Land Art

LAGI announces it’s 2012 competition

This post comes to you from Green Public Art

In partnership with New York City’s Department of Parks & Recreation, the 2012 Land Art Generator Initiative design competition is being held for a site within Freshkills Park (the former Fresh Kills Landfill) in New York City.

The competition is free and open to everyone. Designers, artists, engineers, architects, landscape architects, university students, urban planners, scientists and anyone who believes that the world can be powered beautifully and sustainably are encouraged to enter. Download the RFP here. Deadline: July 1, 2012

Robert Ferry & Elizabeth Monoian conceptualized the Land Art Generator Initiative in the fall of 2008 shortly after moving to Dubai. The project was strongly founded by the spring of 2009 and they continue to work tirelessly to nurture and promote the concept of aesthetics and renewable energy with the goal of seeing to the construction of the first large-scale public art works that generate utility grid electricity in clean and sustainable ways.

In January of 2010 LAGI put out an international call to artists, architects, scientists, and engineers to come up with both aesthetic and pragmatic solutions for the 21st century energy crisis. The 2010 LAGI design competition was held for three sites in the UAE and received hundreds of submissions from over 40 countries. View entries from the last competition.

 

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

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

Call for Applications: INTERNATIONAL LAND ART WORKSHOP

Date: October 5-19, 2012

Venue: Sang Arts Village, Sang near Tamale in Northern Region of Ghana

Date: February 10-24, 2012

Venue: Abetenim Arts Village near Kumasi in the Ashanti Region of Ghana

International Land Art Workshop is a two-week group residency.  It is designed to bring together creative persons such as artists, architects and engineers to create works by use of materials from the environment.  The participants will live and work together in an Arts Village in a rural township for knowledge sharing and cross-fertilization of skills over the two-week period.  By land art (or earthworks, environmental art) we imply: (1) Works created with materials from the environment involving air, water, earth, stone, and wood, or (2) Site-specific installation (with natural or industrial materials) within a landscape to create an aesthetic experience.  Thus, the theme is open; but permanency of work is encouraged, ephemeral would be only if it is the most appropriate means to communicating the idea.  The realized work may become a part of the Arts Village or sited in a public space in nearby village.

Organizers will provide accommodation and food; an accepted applicant will contribute participation fee of $100 / €70 toward food.  The international participant is responsible for own travel costs and proposed project.  We suggest that participants apply for travel grants through their national art councils or other sources.  To apply, send CV, statement/sketch of your proposed work, and a sample of your existing work to info@nkafoundation.org/ nkaprojects@gmx.com.  Submissions will be reviewed until space is filled.  For details on our projects go to www.nkafoundation.org.

In Ghana: Nka Foundation, Box Up 1115, Kwame Nkrumah University of Science and Technology (KNUST), Kumasi.

In Burkina Faso: Nka Foundation, 04 BP 399, Ouagadougou 04.

PDF Land Art Workshop

Andrew Rogers: Time and Space

Andrew Rogers, a leading contemporary artist based in Australia, is primarily a sculptor.  His large works may be found in plazas and buildings around the world.  He is also the creator of the world’s largest contemporary land art undertaking.

Derived from an early sculpture, the Rhythms of Life project is composed of 47 land art structures, which can be found in 13 countries and on 7 continents.  The project is the result of 13 years of work, and the collaboration of 6,700 people from around the world.

The work is particularly unique in that Rogers has incorporated a great civic vision.  The structures represent a process, and local collaboration.  At many sites, a common Rhythms of Life piece is not far from a work that is local and unique to the community it represents.

For the first time, images of these works are on exhibition at the 18th Street Arts Center in Santa Monica, California.  68 large scale photographs of Rogers’ Rhythms of Life project will be on display at the gallery until May 28, 2011.  You can also view the work online at www.andrewrogers.com/landart.

Rhythms of Life / Chile

Rhythms of Life / Chile

Rhythms of Life / Antarctica

Rhythms of Life / Antarctica

Invisible Dust

Invisible Dust involves leading world artists and scientists collaborating to explore air pollution, health and climate change. The aim of this ambitious project is to produce significant and far reaching artists commissions in the Public Realm in the UK and internationally, as well as supporting the creation of new scientific ideas and engaging audiences with large scale events, education and community activities.

Founder

Alice Sharp has worked as an Independent Curator of projects with visual artists in the Public Realm since 1997. Sharp set up Invisible Dust as part of her commitment to involving Artists and Scientists in health and climate change.

Visibility

Our works seek to raise awareness of the key climate change imperatives and objectives now being tackled by National and International Governments, Policy Makers, Charities, NGO’s, Global Corporations, Investors and Consumer groups.

Visibility plays a key role in our trying to gain an understanding of the need to live sustainably and dramatically reduce climate change. Artists have many ways of making things visible and, particularly since the Land Art movement in the 1960s and 1970s (such as the ephemeral works of Richard Long and Robert Smithson) have responded to changes in the natural environment in a variety of forms.

Artists and Scientists

Invisible Dust first project was in 2009 with

and is currently working with the following artists developing new Invisible Dust projects 2010/12:

Artist and Scientist Dialogue Day Group Shot

Invisible Dust Dialogue Day, at The Wellcome Trust, July 2009. From back left: Karen David, Ian Rawlinson, Nick Crowe, Kaffe Matthews, Peter Brimblecombe, Paul Green, Alice Sharp, Mark Levy, Dryden Goodwin, Heiko Hansen, Mariele Neudecker, Faisal Abdu’Allah, Hugh Mortimer.

The artists are collaborating with the following scientific advisors:


Projects

The first of these projects ‘in clean air we fly’ by artist Kaffe Matthews was an Electronic symphony that engaged local Primary School children in Gillett Square, Dalston, London. 600 cyclists powered the sound installation to an audience of 1000 on Sunday, 6th December 2009.

Future projects in development include working with the the View Tube, East London, the Institute of Zoology and London Zoo, the University of East Anglia, Norwich, Kings College and St Thomas’ Hospital, London and Department of the Environment, UK (DEFRA), see New Projects

Background

The title is inspired by Philip Pullman’s His Dark Materials trilogy in which dust is said to have a mystical role taking his characters to different worlds. There are many analogies with the great changes we need to make to live a sustainable future, most notably the need to travel without creating air pollution.  The organisation has been set up through Curator Alice Sharp collaborating with Atmospheric Chemist Professor Peter Brimblecombe, whom she met at Tipping Point, and measures air pollution through quantifying the components of dust through time. Invisible Dust is a not for profit organisation and has been awarded a Large Arts Award from the Wellcome Trust for ‘Invisible Breath’ for 2010/11.

Concept

Joseph Amato writes about ‘the visible world of dust.’ Amato contests that this informs our ‘perceptions of reality’. The invention of cleaning equipment and the modern day obsession with removing it has changed how we live our lives. Once dust was the smallest thing the eye could see, now our relationship with dust has dramatically changed due to powerful microscopic devices. For scientists, society’s transformation took place in the laboratory through the viewing of atoms, molecules, cells, and microbes; this also defined dust and the physical world for the first time but also our view of the human body and mind.

After the congestion charge was first implemented in Central London the air became cleaner than before the charge had been implemented but no one could see the evidence, it had to be revealed by subtle statistical analysis. On a global scale the ice caps are melting, coral reefs and rain forests are being destroyed.  In order for us to understand the consequences of our actions on the environment as human beings we need to ‘see’ the results. In his research Professor of Atmospheric Chemistry and senior editor of Atmospheric Environment Peter Brimblecombe from the University of East Anglia has discovered that children’s playgrounds are more polluted than the surrounding area due to the exhaust fumes from the parents’ cars at the school drop off. Professor Frank Kelly is also conducting research into how air pollution effects not only our lungs but is a cause of heart disease due to small diseal particles passing into the blood.

How can people understand their own effect on the environment when the resulting gases disappear into the sky? Since the industrial revolution there have been huge gains to society but also the creation of many of the gases that are now poisoning the earth. This project brings together artists and scientists to help illuminate these consequences and bring a sense of something human and fantastical to a very invisible problem.

Mission statement

The mission of Invisible Dust is to encourage awareness of, and meaningful responses to, climate change, air pollution and related health and environmental issues. It achieves this by facilitating a dialogue between visual artists and leading world scientists. Invisible Duststrives, through its creation of high impact and unique arts programmes, alongside new scientific theories, to create an accessible, imaginative and approachable forum and stimulus through which to promote positive public action.

Core activities

Our works seek to raise awareness of the key climate change imperatives and objectives now being tackled by National and International Governments, Policy Makers, Charities, NGO’s, Global Corporations, Investors and Consumer groups, by providing a physical and imaginative manifestation of the key messages and driving a meaningful response to them.

In order to deliver this, primarily we:

  • Produce high quality artworks in the public realm both permanent and temporary

Additionally we also:

  • Create imaginative linked workshops and activities for schools and community groups
  • Coordinate artists residencies in the UK and internationally
  • Organise conferences and talks and provide speakers for events
  • Support the creation of new scientific theories and  ideas

Call for Proposals: Temporary Public Art in NW Pasadena, $1,000 honoraria

The Armory Center for the Arts is seeking proposals from Southern Californian artists and architects for a temporary site-specific Land/Environmental art installation or structure in a vacant lot in Northwest Pasadena.

Proposals are due via email by May 15th. Winner will be notified by May 31st. Winning project will be installed in June and run from July – December, 2010.

A $1,000 honorarium will be provided to the selected artist/architect to cover expenses related to the creation of the work.

Download complete details and application requirements at:

Click to access transplanter_public_art_cfp.pdf

laculturenet : Message: Call for Proposals: Temporary Public Art in NW Pasadena, $1,000 honoraria.

Land Art and changing perspectives


Filming Jan Dibbet’s 12 Hours Tide Object with Correction of Perspective, 1969


Jan Dibbets 6 Hours Tide Object with Correction of Perspective, Maasvlakte beach, 8 February 2009

A year ago this week as part of the Portscapes project, the artist Jan Dibbets had what he called a “second attempt” at his 1969 piece 12 Hours Tide Object with Correction of Perspective; the artist and curators rejected the idea of the event being a recreation. The apparently parallel lines are drawn on the beach and disappear again within the space between two high tides.

The original work became part of the canon of Land Art when it was included in Gerry Schum’s 1969  Land Art TV broadcast, alongside pieces by Robert Smithson and Richard Long. For Schum the attraction of Land Art was its liberation of art from the gallery. He was trying to make a TV-based form of art that suited the more democratic half of the 20th century.

In the second attempt the work becomes more obviously about man’s relationship to the natural world, partly because Portscapes, which we list as one of the 21 highlights of 2009, was a series of commissions by Latitudes on a piece of land that will disappear as part of the new Dutch industrial port complex Maasvlakte 2. And the piece now seems to emphasise the tidal inequalities of that relationship. Just as Dibbett’s illusory parallel lines are seen being washed away by the rising tide, so this beach will soon be gone. That is another perspective shift, of a kind.

Read more about 6 Hours Tide Object… here

Photos: Latitudes, Paloma Polo/SKOR and Freek van Arkel

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Land Art Internet Coma

Thanksgiving long past, and holiday feasts ahead, but I’m already stuffed, thank you, with this years’ steady eco-art diet of Land Art adventures and COP15 coverage. It’s hard not to feel overwhelmed with art-nerd-glee. There is such a thing as an information coma, I swear.

The art-and-landscape dishes started churning out of the Nevada Museum of Art kitchen with its LAND/ART symposium way back in June: that event kicked off a summer-into-fall series of lectures, performances, exhibits and tours that made NMA the best excuse to want to go to Nevada since Burning Man. Later in the year Land Arts of the American West, a field program directed by Chris Taylor, took some lucky followers on a tour of renowned site-specific installations and Land Artworks. Unfortunately, some of us had to stay at home with our Winnebagos, experiencing most of the glory over the internet.

This month, while the delegates at COP15 tried to negotiate our way into a non-binding middle ground, Ian Garrett and William Shaw told us what artists were doing to mitigate the damage. There’s great coverage of actions, protests and memes by Shaw on the RSA blog– Garrett did comprehensive exhibition coverage and interviews for CSPA. It seems the artworks that struck the most resonant chord were also political actions: New Life Copenhagen, The Yes Men’s fake press release, actions that addressed COP15’s inaccessibility and ineffectiveness. Comedian Eugene Mirman voiced a couple of unanswered questions. The philosophical culmination is GOOD COP, an alternative Bella Center installed at Gallery Poulsen Contemporary Fine Arts in Copenhagen, where everyone from Daryl Hannah to Bill McKibben got some time on the mic to make their international declarations. If the dialogue keeps running this fierce, I’m not worried. That is to say: Burp.

Go to the Green Museum

BLDGBLOG: California City

Here is a article about the beauty of what wasn’t build in the California Desert over on BLDGBLOG. It reminds me of the tracts you can see from the unbuilt neighborhood west of LAX. On my way to COP15, I drove around the back of the airport in Los Angeles and it’s bee on my mind.

In the desert 100 miles northeast of Los Angeles is a suburb abandoned in advance of itself—the unfinished extension of a place called California City. Visible from above now are a series of badly paved streets carved into the dust and gravel, like some peculiarly American response to the Nazca Lines (or even the labyrinth at Chartres cathedral). The uninhabited street plan has become an abstract geoglyph—unintentional land art visible from airplanes—not a thriving community at all.

via BLDGBLOG: California City.

Art Nature Dialogues: a review.

Ideas are a bit like oxygen. The right amount allows us functionality;  too much and we get all high. Such is the feeling you get after a read of Art Nature Dialogues, wherein John K. Grande interviews a series of environmental artists.  There’s a spectacular array of materials and viewpoints, from the manure sculptures of Jerilea Zempel to the interventions of Betty Beaumont. What emerges is not only a concise study of environmental artists and their motivations, but an opportunity to examine the way artists describe their work.

When asked what brought them together as artists, for instance, Gilles Bruni and Marc Babarit , known for such works as The Stream Path, reply:

“The face of working as a pair, in situ and outside brings a fundamental social dimension to our work, firstly about ‘minimal ethnic unity,’ . . . Being two, we develop the minimal conditions of collaboration and codependance, of synergy, of respect of the sharing, of conflict and contract . .”

To be blunt: What? Not every artist is quite so over-articulate, but the language of the interviews ranges from the simple and practical to the etheral and other-worldly. I’d love to be able to draw a parallel here between the quality of an artist’s work and the words they use to describe it, but that parallel would be nothing but gaudy bauble-words.

That same lung-opening high you might get from The Stream Path is present in Spin Offs by Patrick Dougherty, or Mario Reis’ river paintings. It’s what makes the artists particularly relevant and exciting (despite, not because of, their habit of comparing themselves to Andy Goldsworthy). These artists have struck a chord, gone beyond the Land Art movement of the 70s (which, they will tell you, was limitied in its true connection to place), and articulated relationships, feelings and memes that speak to where we are now(-ish).

It’s all summed up very well in a quote from Hamish Fulton, an artist of long walks:

Art is essential in a healthy society. As they say, art is like oxygen. Whether we say art is profound, or worth investing in, sexy, or a rip-off and and rubbish, it doesn’t matter, because all those crazy and insulting and wonderful qualities all go to make up what we call contemporary art.

Go to the Green Museum

An overview of eco-art Nings.

If you haven’t heard of it yet, Ning is a sort of DIY social network platform. You pick a title and a logo and boom, you’ve got your own specially-themed, mini version of facebook. Over the past year quite a few nings have popped up specifically focused on arts and ecology. Here’s the digs on a few of them.

Earth Artists Network

Members:61

Earth Artists is an interdisciplinary network of artists, focused on ecology. The coordinators of the group are based in Vancouver, British Columbia, Canada. “Earth Artists,” as defined by the Ning,  “are dedicated to advocacy for art, sustainable culture, and ecology.” Lots of folks posting photos and info about their eco-artwork.

The Art of Engagement

Members: 476

Also a network of eco-artists, this one with a curated online artist-in-residence. This Ning asks: What role can art play in transforming the current cascade of social and environmental crises? Can we develop a way to create culture, to research, learn and teach with/in ecological systems? Lively discussions and reviews in the forums.

CSPA Connect

Members: 126

The social network of the Center for Sustainable Practice in the Arts. Created to give CSPA affiliates a place to exchange ideas. Interesting forum discussions, plenty of events postings, also reports from conferences and of course, members posting photos of their artwork.

Art + Environment

Members: 200

Created by the Nevada Museum of Art. Many discussions and postings related to that museums’  LAND/ART symposium. Some cross-postings from the excellent Smudge Studio blog.

SEEDS

Members: 89

A conglomeration of folks interested in Somatic Experiments in Earth, Dance and Science, an interdisciplinary summer arts festival. Most recent posts include news of SEEDS t-shirts and footage of performances from the festival.

Go to the Green Museum