New Orleans

Mel Chin at New Orleans Museum of Art

This post comes to you from Cultura21

Mel Chin: Rematch
February 21–May 25, 2014

Bild 4

The most expansive presentation of conceptual artist Mel Chin’s work to date, Mel Chin: Rematch, organized by the New Orleans Museum of Art, features the artist’s sculptures, video, drawings, paintings, land, and performance art, as well as rarely seen materials from the last four decades. The exhibition explores the themes that connect Chin’s diverse artistic practice, including violence, alchemy, memory, and empathy, and for the first time contextualizes his major site-specific installations within his broader oeuvre. On view from February 21 to May 25, Mel Chin: Rematch emphasizes Chin’s artistic process and conceptual approach and reveals how his engagement with social justice and community collaborations manifest in a complex and highly varied body of work.

The objects in the exhibition will be presented around thematic strands that underscore Chin’s broad range of subject matter, materials, and formal approaches. The exhibition includes major installations such as Operation of the Sun though the Cult of the Hand, 1987, which features a variety of materials through which Chin explored the origins of Eastern and Western alchemy; as well as the more recent installation: The Funk & Wag from A to Z, 2012, a surrealist large-scale arrangement of 524 collages culled from the Funk and Wagnalls encyclopedia. The exhibition also includes documentation of his major land-based projects, from early works such as The Earthworks: See/Saw, 1976, to later ecological, science-based projects like Revival Field, begun in 1990. For this exhibition Chin will also create a new work, a 2013 conceptual diorama for Revival Field, an updated take on this artwork which played a seminal role in promoting the field of phytoremediation, or the use of plants in treating toxic soil.

His recent venture Operation Paydirt, which was conceived from his 2008 research in New Orleans, is an interdisciplinary project that is continuing to generate thousands of children’s drawings in an effort to garner funding and support for the development of an effective nation-wide method for the prevention of childhood lead poisoning. The project has led to collaboration with the Environmental Protection Agency, and a major grant in 2011 from the U.S. Department of Housing and Urban Development to scientists who are testing soil remediation methods in New Orleans.

Mel Chin: Rematch is organized by Miranda Lash, the Curator of Modern and Contemporary Art at the New Orleans Museum of Art.
New Orleans Museum of Art
1 Collins Diboll Circle
New Orleans, LA 70124
Hours: Fridays, 10am–9pm; Tuesdays,
Wednesdays, and Thursdays 10am–6pm;
Saturdays–Sundays 11am–5pm

More Info

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Mel Chin to speak at Farm Lab 2/11 7pm



For those of us who have followed the art and ecology movement over the last two decades, Mel Chin is considered an influential pioneer combining art with brownfield remediation. His famous or infamous Revival Field (1989-ongoing) funded with NEA money that was rescinded then later reinstated, demonstrated the natural processes of removing heavy metals from soil using hyper accumulator plants.
He did this project in collaboration with an agronomist at a landfill site in Minnesota.

Mel will be in Los Angeles next week to give a talk on his Fundred Dollar Bill Project in New Orleans. If you have never heard him speak, you should go, with the promise that you will be entertained and educated. Being an artist should be so much fun!

For more information go the FarmLab website HERE

Go to EcoLOGIC LA

RETHINK Contemporary Art & Climate Change

Finally got to see some of RETHINK; it’s a wonderful exhibition. The Saraceno is gigantic, but the human biosphere, suspended high in the air, was closed for repair today so I wan’t able to go in it, which saved my vertigo.

Allora & Calzadilla’s A Man Screaming Is Not A Dancing Bear (2008) is stunning. Filmed in New Orleans, post-Katrina, it’s strange and elegaic. Repeating through the film are moments in which a barely-glimpsed man drums on some abandonded Venetian blinds. It lends an angry, jumpy soundtrack to the slow pans across water-stained walls.

Kerstin Eregenzinger’s Study for Longing/Seeing (2008) was unsettling in a very different way. Sheets of dark, lifeless rubber suddenly twitch unexpectedly, driven by strange spider-arms beneath them. It feels like a landscape that’s coming alive, animated by some strange pulse. “The work,” says the catalogue, “Is a reactive installation using data from seismographs and sensor-based structures to simulate a landscape and its changes. The installation responds partly to movements in the earth outside the exhibition building, and partly to audience movements in the exhibition room itself…”

Go to RSA Arts & Ecology

Message vs. Action

This Post was originally posted to Mike Lawler’s ecoTheaer blog on April 25, 2007. We are reposting it here to share this ecoTheater classic with new readers while MIke continues to regain his health. You can read his blog about his ongoing battle with cancer, The “C” Word, by clicking here.

In 1992, American Theatre ran an article called Green Theatre: Confessions of an Eco-reporter, in which Lynn Jacobson traveled to three performing arts companies–Merrimack Repertory in Lowell, MA, the Contemporary Arts Center in New Orleans, and Dell’Arte Players Company in northern California–and wrote about the work they were doing on the allegedly emerging front of “Green Theatre.”

In the fall of this year my first published foray into “greening” our theaters is slated to appear in the pages of American Theatre too–over fifteen years after Jacobson wrote, at the close of her piece, “Can theatre save the earth? I don’t know. But from sea to polluted sea, I’ve seen it trying.” Well, Jacobson was certainly right about one thing: Theater can’t save the earth–at least not alone. But, it does seem that it can make more of an effort than it has. Because, though Jacobson failed to really take it into account in 1992, the greening of our theater isn’t just about putting on ecologically themed work. It’s also about putting on ecologically friendly work, whether it be new, old, experimental, or otherwise.

In my research, I am struggling to find theater artists out there who are striving for a more sustainable approach to theater production. If you are one, or know of one, get in touch with me–I’d love to hear from you.