first assignment for making

touch organism movement network

Object One:
Due 2/18
at the scale of touch, create an ecology.

bring your object to class in your pocket.

you may only display your object by handing it secretly to another person in the class.

we will pass around the objects silently until they return to their owner.

we will then discuss what we understand about each object

be prepared to turn in your object and a digital copy of it

Hi catherine, am i blogging in the right place. My title still says art and ecology. just testing thanks. jennifer

for laurie lange

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ON walking practice

Our other projects introduced meaty material to chew on but for me walking practice took the cake. This kind of practice can be done in two distinctly different ways. One was clearly laid out in our assignment----create a rule for what to note, quantify the amount and kind of activity involved. I found the other way butting into the formulaic approach: more a dreamtime, a way to be in metaphor with the beings of the natural world. Walking to be with Earth's tribes---- Pinon, Juniper, Pack Rat, Rock and Bee. Walking practice is rich. Thanks, Catherine, for an introduction to it.

In an ecological art practice I think it's important to plumb our relationship with the natural world alongside measuring and quantifying how we're there. I question whether some of the practices I've seen portrayed as ecological walking practice present the right sort of message. For instance the guy who walked back and forth in a line til he'd made his mark on the land, worn the land to bare dirt where there was vegetation. Artists make marks, it's our stock in trade. But what is the environmental validity of a walking practice that creates denuded land? In ecological art, don't we need to think about creating a practice that offers both ourselves and our audience a way to be WITH the land and not impose ON the land?

More and more this distinction between being with the land rather than on it seems necessary to the sustainability we seek. We've already made and make more than enough marks on her, outside of “environmental art”, on a massive and damaging scale. If our intention in ecological art is to foster a consideration of ecological imperatives, we as artists need to speak to this softly and not holler “look Ma, I made marks!”.

If we weere to diagram what I'm suggest as a guideline for evaluating how ecological a walking practice is we would have on the questionable side a thick black line between 2 points made from many footsteps being down on the same ground, and on the other little dashed lines where individual footsteps each time step in a different place on slightly different routes at each pass, so the imp[act on the ground is never more than a footstep once on any patch of ground. That would be an ecologically sound way to walk repeatedly between 2 points.

for laurie lange

Guggenheim fellow Michael Berman offers a gallery full of lovely pictures of his walks in the middle of nowhere. These are carbon pigment prints, and the spectrum of textures and shades of grey is rich. The landscape shots are of a piece with the southwestern landscape-as-scenic-icon oeurve. It's a plentiful oeurve. As lovely as Berman's landscape images are---and they truly are lovely---I can't honestly say I think they contribute anything new, except perhaps to point a bit more pointedly to the beauty of and need to preserve our extreme southwestern landscapes, the ones ranchers tend to size up with an assessment such as, “that land could grow a lot o' head”.

Berman also adopts the pictorial idiom of the abandoned object---a TV without innards in the window of an long uninhabited stucco building. We also have a lot of this oerve. They mean less to me, personally, than the landscape lionized as icon: gorgeous landscapes fetchingly presented offer a place for the mind's eye to inhabit, but is there really something in a gutted television to lionize? Such images hold my attention for a minute hinting at something profound in the cultural detritus, but I'm unable to find anything behind that momentary surface tension. It seemed a mistake for 3 images of this sort to be among the few chosen for inclusion as larger prints, 18 x 24 or so, on the wall opposite the couple hundred 8” x 8” prints. Several more landscapes to roam in at that size would have been my choice for enlargements on display.

The most compelling of Berman's images are the handful of closeups of animal life. Rattlesnakes curled peaceably in the middle of a cliff notch ( and some rattlers are this pacific), the remains of rodents and birds skeletonized by their desert habitat. The mummified wildlife speaks volumes about the meteorological extremes our grasslands encompass: inland oceans drenched in solar exposure, whipped bone dry by winds, the creatures both taken down and preserved by the extremes of the place they haunt. One in particular caught my eye: a wasps' nest protruding from the empty space inside a mummy of ?squirrel? or ?rabbit? or? Not possible to identify the animal, nose turned aside toward 2 leaves on the sand as if to speak to them in its state as spirit. Though the image is a bit buried in grey tones, the content here over-rides the greyness. This is one of those visuals to come back to and explore for a long time without losing interest. Some images hold up under prolonged scrutiny. This one is of that sort. I pray for our wild neighbors these days when I see and hear them, and these pictures moved me to that prayer.

Apparently Berman walks at random for days on end to capture his shots. Having just completed our walking piece, and finding nothing especially new about his images per se, I left the gallery thinking that I'd like to have seen his walking practice included somehow in the work. The places he's walked are truly an oceanic subject and the picture plane here embodies so much: auditory vastness, topographic and environmental mysteries, elemental and wild power that goes beyond carbon pigment. Walking practice is both an activity to take us deeper and a challenge to convey in an artform. I'd love to see what Berman might do with an inclusion of how he walks alongside or in his prints.

Sllllooooolow cities

Slow cities reading seemed to jump around. yes it is a good cause but the article was restless.
not slowly.
Yet.. the concept of enjoying each moment as it comes is not new.
Very much a part of Asian thought.

How did USA get so behind? That is what I don't get. It seems that life just kinda went on while this country was 'busy making other plans.'

I would like to live in a slow way. I feel guilty if I drive slowly and now perhaps I can change that around to being part of the neighborhood pace program.
I am grateful the movement is there. And yet, the comment inside the article is telling.. that cities who commit to being slow and who get added to the list fill up with tourists and become not slow.
This would seem true as I googled images and many of them turned up as tourist advertisements. It would seem that citta slow can be a double edged sword. But -I am encouraged that this movement is gaining momentum ..slowly.

reading Las gaviotas

o but this is not an elegy. I am glad I read about the trees first.What a lovely solstice present.
It was so hopeful! I too want to go there! Really. I would like to be immersed in a culture who is trying. To live with people who play music. To invent things that would help. To honor the trees and the life which has grown with them. It is remarkable indeed that this green world is existing inside the country whose notion I had of guerilla_US Drug cartel world police force violencia. As if just because it can.
often i return home disgruntled. after reading Las Gaviotas I had insight as to why.
It is driving around Albuquerque that does it. The alienation. Makes me irritable and lonely.
So contrary is the story of what can happen if whole communities come together and look for other ways. maybe it is the scale of the community also?

The elegy piece was full of grey scale and emotions unearthed with the trash heaps
denied. There is not much to say I think. I have from this the smell and feel of my home town and a particularly desolate piece of road that led to the dump.
I wanted to shoot rats there when I was little. But my mother wouldn't let me.

Now the rats I want to shoot are the demons that despise hope.
Who tell me that it will never be different than driving around Albuquerque looking for things that I 'need'


The first image that came when I googled elegy is this painting of a woman mourning over a pedestal_Greek column that has flowers twining around it. 'Elegy'by William-Adolphe Bouguereau

Interesting that her pedestal is sneakily be- flowered. As if even in lament we put forth something that we can live with .. after all.