="line-height: 14px;"> having other experiences that were truly profound and that it </span><span style="line-height: 14px;">wasn't</span><span style="line-height: 14px;"> incredibly beautiful in terms of landscape. We really noticed that there was a lot of performing going on in the wilderness. In terms of performing how great a hiker you are, and performing how many miles you had come, performing the sustainability of your fashion choices, and performing the duties so that it would appear no one had ever been here even though twenty people are passing there every day.<o:p></o:p></span></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 14px;">My work that I developed to go about on my second tour was really predicated on the premise of it being about that phenomenon and for that level of traffic. But on the second tour we went to a very different kind of place. I found myself having much more of the experience that I had hoped for. My work was designed and propped out and loaded onto my pack with the idea of doing these slightly tongue n’ cheek, critical little glib performances. But on my second tour it wasn't really what I encountered, so it’s not what I ended up really doing. I ended up going off trail quite a lot and even when we were on trail we were not on the major trails we were on secondary trails.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Vh-d6cZfUKkQczSQleX8w4eJxRVzjBYIpeeWw_xrEB65j3mWQQFkeeDGSeDaSjZdstx3UnK801Hc_2kYLrQ9tHOemzI9RUdh0vQ8HnXJxFxiU8DgjpQMA7wsqm0IIkvzCOvZbrgn4KA/s1600/chime+inside+IMG_5972.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Vh-d6cZfUKkQczSQleX8w4eJxRVzjBYIpeeWw_xrEB65j3mWQQFkeeDGSeDaSjZdstx3UnK801Hc_2kYLrQ9tHOemzI9RUdh0vQ8HnXJxFxiU8DgjpQMA7wsqm0IIkvzCOvZbrgn4KA/s1600/chime+inside+IMG_5972.jpg" /></span></a><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;"> I ended up having this quasi-transcendental experience of hiking and following my shoes higher and higher in elevation to lake and snow field, and over talus. That made me really, get beyond the performing, to the point where - I’m in the wilderness, and actually crossing over to being in the wilderness. Because I made this shift, the art had to change from being discursive about wilderness between people pretending to be in wilderness in different ways and had to shift. It had to shift to,what are the acts that I can make as an artist in the wilderness that don’t pop me out of it, but rather keep me in it? That was a very different question. This led to another whole set of performative gestures that I really ended up considering as the real work of the residency. It had to do with figuring out how to mark and acknowledge presence while leaving no mark of my presence, which is a very strange way for a sculpture to try and work. Most of what we do is material and it’s in some way or another is about shifting material into a new configuration. So it became very interesting for me when I was in a world where my goal was not make any material shifts.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNL7JJO2ThQfIa5wKD-wzpT0xr8zpQlTsvLe96lBECf6eR6Yv8AwF5fXoMIoP7SWwOOO8iyu8-hlua5MJjmsNGGqkqaJZVyX6GXNJ0U363S3sqkhgLhPpp-UBPz2rWRT75cLIHtLIQFoA/s1600/bear%253Dplayers.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNL7JJO2ThQfIa5wKD-wzpT0xr8zpQlTsvLe96lBECf6eR6Yv8AwF5fXoMIoP7SWwOOO8iyu8-hlua5MJjmsNGGqkqaJZVyX6GXNJ0U363S3sqkhgLhPpp-UBPz2rWRT75cLIHtLIQFoA/s1600/bear%253Dplayers.jpg" /></span></a><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 14px;">I brought along a couple bear canisters that I decked out as circus props with the idea that even though wild bears were performing a entertainment value to human concerns of wilderness. I was adding this level of adventure and risk that </span><span style="line-height: 14px;">wasn't</span><span style="line-height: 14px;"> really real. I did this by perverting the bears foraging behaviors in a way that was responsive to the non-wilderness world, as opposed to the response to the wilderness world. That was central to my original thesis going back in. It was, nothing was operating in response to the wilderness, everything was operating and responding the non-wilderness, and I was going to try and shine a light on that. To that end I had these bear cans with me that were decked out in this circus costume and they had musical instruments in them. The idea being, when the bear came to raid our food they would end up performing a chaotic Dadaist music for us which is a complete perversion of wild bear behavior. That was a potential that I ended up creating, a ritual were I would set these things out with the hope that nothing would happen, and that’s what did happen, the bears never came. They never reduced themselves to that level of clownery.<o:p></o:p></span></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;"> But then I also used these devises as sort of a worry stone. When I would walk I would swing this bear can with this wind chime in it and it would be responding both to its contained internal space and to the variations of me going over a terrain. The rhythm of that swing having to be a bodily extension of my body moving through this landscape, and it was performative but it was not for anything or anyone. It was just itself, in its own moment. That became the nexus of the way I thought about my actions up there. The way to be an artist in the wilderness is for the art to exist like other wilderness elements, which is without self consciousness to external viewership. That was the profundity of it.<o:p></o:p></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;">Then of course there is the re-entry of it, you come back out of the wilderness and you have a contractual obligation to show something, so you have to negotiate all those spaces. On one hand there was a compromised aspect to it, in that I did record documentary photographs and now I’m processing them for consumption in the non-wilderness world. They really are secondary acts to things that occurred between me and the landscape in the landscape that were about that time and that place and that moment, and nothing and no one else.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9o848vVykVyg9sQPfL3tOEGfq07q0KiJfpFVdtPPsV2h4EhNvYV9thZRonkQrARKJ9uR4XX9MnO5oCsPTKuZTgg-c1Tsqm0A_zQ79N6y969dr7-eBIaIC36yurBjQ80OfWUSeuh9y1-Y/s1600/off-trail+.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9o848vVykVyg9sQPfL3tOEGfq07q0KiJfpFVdtPPsV2h4EhNvYV9thZRonkQrARKJ9uR4XX9MnO5oCsPTKuZTgg-c1Tsqm0A_zQ79N6y969dr7-eBIaIC36yurBjQ80OfWUSeuh9y1-Y/s1600/off-trail+.jpg" /></span></a><span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><i style="line-height: 14px;">D.M.</i><span style="line-height: 14px;">The Forest Service Rangers that I worked with were largely involved with janitorial services, trail management, more labor and less esoteric science. I think that if I left longing for anything that </span><span style="line-height: 14px;">didn't</span><span style="line-height: 14px;"> occur it would be that much more intimate overlaying of the scientific research with my own personal artistic research and how those things would mesh. That said, as the big picture-I do think that our presence both Tory and mine on the first tour, and mine on the second influenced the Rangers. I think we did this by presenting two ways of seeing and ways of questioning what they were doing. We also discussed what those things meant emblematically, and how what they meant emblematically may even conflict with what they thought they were doing. In that sense, I think there was a level of expansion of perspective that was exchanged back and forth, where the artists were actually able to contribute some insights. I say that because I believe I experienced it in the moment when it was happening and there was feedback when we were socializing with the Rangers back down off the mountain that seemed to confirm that.</span></span><br />
<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 14px;"> Our insights may have even been problematizing to the Rangers normal tasks. When you start to discuses in depth which Tory and I did around the stove at night cooking, that your perceiving there task of firing eliminations of a theater that’s about preparing the set for the next but same play. Preparing for the next person to pretend that they are arriving at this river bank, and no one else had ever slept there before- and that is all bogus.</span></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;">We have a very thin veneer, and there keeping that thin veneer going. I think that really made them ask some new questions about what their role was as a Wilderness Ranger and where is the center of gravity of this supposed to reside. I’m not sure that we did a lot of good from the Forest Service’s point of view. From the idea of human beings being aware and questioning, or investigating their own behaviors and how that relates to wilderness. I think the art perspective certainly opened up some new vantage points.<o:p></o:p></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span style="line-height: 14px;">It’s very easy to say, or to look at, the action of picking tiny pieces of foil out of some dirty campers, meaning all campers fire rings, because we never came across a fire ring that </span><span style="line-height: 14px;">didn't</span><span style="line-height: 14px;"> have little bits of foil in it. To understand that as-I’m out here protecting the wilderness from this foil, that’s what I’m doing, can open up some new questions. Our perspective really became a questioning of that because essentially what you’re doing is your mitigating the consequences of human interface to such a degree that the people are not confronting it and on top of it there not having the experience they think they’re having because you’re intervening in this un-natural way. What is the wilderness of that? I’m not sure if it’s a question that anyone but an artist would ask? It’s about the non-tangible events of the task rather than the tangible parts.<o:p></o:p></span></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;"><i>D.M.</i>I think the whole way Wilderness Ranger work is measured is utterly absurd, completely absurd. Because what these guys and gals had to do at the end of every day; was they had to sit down and make a list, because they had to report it back to their supervisor to prove that they were doing a good job. More or less they have to say like-How many visitors did we talk to? And okay that one is maybe fine. Except for it’s predicated on the notion that you’re serving human beings, which the Wilderness Act is really not predicated on. The Wilderness Act is predicated on the notion that you’re protecting wilderness. So even in that one, that seems so logical, you’re starting to see that the more visitors you have the more visitor contacts you have the better job your doing as a Wilderness Ranger. You’re starting to erode the main mission by the reward structure that has been set up by the employer employee relationship. Then you start extending that to things like- How many trail gutters did you clear? How many windfalls more than 4 in. diameter trees did you cut? How many illegal fire rings did you eliminate? How many legal fire rings did you clean? It’s all really about motel maintenance and interesting enough, what do these guys and gals do on their days off? They go hiking in the wilderness because there not hiking in the wilderness when they are being Wilderness Rangers. When I wanted to know something about the wilderness, about the land, about the flora, about the fauna, about the geology it was all stuff that they garnered on their days off, not doing their job as Wilderness Rangers. As Wilderness Rangers their job is not to range, it’s to clean. It really struck me, and in talking to the director of the John Muir Wilderness, Adam Barnett reaffirmed that. He said casually on a hike that we took together one day, that he felt that the number one job of a ranger is to observe, because if your fixated on doing too many miles then you’re not observing. Just observing is the most important job of a ranger. I think he absolutely meant it, and he absolutely implements it in the way he practices and I admire him immensely for that. Somehow the structure of how the lower ranking Rangers are managed two or three layers beneath his insights, are not supporting that. Nowhere on the list did it say- How much time did you spend observing the wilderness?<o:p></o:p></span></div>
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<span style="color: #666666; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;">I thought about this a lot when I got back, the whole title of Ranger implies if you forget what it means literally in vernacular use, you think about what does it mean much more poetically? It’s about wandering the range. It’s another word for wanderer. Then you add this definition of Wilderness Ranger, which seems like it should confront that more firmly, and yet the wilderness rangers I talked to said they rarely get more than 100ft. away from a trail. There not ranging. So did I find an absurdity out there? Yeah. We don’t know how to pay people to be Wilderness Rangers, we only know how to pay them to be motel maids. That to me is utterly absurd, because cleaning up someone’s campsite is far less important than really protecting, understanding, wandering, and guarding the safe and beautiful, not just safe for humans but safe for the wilderness, its being a protector of the wilderness. I think everyone understands on some level that is the primary mission of their job, but the accounting for it has completely obscured that. Accounting obscures real mission.<o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/01471566396010186525noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-91358887309156442522013-11-02T09:29:00.000-07:002013-11-02T09:32:46.007-07:00News from the Field<div class="separator" style="clear: both; text-align: center;">
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<span style="color: black;">Jeff Lee, Plant Ecologist / Botanist with the Minnesota Biological Survey, just posted his account of the Boundary Waters Aldo Leonardo trip on the Minnesota Biological Survey's blog. Here is a link to it: <a href="http://www.dnr.state.mn.us/eco/mcbs/news2013.html">www.dnr.state.mn.us/eco/mcbs/news2013.html </a>(with photos). Here is a reposting of the article:</span><br />
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<span style="color: #3d85c6;">"A unique opportunity arose when the Minnesota Biological Survey (MBS) was invited to participate in the Aldo & Leonardo Wilderness Science and Art Collaboration. A partnership of the Colorado Art Ranch and the U.S. Forest Service Aldo Leopold Wilderness Research Institute, the collaboration aims to bring together visiting artists and resident scientists to (1) highlight the success of the Wilderness Act on its 50th anniversary in 2014, (2) honor the work of wilderness scientists, and (3) capture and communicate the value of wild areas through artistic expression and interpretation. </span><br />
<span style="color: #3d85c6;"><br />
As part of the collaboration, MBS plant ecologists Lawson Gerdes and Daniel Wovcha, energetic volunteer Jenna Pollard and I teamed up with visual and relationally-based artist Katherine Ball for an eight-day, MBS Border Lakes survey trip in the Boundary Waters Canoe Area Wilderness. During her residency, Katie has become familiar with MBS field surveys and mission to guide land management decisions by providing high-quality data on the distribution of rare plants, animals, and communities. Equally poignant, however, was the influence that Katie had on us. Seeing her marvel at the beauty of the Border Lakes, and express that awe with daily postcard writings and reflection, affirmed that wilderness conservation is a shared commonality among scientists and artists alike. </span><br />
<span style="color: #3d85c6;"><br />
Our route took us through Lakes One, Two, Three, Four, Hudson, Insula, Kiana, and Alice. September weather in the Boundary Waters can be unpredictable, but after two days of rain at the beginning, we were left with dry conditions, cool mornings, and three sunny 73° days at the tail end. Each morning, we left our campsite on the northeastern side of Insula Lake and paddled to the day's field site. Relevé vegetation plots in a red pine forest (FDn43a) and jack pine woodland (native plant community determination uncertain) on Kiana and Alice Lakes respectively, were punctuated by rare plant searches and native plant community evaluations. New populations of American shore-plantain (Littorella americana, State Special Concern) were discovered on pebbly shores of small islands. Franklin's Phacelia (Phacelia franklinii, State Threatened) was found for the first time in the Lake-North sub-county and in the area affected by the Pagami Creek wildfire of 2011. This species is known to prefer habitats of recent disturbance at a fine scale (e.g. tree tip-ups). Until now, however, it had not yet been documented from such an intense, broad-scale disturbance as the Pagami Creek fire in Minnesota.
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<span style="color: #3d85c6;"><br />
The fresh perspective that Katie brought to a MBS Border Lakes survey trip was invaluable. Parallels between scientists and artists become apparent as both professions gain greater familiarity with one another. For instance, carrying out a relevé vegetation plot demonstrates precision and detail that is needed for the plot to accurately describe the greater native plant community. The same precision and detail is equally vital for artwork to successfully convey a message, render emotion, or catalyze social change. Our partnership with Katie does not end with the conclusion of the trip. The collaboration extends to her creation of an art piece that celebrates wilderness and by association the biodiversity contained within. This work will become public and showcase how science and art together is more powerful than either one in isolation." — Jeff Lee, 2013</span>Katherine Ballhttp://www.blogger.com/profile/08753583409594800942noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-14660024824422641222013-10-31T15:52:00.001-07:002013-10-31T16:03:10.058-07:00Benjamin Ceramix: Clay From The Mountains (Canyons of the Ancients National Monument)
While working as an Artist in Residence at the Canyons of the Ancients, I often make trips to the McPhee Reservoir, a beautiful winding road that unveils clearings of snowy mountain ranges, several giant snakes of water, and green fields spotted with shadows of passing clouds. The site is characterized as the largest and most funded archaeological excavation site in the country's history. Hundreds of artifacts such as patterned pottery, yucca sandals, and effigies made by the Anasazi were found there and catalogued for the cultural preservation of our ancestors.
One day I decided to venture into the shallow valleys of the reservoir a day after rain. I came across the remains of a stream, which sat like a silent mud road assembled with geometric, tightly-fit earth blocks. The tessellation of mud formations seemed to resemble the keyboard of a computer and sank with gravity as the trodden path of my feet created a sculptural novel.
I lifted a dried panel the size of a laptop of mud to reveal a bottomless cauldron of clay—dark grey with tan fine grain grog, sticky, malleable, and cold. After shoveling a mass of substance from the ground with my hands into a large Ziploc bag, I walked back to my truck with the bag of clay on my head. I combined this clay with dry elements from other areas of the land (dried mud, sandstone, fine gravel, some bugs), collected near areas of sacred views and holy ancestral places. From this unique mix manifested several small, intuitive sculptural beings. The photos are below, and the pieces will be getting fired in a local artist's kiln this weekend (updates to come).
The large piece is named RainChild until it emerges from the kiln, and will then maybe be given a new name. It is about 60 lbs, 2', and is made with a Cassius Basaltic clay that will fire to a dark brown or black. I made it during the first week of my residency after absorbing the ancient architectural beauty of Mesa Verde. It resembles the cultural spirit of the pueblo community long ago—the head and face reminiscent of a sandstone tower built into the cliffs.
I plan to make several more pieces from the clay found in this area while I am here. At the moment, I am also creating an animation of my sculptures that features a digital technology project that was made via collaboration with Vince MacMillan, an excellent archaeologist of the Anasazi Heritage Center and BLM. I expect it to be done soon and am excited to share it with you all!!
Cheers,
Ben
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At the end of my Aldo and Leonardo Residency in the Boundary Waters Wilderness, I collaborated with scientists from the Minnesota Biological Survey Lawson Gerdes, Jeff Lee,Dan Wovcha and field assistant Jenna Pollard, to make an installation that rendered a scene of what 21st century land surveying entails — and what one variety of scientific research in the Boundary Waters wilderness looks like: the relevé method. The installation contains scientific tools, information, camp gear and idiosyncratic objects that illustrate the character of the four of us that went to the Boundary Waters to survey the biodiversity of the area using the "relevé" method. Using aerial infrared maps, we canoed and bushwacked to specific sections of the Boundary Waters to mark off 20x20 meter plots and assess all the plant species living in each plot. We surveyed each relevé plot at multiple levels, from the canopy to the ground cover, assessing density and maturity. We would also dig a hole in the ground to inspect the soil layers (if charcoal was present that would indicate there had been a fire) and test the PH of the soil. By performing the relevé method, we were able to generate a scientific rendering of the native plant community and fill in the map of biodiversity for the state of Minnesota that the Minnesota Biological Survey has been charting over the last two decades. The installation was created at Wolf Ridge Environmental Learning Center in Finland, MN.<br />
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The five of us have discussed exhibiting this installation again some day at a larger public institution. We have ideas for a series of public programs that could go along with it, including relevé school curriculum, the launch of a relevé society (these societies/clubs are prevalent in Europe), relevé events/performances, and workshops (for example: where participants can learn how to press plants, make a plant pressing book, and a solar plant dryer). We have plans to make a proposal to the Minnesota Science Museum and the Bell Museum of Natural History or during the 50th Anniversary Celebration of the Wilderness Act in Albuquerque. If you have any suggestions for any institutions to contact about hosting the exhibit, please email kb@katherineball.com.<br />
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Photos courtesy of Jenna Pollard, Dan Wovcha, and Katherine Ball.<br />
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Much gratitude to Wolf Ridge for hosting the installation, Lawson Gerdes for bottomlining the science end of the collaboration, Jeff Lee for leading the Boundary Waters Trip, Dan Wovcha and Jenna Pollard for their filming/photography, zest for life, insatiable curiosity, deep wonder and reverence for the flora and fauna with which we share this planet.<br />
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Katherine Ballhttp://www.blogger.com/profile/08753583409594800942noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-37981374851252062672013-10-26T17:17:00.000-07:002013-10-31T15:12:25.860-07:00Canyons of the Ancients National Monument 2013 Artist in Residence: Ben McCarthy//Benjamin Ceramix<br />
Hello all!<br />
I have been enjoying all of your updates and glimpses into the different biomes/residencies that Aldo & Leonardo have organized and what has come of it—looking forward to how it evolves. What a phenomenal opportunity!! I am truly thankful and honored to be a part of this project. My artist residency ended the final day of September, and I am still happily living and working in the area to where I was transferred. I plan to continue my creative study of this beautiful, hidden area that is home to the largest and most abundant archaeological site in the country. The experience of shadowing and camping with the other artists, biologists and archaeologists of the Anasazi Heritage Center and the Bureau of Land Management was unique, informative, inspiring, and motivating. It is as if to have been let in on an ancient secret that I will ponder for the rest of my life—given the gift of an eternal creative fuel, which I have continuously found within nature, the lives and artwork of ancient people, and modern-day habitation of the planet. The project's emphasis on working with the organizations that maintain the land today sparked ideas of the history of humans in wilderness, our mark, the current state of how nature is governed, and an urgency for conserving its ecosystem, culture, art, and resources.<br />
Days of hiking through vibrant olfactory foliage (especially green due to monsoon season) of sage and juniper, standing next to sandstone and mud-masoned giant towers constructed by ancient human beings known as The Ancient Ones (or Anasazi), approaching a clearing to find a massive faceted triangle of carved stone with archaic doodles melted through the purple desert rock varnish to reveal glowing orange petroglyph stick figure gatherings amidst floating spiral symbols (that may actually resemble ancient semiotics for water). Migrating black and orange tarantulas crossing the road, each traversing its own journey to somewhere, silent geological patterns stacked to create a castle disguised as a cliff, from where points of erosion within the wind-sculpted stone walls emerge natural statues of heads and faces that speak with the skies and think for centuries. Then there are places where one can see where, long ago, Mother Earth opened her arms to the Ancestral Puebloans and gave them cathedral-like caves in the mountain canyons on either side of the valleys of Mesa Verde. The ancient people cooperated with the earth, survived off of its growth, and built small cities inside the cliffs. To see such natural, complex, ancient structures is simply phenomenal, and the view provides an Escher-style visual puzzle majestically camouflaged into Nature. I sat across from it for hours, deep in thought and admiration, while carving a chunk of red and orange sandstone into a 3-dimensional hieroglyph with a piece of obsidian I found near Yellowstone.<br />
The artistic process of analyzing, distilling, and creatively articulating the substance absorbed from the Canyons of the Ancients takes time and an open mind, and I am only beginning to translate the miles of geological formations, ghostly cliff dwellings, and ancient geometric pottery patterns into pieces of my own artwork—sculptures, pictures, and poems that resemble my intuitive, cognitive response. I found myself particularly inspired by the surreal scenes and creatures within rock art, and the "T shaped" doorways/windows found often in Ancestral Puebloan architecture.<br />
In addition to creating a number of sculptures from clay that I dug from the mountains (which are currently drying and will be fired soon! {updates to come}), I began to decode the things I was seeing each day through the countless digital photographs I took during our exploration of Wilderness. One thousand, high definition photos of a landscape still cannot begin to explain the sense one gets when entering the labyrinth of Nature. In an effort to encapsulate the time, spirit, and language of the Canyons of the Ancients, I developed many new techniques: one called geokaleidoscopics, with which I transform my photography into fractal mosaics that unfold into intricate meta-textured beings of nature and ancient architecture. Colorful visual patterns form from simple pieces of sky, plants, or rocks. The sculptural images provide a snapshot of an interactive story (enhanced by the "zoom" feature) with an intergalactic quality, while still giving the viewer a perspective of the terrain, colors, sites, and artifacts of the place. I have also included a photo of the completed Anubynx sculpture that I made before the residency, which I posted a photo of pre-fire a while ago. The Anubynx and several other of my handmade, large-scale clay sculptures experienced a material metamorphosis and teleported into a tour of the digital landscapes depicted within my pictures you'll see below. They had a blast and will definitely visit again!<br />
A big, glowing "THANK YOU" to Grant and Peggy at the Colorado Art Ranch for all of your kindness and support, to everyone at the Anasazi Heritage Center and BLM for your welcoming hospitality, interest and great conversation, and to everyone involved with the Aldo & Leonardo Art + Science Collaboration who is contributing to make this something great!!<br />
<br />
-Ben<br />
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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzV5YgaL2mJYMHDLuLzs8W7voAo5qpz5TSMcCsXxlmquPJBA4rlTU6s80Z1N2FhTZLpLTETFIIjCsAZTMGBQsPuWbTKvWjlfZVrOCm5kD8wn-lYfhXh7KrrXJT7DM5kDYC3Jz25PKdBRGJ/s1600/1234172_2331229558921_1260558184_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzV5YgaL2mJYMHDLuLzs8W7voAo5qpz5TSMcCsXxlmquPJBA4rlTU6s80Z1N2FhTZLpLTETFIIjCsAZTMGBQsPuWbTKvWjlfZVrOCm5kD8wn-lYfhXh7KrrXJT7DM5kDYC3Jz25PKdBRGJ/s200/1234172_2331229558921_1260558184_n.jpg" /></a></div>Anonymoushttp://www.blogger.com/profile/10975725315563717811noreply@blogger.com0Canyons of the Ancients National Monument, Pleasant View, Colorado, United States37.4579099 -108.8366637.054567399999996 -109.482107 37.8612524 -108.19121299999999tag:blogger.com,1999:blog-8813683791397213577.post-68104550445110754022013-10-15T12:53:00.001-07:002013-11-08T14:37:23.799-08:00Interview with Refuge Manager,Dave Brownlie ~ From Monomoy National Wildlife Refuge.<div style="text-align: right;">
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href="data:image/jpeg;base64,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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNVPqqc0HxosfGwm1db9zu3cpQro3vfPDJpdPiscpk87jjZCpd09R_UdNf-jQbGVgmKp-axgLpy8fXrzPP1fZz4I5ppYxuljJukGrGB274FyMbGaz3qB8KHaVzx5EE-DdQ26_6MHRFI7w/s1600/trooper&me_selway.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNVPqqc0HxosfGwm1db9zu3cpQro3vfPDJpdPiscpk87jjZCpd09R_UdNf-jQbGVgmKp-axgLpy8fXrzPP1fZz4I5ppYxuljJukGrGB274FyMbGaz3qB8KHaVzx5EE-DdQ26_6MHRFI7w/s1600/trooper&me_selway.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Credit:USFWS</td></tr>
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<span style="color: #666666; font-size: xx-small;">David Brownlie began serving as the Refuge Manager for the U.S. Fish and Wildlife Service’s Monomoy National Wildlife Refuge in Chatham, MA 7,604-acre refuge on January 4, 2010 after nearly 20 years with the U.S. Fish and Wildlife Service, and nearly 32 years of federal service. </span></div>
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<span style="color: #666666; font-size: xx-small;">David’s federal career began with the U.S. Dept. of Agriculture, Forest Service on the <st1:placename w:st="on">Chippewa</st1:placename> <st1:placetype w:st="on">National Forest</st1:placetype> in northern <st1:state w:st="on">Minnesota</st1:state> in 1978. David transferred from the Forest Service’, <st1:placename w:st="on">Hiawatha</st1:placename> <st1:placetype w:st="on">National Forest</st1:placetype> in <st1:state w:st="on">Michigan</st1:state>’s Upper Peninsula to the Fish and Wildlife Service in 1990 as a Fire Management Officer/Forester for refuges in the mid-Atlantic states, based at Great Dismal Swamp National Wildlife Refuge in <st1:place w:st="on"><st1:city w:st="on">Suffolk</st1:city>, <st1:state w:st="on">VA.</st1:state></st1:place> In 1999, David assumed the Regional Fire Ecologist role for the Service’s Southeast Region, based in <st1:city w:st="on">Tallahassee</st1:city>, <st1:state w:st="on">FL</st1:state> and more recently <st1:place w:st="on"><st1:city w:st="on">Atlanta</st1:city>, <st1:state w:st="on">GA</st1:state></st1:place> until coming to Monomoy.</span></div>
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<span style="color: #666666; font-size: xx-small;">Monomoy National Wildlife Refuge, established in 1944 as a sanctuary for migratory birds with an emphasis on threatened, endangered species is recognized internationally as a truly special place, a wonderful place to come to re-connect with the natural world of which we are all a part, and to “recharge one’s batteries”. In 1970, Congress designated most of the refuge as southern <st1:place w:st="on">New England</st1:place>’s only coastal Wilderness. The refuge received Western Hemispheric Shorebird Reserve Network designation in 1999 and was also designated an Important Bird Area (IBA) by the Massachusetts Audubon Society. </span></div>
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<span style="color: #666666; font-size: xx-small;">The mission of the National Wildlife Refuge System is, <i>“Working with others, to conserve, protect, and enhance fish, wildlife, and plants and their habitats for the continuing benefit of the American people.”</i></span><br />
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<span style="text-align: center;">Q: Why were you interested in participating with Aldo and Leonardo initiative?</span></div>
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<i>D.B</i>. The Aldo and Leonardo initiative and the whole concept
I found to be different. Also it is very needful to bring the idea of
wilderness as art, as well as wilderness as almost like a bench mark for
science and the environment. I found that incredibly appealing, and something
that really has not gotten a lot of attention in a practical or tangible way,
and that’s what I thought the Aldo and Leonardo concept was really doing, was
bringing art and science together around the common denominator of wilderness.
Also because Monomoy is uniquely positioned to be able to do that in part
because we actually do have a fairly well developed long standing art community
here on Cape Cod.</div>
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Q: Why is the intersection of Art and Science so important
to you and your work?</div>
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<tr><td class="tr-caption" style="text-align: center;">Photo Credit:USFWS<br /> </td></tr>
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<i>D.B.</i> From having been on more the science side of things for
my entire life, I hadn’t given a whole lot of thought or attention to the
aspects of wilderness as being art-or at least a medium for generating
artistic work. My kids-I don’t know where they get it from, but both of my
kids are much more artistically inclined then am I. I enjoy art although I’m
probably no good at producing it. I don’t know if I have the right mental
process. I am the opposite brain from what most creative artists are. My son is
actually a graphic designer so somewhere deep inside my gene set their might be
some artistic ability, but it had not been cultivated over my life time.</div>
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I particularly enjoy
being out in remote areas, most of my career I spent in fire management and
fire ecology which often took me too many of the wilderness areas across the
country and a wide variety of them. Maybe under less ideal circumstances-but
seeing that process, the process that is fire in wild setting relatively
unrestrained is itself aw-inspiring, and at certain times, particularly at night it’s
both frightful but also absolutely beautiful at the same time.<br />
There’s probably
something primal in the genes that we all have as people that is artistic, as
well as our ability to just be put in awe by the world around us. This is one
of the things that I think wilderness strives to keep. Monomoy is a relatively seasonal
place with a high population, heavily trafficked waters, roadways, and village
centers. Monomoy was uniquely positioned to retain a little bit of that,
surrounded by people. It being an island situation hard to get to its
accessibility in a highly populated area, is part of what helps it keep that
attribute there - I call it the magic of Monomoy, it’s the magic that is
Monomoy. You know you’re somewhere different than you were thirty minutes ago
at the dock. That’s part of Monomoy’s magic, and the uniqueness of the
wilderness preservation. Its proximity of high density development and people,
yet it still retains most, at least some of the wilderness character attributes
that are embodied in the legislation.</div>
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Q: What are some of your first reactions to the Monomoy
National Wildlife Refuge?</div>
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<i>D.B.</i> I think it was probably not realizing it right away, it
took a few minutes or even a day or so for it to register, was that this place
has a magic of its own, which is unique. It was like no other place I had been
before even though I had actually really spent a good part of my time living
and working along the beaches of the Atlantic and Gulf coast in the mid
Atlantic states and subsequent down to Florida were I was stationed in
Tallahassee. I covered the entire Southeast region which is most the Southeast Atlantic
seaboard and the Gulf Coast plus Puerto Rico. I was able to get too many of the
refuges that are in coastal settings. They had many similarities in some
respects, between those and Monomoy but also there is something that was
absolutely and completely unique about Monomoy, which is virtually impossible
for me to put into words. It was more of a feeling that was a result of the
surroundings that I put myself in. It was the internalization of that. I think
that’s what artists are actually striving to capture in their work with whatever
media they work with. There’s probably equally one of exploration as that of
the scientist but for a different end purpose.</div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoNormal">
Q: What do you believe to be a highlight to your time spent
at Monomoy?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="278" 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" style="cursor: move;" width="400" /></a><i>D.B.</i> For me it was a couple of times working with the
artists. The front and back ends of their time here. We were able to get
together very shortly after they all arrived at the place that they were all
lodging at together. They presented to us their previous work and their artistic
interests and what they hoped to be getting out of the Aldo and Leonardo as
artist, and Grant led the whole thing off by just talking about the convergence
of science and art and the role that wilderness can play. On the back end we
closed out by having dinner together at a local restaurant and pub where we
broke bread together and shared a meal together. </div>
<div class="MsoNormal">
The thing that just stayed with me is that all three artist
collaborated on a very simple token of their visit.And that was they custom
made a thank you card using their paper making skills and their combined
collaborative talents. They just left hand written notes on paper in a card
that they had made during their visit here. And they gave these cards to each
of us as a keep sake leave behind. The card itself was more of a
tangible artwork product that came out of their visit. For me it was the most
meaningful experience from the residency. </div>
<div class="MsoNormal">
As far as on the ground we tried to get them out for an
orientation visit and we were able to take them out into the tern colony after
we had told them what they were going to be exposed to and what they would experience. We made light of the fact that Monomoy is where the
concept for the game angry birds was invented. They all got a kick out of it.
Then we walked into the tern colony, and they got to experience getting dive
bombed. This is where Jeremy was able to
capture the colony in his video segment that he posted in the blogs and
Elisabeth as well, posted and captured in her mosaic stills, terns in motion.
Just seeing their eyes light up and listening to how animated they suddenly
became after we had gone to three or four places was great. They really just began to get
their own taste themselves and to personalize that Monomoy magic for each one
of them individually. That was so much fun to see and observe.</div>
<div class="MsoListParagraph">
<br /></div>
<div class="MsoNormal">
Q: Did you experience any change in your perception or
experience any form of enlightenment at Monomoy? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>D.B.</i> I think I would actually describe it as more of a
reawakening for the artistic side of the scientist. I think the artist,
particularly in their blogs were absolutely right. Deep down inside everyone of
us has an artistic component that’s not always developed or in the forefront. I
think the experience interacting with the artist over thirty days did that, not
just for myself but for everybody here on the staff. So everything we look at,
we look at with more of an artistic eye, or listen more with an artistic ear
then we did in the past. It has been a very sensory thing; we use our senses
scientifically to gather scientific data. We probably less so inclined to do so
before the Aldo and Leonardo artist came to join us for a month. So I think we
are changed as scientists probably more because of their visits than we were
able to change them, and I think it worked here.</div>
<div class="MsoListParagraph">
<o:p></o:p><br /></div>
<div class="MsoNormal">
Q: As a scientist do you feel like you influenced the artists that you worked with?</div>
<div class="MsoNormal">
<br /></div>
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</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuWXpIR1v8Oq_jCsc-UjfL7DbKcYaQ-4Tz9LPm66DLuePNHLnhyXPE43vCxS3t5HKiUAakpxNF-lawzS4UoleULnQp90te3ZJxiQzYmtUz4K-fPCoREy0Y3NWZ1m3irjhEkm5OevHWNjK/s1600/P1010555.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSuWXpIR1v8Oq_jCsc-UjfL7DbKcYaQ-4Tz9LPm66DLuePNHLnhyXPE43vCxS3t5HKiUAakpxNF-lawzS4UoleULnQp90te3ZJxiQzYmtUz4K-fPCoREy0Y3NWZ1m3irjhEkm5OevHWNjK/s320/P1010555.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div class="MsoNormal">
<i>D.B.</i> I think we did,
based on what happened at our very informal but wonderful closeout at the end
when we gathered and we basically said thank you, and goodbye to each other.
It was very light, it was very comfortable, and there was no awkwardness that
things didn’t go well or leaving uninspired, they all seemed to be indicating
that they were going home with far more creative ideas than they knew they had
time to be able to generate. The hard part for them was going to be narrowing
down which of the ideas they were actually going to pursue upon return. The
problem for them was they got too many ideas on what they could do. A couple of
them were adjunct faculty so they were looking at ways of incorporating what
they did this summer into their construction of the upcoming year. Paying it
forward to the next generation of inspiring artists.</div>
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Q: Did you experience any unusual occurrences at the Monomoy
Refuge residency?</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqBDUSJGlm1wpKKdbfaTt2j8xWavVix_GVhiAsBnZ6HoE-GuABAm8Zva6KeLrgiyOFJVk06L-MCMgmHDc88J6ugMFPW7RSXZuwlW5xfIqKOlEKzELw6FAsFiyPNQIt0U0bq8EUq3LCJLiA/s1600/babe.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqBDUSJGlm1wpKKdbfaTt2j8xWavVix_GVhiAsBnZ6HoE-GuABAm8Zva6KeLrgiyOFJVk06L-MCMgmHDc88J6ugMFPW7RSXZuwlW5xfIqKOlEKzELw6FAsFiyPNQIt0U0bq8EUq3LCJLiA/s320/babe.JPG" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by: Artist - Elizabeth Nickles</td></tr>
</tbody></table>
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<i>D.B.</i> I wouldn’t say that we had anything that was way out of
our prior experience realm. What I would say is some of the rarer kinds of
events were reported a little more frequently, in part because we had three
more sets of eyes and ears out there, that were just simply out there trying to
drink in and observe that natural world that’s around them. And they were
looking at it with artists’ eyes; I know Elisabeth spent a lot of time lying on
her belly with a camera for long periods of time trying to just get that one
shot. As a result she got a lot of rather close up encounters with some pretty
concise critters. She had a far number of encounters with seals that were
absolutely completely interested in her presence. Just simply because she was
just so still just laying there, and she just got some absolutely marvelous
photographs of seals because she was there, and she was there a very long time.
Elizabeth basically was the one that would go out and lay there just to see
what came her way. She had some of those events that actually spoiled her
wilderness experience or sense of solitude. Her solitude was actually spoiled
and impaired by someone else doing something that was not really keeping with
wilderness character. That stayed with her; at first her initial anger response
was - <i>how could you spoil this for me?</i> But then she would become more reflective as she blogged on it. She would kind
of take it in stride as one of the indicators of human condition and
differences in values and goals. Everybody values wilderness differently in our
culture and as a result everybody uses it and treats it differently. Some are
far more aware that its wilderness and others have absolutely no clue that they
just landed there boat with a motor on it in wilderness, and in doing so they
violated the Marine Mammal Protection Act Harassment Provision; but it’s
because they really didn’t know. They were ignorant for whatever reason of
those things, they have never been taught, or they have been taught and they
don’t care which goes back to value systems. Not everybody is able to use
wilderness physically themselves but many people still derive value from simply
knowing it’s there, and appreciate that there is wilderness that is being
preserved. </div>
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Q: What were some of the beneficial outcomes of the
experience?</div>
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<i>D.B.</i> I think partly the biggest one as far as benefits to
the refuge would be what I alluded to earlier. The refuge staff particularly
the scientifically inclined refuge staff actually look at the world a little
more artistically then we did before the artist were here. I think we learned a
lot about how to look at the world differently from the artist. I think that’s
actually very healthy, very beneficial.<br />
It wasn't widespread awareness, but some of the folks in the local community were able to get news
coverage in the local newspaper about the artist in residence, describing why
they were here and what they were doing. The artist themselves were able to get
downtown and talk to the local artists and merchants about what they are doing
in the area,to get a sense of place. I think that’s a very important aspect of
wilderness. That is, when you have wilderness locally it’s important that you
develop that as part of your sense of place. But I think the artists getting
into the community downtown and sharing their experience, and why
they were here was a little bit eye opening for a small segment of the
community, and this is what in part we are trying to build upon and expand next
spring during the 50<sup>th</sup> Celebration of The Wilderness Act.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACPgjiOWRe-GdR2b6ZmF7AMA5wU8jMrNCMttb-s6yXR2PFfpdKv8EYkqVT2bowzWdcxrQzt9GWEhrxV3CMb-4qDU3LdlU-lSk-x5JbglrQMLw7kjiBkUsNA9Uyti800rhHZQw324I6SQ/s1600/hikers.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACPgjiOWRe-GdR2b6ZmF7AMA5wU8jMrNCMttb-s6yXR2PFfpdKv8EYkqVT2bowzWdcxrQzt9GWEhrxV3CMb-4qDU3LdlU-lSk-x5JbglrQMLw7kjiBkUsNA9Uyti800rhHZQw324I6SQ/s1600/hikers.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Credit:USFWS</td></tr>
</tbody></table>
I would be very
saddened to see the Aldo & Leonardo initiative basically be declared over
at the end of the year. I would prefer that maybe the 50<sup>th</sup>
anniversary is the time were we look at the opportunity to begin celebrating
art and a science coming together around the concept of wilderness, that
enduring resource of wilderness. So we are going to try to make some of that
happen next spring locally. In spite of the concerns of sequestration and
staffing and plans for retirement for some of us old timers, could affect
availability of folks and certainly challenges funding to sustain these kinds
of initiatives so they aren't just a flash in a pan and then fizzle out. </div>
<div class="MsoNormal">
I’ll tell ya, this
part of New England; there’s probably as many that are openly outwardly hostile
toward the concept of wilderness, toward the existence of Monomoy National
Wildlife Refuge, and in particular towards some of the species that we focus
our management on. They become hostile towards the concept because it has adversely
impacted their livelihoods in the fishing community. We spend a lot of time
talking with the scientists about the local commercial fishing community, and
trying to get across to the artist that we recognize that there have been
adverse impacts on people’s way of life. Long standing ways life, commercial
fishermen are losing their boats, which they are on a trajectory that we have
already been through with the small family owned farms. There on their way out
of existence and the only ones that will be commercially fishing might be large
corporately owned conglomerates. That was a way of life, that was 300 years of
New England coastal town culture that is threatened with extinction. They are
part of the problem, and they don’t want to admit the problem. They’re the ones
responsible for over harvesting various fish stocks that there now prevented
from harvesting. Or they can’t make a living at it anymore because of overharvest, so they don’t catch many every time they go out, and it cost them
money every time they go out, so they are losing money when they fish. That
whole tension, that whole dynamic is painful. So there are probably as many
openly against to the concept of wilderness as there are those that would be
more willing to embrace the artistic value of having wilderness in their
backyard. </div>
<br />
<div class="MsoNormal">
It’s important but it’s going to be a difficult
conversation, and it’s happening right here in the community. In a small
community you have very much diametrically opposed sets of values, all of which
are legitimate sets of values. I think everyone of them even if they don’t
publicly outwardly express it- if you were to get them out on the island on
the same day, on one of those perfect fall days - <i>70 degrees waves crashing on the
beach, sunny, sky blue, water, dunes, grass blowing in the breeze</i>-everyone of
them would probably say we had a really good day at that place at that time
even though we don’t agree about what’s valuable about it. I think you actually
would be able to get those folk to at least agree- <i>you know what, this was a really neat day, and it’s a really magical
place</i>. I think they would all experience the Monomoy Magic.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Vl6kL3fNlWGpM3INSzFvzZ152uD_EBhzMJeVfIY5kOoR0OAH_Ydain71Jwx790laGEvfGmnD72F7LHhB2fBtQFTQ7rD6f7OftyXmXfnOUaQfBjYfVdgnMaGMCqk1RSdU2Ub-V6qLYhDr/s1600/Sunset+on+Monomoy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Vl6kL3fNlWGpM3INSzFvzZ152uD_EBhzMJeVfIY5kOoR0OAH_Ydain71Jwx790laGEvfGmnD72F7LHhB2fBtQFTQ7rD6f7OftyXmXfnOUaQfBjYfVdgnMaGMCqk1RSdU2Ub-V6qLYhDr/s640/Sunset+on+Monomoy.jpg" height="425" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by: Artist-Megan Singleton</td></tr>
</tbody></table>
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Anonymoushttp://www.blogger.com/profile/01471566396010186525noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-54022199803268025772013-10-10T18:25:00.001-07:002013-10-19T12:17:46.499-07:00Wilderness Wanderings in Superior National Forest<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVAhMZfWWcCq0hox6zaReTj5kcIQQW6iotd0MMeb1Q4Q-_J0z-tA107W2zepcx5D1Dx8_NjyrTTRTb0ipcpO5WGIiBh-KJqy6je1geQqBZQAS3X6TgIZKxWM38u8tmRpsP4nFeyWW6BQs/s400/_DSC5668-7.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;">
<span style="font-size: x-small;">leaves, pine needles and moss collected and assembled on rock</span></div>
<div class="separator" style="clear: both;">
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<span style="font-size: x-small;">Artwork and photo by Troy Nickle</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaHxgEcc9F5-ITojvqpWvesm2ilhzTn7PqeKiLbHeZblJ9UwVr_GyzgMa8D3Lvagasr1j1yRlldCyi01Yjd_a0xorqE7_d3qjz8DTWDy7gCxTqZJyCJED-w3Yn8hJeD0l1wXXtElHM7PU/s400/_DSC5682-7.jpg" style="margin-left: auto; margin-right: auto;" width="263" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;">
<span style="font-size: x-small;">red leaves collected and assembled between mosses</span></div>
<span style="font-size: x-small;">Artwork and photo by Troy Nickle</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm_3-cZ8_Wn683oUlT1e4wYapcdXhrRfdJ4Rhdc7u6iLn_zIEBfaydjEn7STwo229R67wx3qiVk7TVl7inL0PDeTbFigjrLQsARrZvjaxTgQAd2lFYt4t_1Lpo7acxhZDnjGq7nkfRiAY/s400/_DSC5710-7.jpg" style="margin-left: auto; margin-right: auto;" width="263" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;">
<span style="font-size: x-small;">assorted leaves collected and assembled between mosses</span></div>
<span style="font-size: x-small;">Artwork and photo by Troy Nickle</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZbOOuBXLGtmHL5fsV-V_zw242iFmPXJLTc5kgH4eiVQrm_q6s1iP4Sj7zefbpn-6267nRBuiiptbxobEo3fzg5XHC8Rf4tj1bpTMNC-5GDq67NEwz3cG1c9PjiL55B1BvDcMNxq_SLS4/s400/_DSC5589.JPG" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">A determined tree grows over a stone</span><br />
<span style="font-size: x-small;">Photograph by artist Troy Nickle</span></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyYwfhsGGRUS2lIdm3C7zB8KUekCTRW0eTnd166u2rQdV8M2Q7UzurYNhIP4csQupEswqYfNuGD-kuHcM24PGgql174wp6lHyhZQKN610vCRfX_hbrqmLPPgdgi0hYGOe_xeAdW2zZbik/s400/_DSC5595.JPG" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Becca Orf dawns leaf mask</span><br />
<span style="font-size: x-small;">Photograph by artist Troy Nickle</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Re_-9_em20qL3RxdxiE_r_QPmgVtQVznNmncFfiOHJ_MTEO0-D-sq6egHfHujSHAUOV3gzlBeeVPTqpYM9gH-k1g3gKc6CBb6SEcdCQlU0LItZfWFsrlaDIc5qUpbC5G6AonRYWgfdY/s1600/_DSC5608.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Re_-9_em20qL3RxdxiE_r_QPmgVtQVznNmncFfiOHJ_MTEO0-D-sq6egHfHujSHAUOV3gzlBeeVPTqpYM9gH-k1g3gKc6CBb6SEcdCQlU0LItZfWFsrlaDIc5qUpbC5G6AonRYWgfdY/s400/_DSC5608.JPG" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Becca Orf providing habitat for a crawfish shell</span><br />
<span style="font-size: x-small;">Photograph by artist Troy Nickle</span></td></tr>
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Troy Nicklehttp://www.blogger.com/profile/15264605055812027266noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-68520531908455694492013-10-09T12:12:00.004-07:002013-10-09T12:12:54.997-07:00Art + Science <br />
<br />
Thomas Sudhof just won the Nobel prize for MEDICINE. He says his most influential teacher was his MUSIC teacher. <br />
<br />
<a href="http://mcp.stanford.edu/research/sudhof/">http://mcp.stanford.edu/research/sudhof/</a><br />
<br />
<a href="http://www.artsjournal.com/slippeddisc/2013/10/nobel-medicine-winner-says-i-owe-is-all-to-my-bassoon-teacher.html">http://www.artsjournal.com/slippeddisc/2013/10/nobel-medicine-winner-says-i-owe-is-all-to-my-bassoon-teacher.html</a>erogerscellohttp://www.blogger.com/profile/15764766753632886437noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-54901767792522844132013-10-08T10:10:00.000-07:002013-10-08T10:10:00.927-07:00Day 8 - Boundary Waters >>> Collaboration between Minnesota Biological Survey Scientists and Katherine Ball<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0WVsuj-loqAkFJj75BW6d316RUl9U9Msnse6AnZnG78ZBT6i8KDMw4c1oTK9_4LpnSrJEK7i0bP-6FVaEeaEfY07XJDWyOPhH3IBdi8OJoycSywWfsqZLND5DcKti7zZ303srEN6VJ-k/s1600/IMG_9585.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0WVsuj-loqAkFJj75BW6d316RUl9U9Msnse6AnZnG78ZBT6i8KDMw4c1oTK9_4LpnSrJEK7i0bP-6FVaEeaEfY07XJDWyOPhH3IBdi8OJoycSywWfsqZLND5DcKti7zZ303srEN6VJ-k/s400/IMG_9585.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitsV7SAItr4yOUJ6KgQUEW3pSAxHeuOYxWkcfgAMSyfPcxFq7qXvykLDdu0mTphS-kbhr9aBM7jWop4R_-UZ7DfUHpqgmTBl1jlsyQ_emxG8Pj7fhSKEJvQROrQoenkVHBluWfWzBgfoQ/s1600/IMG_9587.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitsV7SAItr4yOUJ6KgQUEW3pSAxHeuOYxWkcfgAMSyfPcxFq7qXvykLDdu0mTphS-kbhr9aBM7jWop4R_-UZ7DfUHpqgmTBl1jlsyQ_emxG8Pj7fhSKEJvQROrQoenkVHBluWfWzBgfoQ/s400/IMG_9587.jpg" width="400" /></a></div>
<br />Katherine Ballhttp://www.blogger.com/profile/08753583409594800942noreply@blogger.com1tag:blogger.com,1999:blog-8813683791397213577.post-77087464418270070742013-10-08T08:18:00.004-07:002013-10-14T09:06:32.699-07:00Oct.7 Journal by erogerscelloOct. 7, 2013 Monday. <br />
My journey comes to a close. I am on the last leg of my journey; Greyhound Bus from New York City, to Syracuse, to Rochester, NY.<br />
<br />
Just over five weeks ago I began my journey to the Wilderness Residency on a train headed west. I traveled by train from Rochester, NY to Denver CO and then rode with Peggy from Denver to Dolores. My return trip started with an hour drive with Leslie to Cortez, a final four hours sitting and staring at the mountains, and playing my cello to them, then two flights with an extra ticket for my cello - Cortez to Denver, Denver to NYC. It was considerably cheaper to fly to NYC rather than Rochester, so I stopped in Brooklyn for a week to transition back to 'normal' life, visiting my boyfriend, and resting, and trying to process my month. Then a bus to complete my trip. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmFnRyeVfZgGRISzxXuLZgRsLOa1-OJ1njhx9hcmttvYkBf0GurWuNHNj-8GsIa3SJ526Iz2p3HrBslrSThctALN7fVsrGVQXlScoIFJ7z2xPzFHhgdD65rBPNSOZALP48_CcFWRZfUYY/s1600/DSCF1625.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmFnRyeVfZgGRISzxXuLZgRsLOa1-OJ1njhx9hcmttvYkBf0GurWuNHNj-8GsIa3SJ526Iz2p3HrBslrSThctALN7fVsrGVQXlScoIFJ7z2xPzFHhgdD65rBPNSOZALP48_CcFWRZfUYY/s200/DSCF1625.JPG" width="200" /></a><br />
Arriving in NYC after a month of wilderness study areas and mountains was jolting. At 1AM honking, stop and go traffic, lights everywhere, and even the 'quiet' streets were overwhelming to me. My sister had said I was going to another kind of wilderness and I think she was right. My feelings driving from LaGuardia were of the energy and joy being sucked away from me a little bit- the extra euphoria and soul room I received when we entered the mountains a month previous, was being pulled out of me... <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFOIEzX6ZDw70Jxdup2HgKF0LSAgrvCKAzDjVcUSw8n30szGDi8XMf3tN-O-zK-1chT1Zi1gLfFliVdaecQGlbJ2kWnW0TYAouDDnOcK-xfPAuM51heo1XNAlOYMttNIrcuUNSsF4C0HA/s1600/DSCF1617.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFOIEzX6ZDw70Jxdup2HgKF0LSAgrvCKAzDjVcUSw8n30szGDi8XMf3tN-O-zK-1chT1Zi1gLfFliVdaecQGlbJ2kWnW0TYAouDDnOcK-xfPAuM51heo1XNAlOYMttNIrcuUNSsF4C0HA/s200/DSCF1617.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">How nice to be welcomed Home!!!</td></tr>
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<br />
On the week end we drove to CT to see the amazing Fall foliage and that joy returned- the trees in reds and orange and emerald and brown... fresh apples and cider, and other beautiful Autumn produce. You could smell Fall, and hear the sounds of Fall, and it was so wonderful. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRWtyY3F0I5GEGAFuwMztxBjRX5OxZfi-m_Ug-ABjz4eEPHojHFxlJ6yuC0AAm4vmwFTIo8W1TMTdimvecPhB5QWFd-_7pME1n5Z5yFD7TZNHqSOmpbmgCtf8uLvWpKymckmBhwaIu4PE/s1600/DSCF1672.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRWtyY3F0I5GEGAFuwMztxBjRX5OxZfi-m_Ug-ABjz4eEPHojHFxlJ6yuC0AAm4vmwFTIo8W1TMTdimvecPhB5QWFd-_7pME1n5Z5yFD7TZNHqSOmpbmgCtf8uLvWpKymckmBhwaIu4PE/s200/DSCF1672.JPG" width="200" /></a>Finally headed home to complete the cycle of the residency. To return to family, and "work": Teaching, trying to line up gigs, finishing my curriculum for the Arts classes that begin on Friday. Looking again at bills due or overdue or will be due, and sorting out my schedule. As almost everyone we encountered in our residency, we the artists also are impacted by the government shut down. We won't receive the second half of our stipend until the government is sorted. The "real" world threatens to extinguish my joy in life, but then I look outside at the trees and sky, and go play outside with my nieces, and am so grateful for the time I had in the wilderness, for the natural God-Art around me, and the people I love. <br />
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erogerscellohttp://www.blogger.com/profile/15764766753632886437noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-45862953796735719742013-10-07T14:29:00.000-07:002013-10-07T14:29:00.731-07:00Day 7 - Boundary Waters >>> Collaboration between Minnesota Biological Survey Scientists and Katherine Ball<div class="separator" style="clear: both; text-align: center;">
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<br />Katherine Ballhttp://www.blogger.com/profile/08753583409594800942noreply@blogger.com1tag:blogger.com,1999:blog-8813683791397213577.post-78047018504282980512013-10-06T14:28:00.000-07:002013-10-06T14:28:00.061-07:00Day 6 - Boundary Waters >>> Collaboration between Minnesota Biological Survey Scientists and Katherine Ball<div class="separator" style="clear: both; text-align: center;">
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<br />Katherine Ballhttp://www.blogger.com/profile/08753583409594800942noreply@blogger.com0tag:blogger.com,1999:blog-8813683791397213577.post-22837764911097438852013-10-05T14:26:00.000-07:002013-10-05T14:26:00.729-07:00Day 5 - Boundary Waters >>> Collaboration between Minnesota Biological Survey Scientists and Katherine Ball<div class="separator" style="clear: both; text-align: center;">
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<br />Katherine Ballhttp://www.blogger.com/profile/08753583409594800942noreply@blogger.com0