Monthly Archives: October 2009

Inhabitat » GREEN RANT: Lame Eco-Art

1. Rock Stackers. Your skills are amazing. You can stack rocks higher and prettier than I ever could. You’re even kinda like Andy Goldsworthy, yes, of course. And I’m sure the process is amazing for you, and that the stones talk to you, and you get that beautiful in-tune-with-nature hum.  But I’ve see so many rock stacks at this point they blur together. My eyes glaze over.

2. Tr-art. This is a combination of terms: “trite trash art.” Thank you for rescuing all of those bottle caps, six pack rings, and other crap from the landfill. Thanks for making them into portraits, blankets, sculptures and people. Trash is now a viable medium. But you are not always making eco-art:  sometimes you just happen to make art with trash. Conversely: just because you made it with trash doesn’t mean it is powerful art.

3. Statistic-a-thon. Recycling one can saves enough power to watch 6 episodes of Law and Order. At this rate all of our children will be dead in 20 years. We need 16 more planets if we want to keep watching Comedy Central. Etcetera, etcetera.  I am so inundated with guilt-soaked statistics. Stop finding new ways to slap me in the face with them. If it’s powerful to you then help me understand why. See: Chris Jordan, who does an excellent job of making numbers real.

4. Eco-Snobbery. As a recovering eco-snob myself, I understand how hard it is to stop calling everyone out on their perpetual green sins. It sucks. There are to-go containers everywhere, and everyone drives, and not everyone composts, and what the hell?!?! The icebergs, people! The icebergs! But just because you make eco-art does not mean you have license to aggrandize. We’re a population of pots and kettles. Don’t mistake your good work for a kind of personal superiority. This is true of green culture in general, but it’s especially apparent in accusatory or guilt-trippy art.

via Inhabitat » GREEN RANT: Lame Eco-Art .

Declining newspapers: arts moving into empty spaces

bumblebee_page3_1000

Artists love disused space. Artists And Makers have been tweeting me about the Empty Shops Conference they’re running on October 19. Meanwhile here’s another example of a street artists moving into a disused property. The collapse of the newspaper market in the US has been even more precipitous than it has been here in the UK. Print ad sales fell by a horrendous 30% in the first quarter of 2009; titles have been disappearing at an alarming speed.  The newspaper is a strange but crucial part of the social glue in the US, a country where there is no such thing as a “national” newspaper outside of USA Today. Americans are losing a major part of the way in which they tell their stories.

Out of decline comes opportunity. Here’s an example of one street artist Bumblebee, who has been opportunistically taking over empty newsboxes on the streets of Los Angeles, to create a series of narrative tableaux, linking the declines of newspapers to that of another endangered species.

The art, it has to be said, is pretty grim. Nice idea, though…

Go to RSA Arts & Ecology

CSPA October 09 Newsletter

Newsletter #3 is here! The quarterly is on its way out the door as well. Weve got a couple of very important events coming up as well and I hope youll join us for them. For those in technical theater, were helping Showman Fabricators with their Green Day 2009 at this years LDI conference in Orlando. And if that wasnt big enough news, well also have people on the ground in Copenhagen for COP15 and Wooloo.orgs New Life Festival.

All of the information on these developments is below as well. With all of this going on, wouldnt you considering joining the CSPA?

Ian Garrett & Miranda Wright
CSPA Directors

CSPA October 09 Newsletter.

Environmentalism: towards civilisation, or “uncivilisation”?

The environment movement is failing because it has only a negative vision of the future. Discuss.

That’s the nub of the argument suggested by Josie Appleton of the Manifesto Club in her essaythat we published last week, and one echoed by Emma Ridgway’s recent article for theRETHINK exhibition catalogue. Environmentalism, the argument goes, is about limiting possibilities. It’s about what we shouldn’t do. Appleton believes that art has a visionary role in thinking beyond this drought of possiblity; humanity must instead accept its place as the species that transformed the earth – we must take on that leap of consciousness when we start to think of solutions and not start from the romantic baseline of earth as a wilderness, despoiled by man. We must move forwards, not back.

A radical idea. And the polar opposite to another radical idea proposed recently by poet/writer/activist Paul Kingsnorth and Dougald Hine. For them and their Dark Mountain Project, human civilisation itself is the toxic factor that has plunged the earth into crisis. In the blink of an eye – the five thousand years or so  in which  humanity has accelerated towards modern civilisation – we have so stamped over the intricacies of nature that the wheel is now flying off the machine. We must prepare our exit from civilisation, for “uncivilisation”. In the visual arts, this has echoes in the recent work of Heather and Ivan Morison, whose How to prosper in the coming bad years discussion takes place in The Black Cloud (see above) next weekend in Bristol.

Art, a place where the imagination can roam to extremes, is an excellent laboratory for ideas.  The Dark Mountain Project finds its inspiration in literature, particularly in the poetry of Robinson Jeffers – the Californian who shared a romantic vision of wilderness with environmentalist Edward Abbey, referred to below. It was Jeffers who had first suggested the idea of  “inhumanism” that  inspired the Dark Mountain Project. Human civilisation was, Jeffers suggested, always too self-centred to understand the complexity and beauty of the world around it. The Dark Mountain Project also plant their flag in the literature of Joseph Conrad and his “heart of darkness”.

There have been some interesting responses to the Dark Mountain provocation. In the New Statesman, John Gray responded to the Dark Mountain provocation by demonstrating that literature has in fact been much more successful at showing the catastrophic results of “uncivilisation” than eulolgising it. There is nothing romantic about the crumbling of civil society. Gray too cites Joseph Conrad, to make the point that Conrad, like J G Ballard – shows the genuine  horror of what a society in disintegration actually looks like. Both Conrad and Ballard were witness to the atrocities that happen when the crust of civilization is removed.

(On a sidenote, Paul Kingsnorth and I have disagreed elsewhere about whether Cormac MacCarthy’s The Road is a novel primarily about climate change. Gray’s line of argument  reminds you that MacCarthy’s book, in which baby-eating survivors scavage the land,  displays the awful consequence of uncivilisation.)

But as both suggest, it’s time to rexamine the givens. Environmentalism hasn’t produced the major shift in culture that the global warming era requires. Something radical has to shift.  Appleton’s idea is that to save civilisation we need more civilisation, not less:

The anthropocene is here, and there is no way back. To wish that we could retreat is the mythical fantasy of wishing that we never ate the apple or stole the fire. It is a wish that we were children again, back in a former stage of history. We cannot reverse out of the anthropocene but only go forward.

I doubt John Gray would quite see eye to eye with Appleton’s thesis either. Gray’s book Straw Dogs was a vigorous assault on the idea of that idea of human centrality in nature. Appleton’s argument is unashamedly anthropocentric; in fact the very notion of the anthropocene, by definition, is a human-centred concept. Gray follows James Lovelock: such assumptions of human supremacy over nature are fundamentally arrogant and hubristic.  Myself, I find the technological postivism of Appleton’s approach hard to embrace. Above all, I don’t believe, as she does, that, ” The climate moves slowly; we have time.”

The Black Cloud by Heather and Ivan Morison (Bristol, 2009)photographed by ac (y su camarófono)

Go to RSA Arts & Ecology

RSA AGM: Rethinking the community garden

grow your ownTomorrow is the RSA’s AGM; the house will be full of RSA Fellows here to discuss the organisation, its future and the new charter. We’ve decided to shamelessly exploit the presence of all these experts being in a single place on a single day by running a series of brain-picking seminars.

I’m doing one with the excellentConnected Communities project which gives me a chance to start talking about something that I’ve been working on for a little while now. Back in the spring I was researching the subject of artists working in productive gardens, talking to people like Fallen Fruit, Amy Francheschini – and more recently Clare Patey of Feast. There is a huge enthusiasm around for this stuff. How can we create new ways to garden? How can we create new places to garden?

That connected with an idea that was put forward by a Fellow and so we’re now on the verge of launching our own project, Rethinking the community garden. The recession has meant that there is a lot of land – particularly building land – which is on hold in cities right now. How can we change the idea of gardens as permanent fixtures to something that’s more flexible, something that maximises land use throughout a city turning semi-derelict land into an asset?

We want to attach that to Fellow’s expertise and experience to make the project come to life in New Cross Gate, South London, an area that Connected Communities are already working in. If you are an RSA Fellow and you want to come along to this, or to any of the other seminars, it’s not to late to register. We need bright heads to brainstorm along the the following lines:

  • How can we persuade landowners to let us use small parcels of land for one, two or more years, and leave them confident that there’s not going to be local resentment when they need them back?
  • How can we persuade gardeners to pour their work into a piece of land they might only have for a single growing season?
  • How can we help the users design gardens in a practical way on land that may only be available for 18 months?
  • Research shows that successful garden projects are often run by a small group of people. How can we make a successful garden project that engages a wide slice of the local population?

Thanks to Harmen de Hoop for the use of Grow Your Own Vegetables – again.

Go to RSA Arts & Ecology

Moving Stars and Earth for Water

TODAY, Guy Laliberte, Founder of Cirque du Soleil, will promote a special water conservation message from outer space. His water conservation organization, One Drop Foundation, is producing a 2 hour, ONLINE event which starts at 5pm PCT, Friday, October 9th. Former U.S. Vice President Al Gore, Dr. David Suzuki, Peter Gabriel, Salma Hayek, Shakira, U2 and others will be joining Guy in the performance.

It’s called “Poetic Social Mission: Moving Stars and Earth for Water”. Yann Martel, Life of Pi author, has created a special poem for the event.
Check it Out: http://www.onedrop.org/en/default.aspx
Should be amazing… (yes, tons of GHGs have been expanded, but hopefully the positive impact from the water conservation message outweighs it)!
More details…

Go to Eco-Catalysts

APInews: Werewolves & Coastal Land Loss in Louisiana

A werewolf will prowl at dawn and dusk in the abandoned City Park of New Orleans as residents gather for “Loup Garou,” “part performance, part ritual, part howl to the world about southeast Louisiana’s plight.” The artists of Mondo Bizarro and ArtSpot Productions will present the outdoor performance Thursdays-Sundays, October 8-25, 2009, including post-show discussions about coastal land loss with experts from the Gulf Restoration Network. The artists say a “loup garou” is a “wild and dangerous entity some say a werewolf well anchored in the folk traditions of southern Louisiana,” going back to France and Acadia. The event is “environmental performance that uses rigorous physicality, poetry, music and visual installation to investigate the deep interconnectedness between land and culture in Louisiana.” Thursday performances begin at sunrise and weekend performances end at sunset; free gumbo on Fridays.

via APInews: Werewolves & Coastal Land Loss in Louisiana .

Encouragement of the Arts

I’m wildly excited about two books, one coming out this month the other next year – both are radical insights about what environmental change means for the human relationship to the planet. One is Stewart Brand’s Whole Earth Discipline: An Ecopragmatist Manifesto and the other is Timothy Morton’s The Ecological Thought.

What I find so vital in their work is that they are strongly against the misanthropy that seems to underpin much of the dominant narrative around the environmental movement. To my mind, the idea that humans are stupid, indifferent and deliberately destructive is not only an inadequate account of human nature it is heartbreaking. It is heartbreaking because it is debilitating at every level. At a time when we most need compassion and creative thinking the very sentiments that block these – pervasive cynicism and conservatism – are prevalent. (I’ve used too many words beginning with ‘c’ in that sentence, I’ll move onto the letter ‘R’ for a while).

What roots the rigorous accounts given by ecological experts such as Brand and Morton is that people are hugely capable of complex thinking, adaptive living, resilience and resourcefulness. We have created this situation of environmental change so now we must rise to challenge of transforming how we think and behave in response to it. And when I read documents like Peter Head’s Entering an Ecological Age, and see speakers at the RSA like Graciela Chichilnisky, not only do these extraordinary changes feel crucial they appear do-able.

Drawing on Brand, Head and Morton, I have written a short essay for the Copenhagen exhibition RETHINK: Contemporary Art & Climate Change.
Here’s a bit of it:  Art and ideas are not timeless, they are historically specific. The uneasy realisation of our current situation is that we are part of an ecological system that we influence more than we previously thought was possible. We are not outside observers, we are participants; we engage and affect systems whether we intend to or not. … we are the co-creators of our environment. Yet we do not yet fully recognise ourselves as such. This is a revelation awaiting to be fully explored through the arts.

It is the beginning of some work I’m developing for the Arts and Ecology Centre on what the arts may contribute  in moving us towards an ecological age.  Some of the ideas are controversial. And as part of this, writer Josie Appleton has been commissioned to write an essay for this website, as her work sets out to explore fresh thinking about human capability.The Challenge of Climate Change: Towards a New Human Consciousness – is a ‘thought experiment’, as she says in her blog – so comments are welcome.

Go to RSA Arts & Ecology

Charles Clover: “environmentalists are very boring”

How 2009 became the year of the campaign movie from RSA Arts & Ecology on Vimeo.

Charles Clover energised the campaign to alert the world to approaching fish stock collapse earlier this year with the film The End of the Line. It was a great example of how a single coordinated attack using the right media can produce a quantum leap in awareness. I spoke to him and  the Guardian’s Environment Editor John Vidal about how an imaginative, passionate and above all clever approach can galvanise action and force suppliers and politicians to rethink their strategy.

But he’s scathing about how the broader environment movement has failed to grip the public imagination. Responding to a recent IPPR survey that said the public were “bored” with climate change:

It’s because environmentalists are very boring, he says. They used not to have jobs when I got into this business. They had something very burning and interesting to say which quite a lot of people wanted them not to say, and people tried to shut them up. They were very exciting people to know, and they didn’t have a pension fund. Now they have pension funds and sit around in offices and try and think of something interesting to say, and not a lot of them achieve it.

Has the professionalisation of the climate movement creating a beast that feeds itself? Is that part of the reason the public finds climate activists, in the words of the report “smug”?

Charles Clover and John Vidal were in the house to discuss The End of  the Line at a screening organised by RSA Events who run the best public lectures series you’ll find in London – and you don’t have to work here to think that. Follow them on http://twitter.com/RSAEvents

Go to RSA Arts & Ecology

Rachel Rosenthal’s Birthday Bash 83

photo by Michael ChildersPioneering Interdisciplinary Artist Rachel Rosenthal Celebrates Her 83rd Birthday, A New Book, And Announces New Performance Ensemble At Track 16 Gallery’s Cultural Event of the Year

“Rachel Rosenthal’s Birthday Bash 83”

LOS ANGELES, CA – Los Angeles’ own living legend Rachel Rosenthal has a lot to celebrate this November! The interdisciplinary performer, animal activist, master teacher, and iconic artist will be honored on Saturday, November 7, 2009, with the cultural event of the year – “Rachel Rosenthal’s Birthday Bash 83.” From 7:00 to 11:00 p.m., Track 16 Gallery at Bergamot Station in Santa Monica, California will host the occasion, which will celebrate Rosenthal’s 83rd birthday, the release of her upcoming book The DbD Experience: Chance Knows What it’s Doing!, and will announce her Company’s new performance troupe, TOHUBOHU! Extreme Theater Ensemble.


In honor of the 83 years Rosenthal has spent on the planet, the event will feature an exhibit and silent art auction of the highest caliber. The auction will include 83 abstract, conceptual, and representational “portraits” of Rosenthal in a diverse range of media by exceptional established and emerging artists including a number of art world legends such as John Baldessari, Mike Kelley and Robert Rauschenberg*. Admission will cost $25. Tickets will be available online through Rosenthal’s site and at the door on the night of the event. Track 16 Gallery is located at 2525 Michigan Ave. Building C1, Santa Monica, CA 90404. For more information on the venue, please call 310-264-4678 or visit http://www.track16.com. For more information on Rosenthal and this event, please call 310-839-0661 or visit http://www.rachelrosenthal.org.


The 83 artist works being donated for the event’s exhibit and silent auction are from a mind-blowing array of artists. In addition to Baldessari, Kelley and Rauschenberg, art world luminaries such as Lita Albuquerque, Eleanor Antin, Judy Baca, Llyn Foulkes, George Herms, Martin Kersels, Ed Moses, Lee Mullican, Betye Saar, Masami Teraoka, Patssi Valdez, and June Wayne have confirmed their involvement. For a full list of participating artists to date please visit: www.rachelrosenthal.org/rr/party.html. Auction proceeds will support Rachel Rosenthal Company’s TOHUBOHU! Extreme Theater Ensemble performances, student scholarships, and visiting artist stipends. This special evening will also include a Champagne toast, an outrageous cake created by Joan Spitler and Leigh Grode of the world-renowned Cake Divas, and live music by Amy Knoles from the California E.A.R. Unit as well as Jean Paul Monsché of the Mad Alsacians.


In the past 25 years, Rosenthal has presented over 35 of her own original performance pieces – thought provoking works centered on humanity’s place on the planet. According to Artweek Magazine, “Rosenthal defines what differentiates quality performance art from mundane theatrical exercise…she took us into her reality, and for that brief and precious moment, she altered our vision of the world. This is what great art can and should do.”


Rosenthal’s long-awaited book, The DbD Experience: Chance Knows What it’s Doing!, a mix of memoir, philosophical musing, manifesto and teaching manual, will be published this fall by Routledge. DbD (Doing by Doing) is Rosenthal’s signature brand of improvisational theater. This is the first time she has written about her teaching methods. In the 168-page book, she explores improvisational theater and its relationship to life, offering a blow-by-blow account of what happens in Rosenthal’s 32-hour DbD weekend intensive workshops. Throughout the book, she describes the processes and exercises she invented and developed over the last fifty years. Routledge, a global publisher of academic books, journals and online resources in the humanities and social sciences, will release the book in the UK this October, and in the US in December 2009.


Rosenthal opened her studio, Espace DbD, on Robertson Boulevard in Los Angeles in 1980. From 1980 to 1983, Rosenthal presented performances by many emerging and established performance artists including Barbara Smith, Eleanor Antin, Cheri Gaulke, Alan Kaprow, John White, Joyce Cutler Shaw, Tom Jenkins, and many others. Rosenthal founded The Rachel Rosenthal Company as an educational non-profit arts organization in 1989.


Rosenthal’s teaching methods were inspired by Jean-Louis Barrault‘s concept of “Total Theatre” and Antonin Artaud‘s “Le Theatre et Son Double.” What emerged is a zen-inspired performance aesthetic that integrates text, movement, voice, choreography, improvisation, costuming, lighting, and sets into seismic experiences. She has been nurturing a new troupe of performers that she will introduce to the world as her TOHUBOHU! Extreme Theater Ensemble in January 2010.


Rosenthal has performed in over 100 venues around the world including documenta 8 in Kassel, Germany, The Helsinki Festival, ICA London, The Performance Space in Sydney, The Whitney Museum in New York City, and Museum of Contemporary Art here in Los Angeles. The Pompidou Centre recently included her in its 2006 show Los Angeles 1955-1985. Her pioneering performances have earned Obie, Rockefeller, Getty, NEA and CAA awards, among others.


Born into an affluent Russian-Jewish family in Paris, Rosenthal’s father, Léonard Rosenthal, was a gem merchant widely known as The King of Pearls. During World War II, her family escaped France, moving to Rio de Janeiro by way of Portugal. After losing his material wealth to the Nazi’s, her father had to start over at age 65. In 1941, the family left Brazil to settle in New York where Rosenthal graduated from the High School of Music and Art and became a U.S. citizen. She studied art, theater and dance in Paris and New York after the war with such teachers as Hans Hoffmann, Merce Cunningham, Erwin Piscator, and Jean-Louis Barrault.


Rosenthal began her theatrical career in Los Angeles in the mid-1950s as artistic director and performer in her totally improvised “Instant Theater” for its ten-year run. A leading figure in the Southern California Arts movement of the 1960s and 1970s, Rosenthal was a pioneer in addressing feminist and animal rights issues, and was a founder of “Womanspace,” a hotbed of feminism.


In 1999, Rosenthal received an Honorary Doctorate from the School of the Art Institute of Chicago; and in 2000 she was honored by the City of Los Angeles as a “Living Cultural Treasure of Los Angeles.” Critics have called her “a monument and a marvel” and Richard Schechner, editor of The Drama Review (TDR), put Rosenthal into the same category as Robert Wilson, Ping Chong, Richard Foreman, Meredith Monk, and Laurie Anderson.


* Thanks to the Estate of Robert Rauschenberg, one of the 83 donated works for the auction is of particular interest. Among the silent auction items is a 1994 Rauschenberg print honoring Rosenthal. This piece is from Rauschenberg’s “Tribute 21” suite of prints – a portfolio that pays tribute to inspirational leaders – 21 artworks, celebrating 21 humans, all impacting themes in the 21st century such as peace, social justice, and a sustainable environment. In the portfolio, Rachel Rosenthal shares company with illustrious world figures such as Nelson Mandela, Toni Morrison, Jacques-Yves Cousteau, Carl Sagan, Buckminster Fuller, and the Dalai Lama, among others.

#                 #                #

For more information, photos, or to request an interview, please contact Green Galactic’s Lynn Hasty at 213-840-1201 or lynn@greengalactic.com.

event details

Saturday, November 7, 2009

“Rachel Rosenthal’s Birthday Bash 83”

Track 16 Gallery
Bergamot Station
2525 Michigan Ave. Building C1, Santa Monica, CA 90404
310-264-4678 \\\\ http://www.track16.com

7:00 – 11:00pm
Admission $25

– An outrageous cake created by Joan Spitler and Leigh Grode of the world-renowned Cake Divas
РLive music by Amy Knoles from the California E.A.R. Unit as well as Jean Paul Monsch̩ of the Mad Alsacians

Event info:
310-839-0661 \\\\ www.rachelrosenthal.org/rr/party.html

“There is nothing quite like a Rachel Rosenthal artistic materialization. Seeing (her) and experiencing her after-show discussion session firsthand is like sitting for a few minutes with Plato, listening to Rousseau or Jung or Thoreau speak in person. An evening with Rachel Rosenthal will stay with you a lifetime; do it for your future.” - Entertainment Today

“Rachel Rosenthal — bills herself simply as a performance artist. That’s about as accurate as calling the Taj Majal a house. The woman is a monument and a marvel. She is a force of nature…She is timeless, ageless, gutsy, quirky, exotic, potentially poignant.” - Los Angeles Times

“Rosenthal defines what differentiates quality performance art from mundane theatrical exercise…she took us into her reality, and for that brief and precious moment, she altered our vision of the world. This is what great art can and should do.” - ARTWEEK