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environment

“Cauliflower Heads,” by Francine Prose

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Europe was crawling with adulterous couples. Mostly, for some reason, one saw them at ruins, respectfully tripping over the archeological rubble. Just like regular tourists they seemed to be under some terrible strain, but unlike regular tourists they hardly looked at anything, so that when, say, a lizard streaked across their path, they’d jump and fall into each other with apologetic smiles, more like awkward teenagers than adults risking the forbidden.

“Cauliflower Heads,” by Francine Prose Read More »

Europe was crawling with adulterous couples. Mostly, for some reason, one saw them at ruins, respectfully tripping over the archeological rubble. Just like regular tourists they seemed to be under some terrible strain, but unlike regular tourists they hardly looked at anything, so that when, say, a lizard streaked across their path, they’d jump and fall into each other with apologetic smiles, more like awkward teenagers than adults risking the forbidden.

Unsolved Histories: A Bird Lost, A Sketch Found, and a Dream to Bring It Back

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We saw her for the last time in 1944—frantic, wild-eyed, twitching about in her tree. Or rather, 23-year-old wildlife artist Don Eckelberry saw her, having traveled south to Louisiana’s Singer Tract to sketch America’s last Ivory-billed Woodpecker. It was a less than ideal situation. After all, National Audubon Society president John Baker would have much preferred to have found a way to save the bird rather than dispatch a man to sketch her. However, after negotiations with the Chicago Lumber Company broke down (“We are just money grubbers,” the company’s chairman allegedly said), Baker wasn’t left with much of a choice. Since the land couldn’t be spared (and by extension, the bird), Baker sent Eckelberry south in the hopes the artist might preserve her image.

Unsolved Histories: A Bird Lost, A Sketch Found, and a Dream to Bring It Back Read More »

We saw her for the last time in 1944—frantic, wild-eyed, twitching about in her tree. Or rather, 23-year-old wildlife artist Don Eckelberry saw her, having traveled south to Louisiana’s Singer Tract to sketch America’s last Ivory-billed Woodpecker. It was a less than ideal situation. After all, National Audubon Society president John Baker would have much preferred to have found a way to save the bird rather than dispatch a man to sketch her. However, after negotiations with the Chicago Lumber Company broke down (“We are just money grubbers,” the company’s chairman allegedly said), Baker wasn’t left with much of a choice. Since the land couldn’t be spared (and by extension, the bird), Baker sent Eckelberry south in the hopes the artist might preserve her image.

Landscape as Process: The Art of Susan Goethel Campbell

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* Robert Sparrow Jones *

About her work, Campbell says, “Throughout my artistic career, I have been interested in process and the intersection of nature and culture. Trained as a printmaker, the idea of recording and transferring marks from one thing to another has shaped how I work and see the world to this day. A line can be formed from an insect chewing on a leaf or a backhoe bulldozing a new road through a forest. Both micro and macro views are visual marks on the landscape…My job is to bring a voice to the material.”

Landscape as Process: The Art of Susan Goethel Campbell Read More »

* Robert Sparrow Jones *

About her work, Campbell says, “Throughout my artistic career, I have been interested in process and the intersection of nature and culture. Trained as a printmaker, the idea of recording and transferring marks from one thing to another has shaped how I work and see the world to this day. A line can be formed from an insect chewing on a leaf or a backhoe bulldozing a new road through a forest. Both micro and macro views are visual marks on the landscape…My job is to bring a voice to the material.”

Into The Wind: An Interview with Jessica Fogel

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How might the arts contribute to our perceptions of our evolving landscapes as we transition towards renewable energy sources? This is the question which Jessica Fogel, choreographer, Artistic Director, and Professor, has made central to Into The Wind, a dance and music performance that will be presented at the Michigan Alternative and Renewable Energy Center (MAREC) in Muskegon, Michigan on August 22nd and 23rd.

Into The Wind: An Interview with Jessica Fogel Read More »

How might the arts contribute to our perceptions of our evolving landscapes as we transition towards renewable energy sources? This is the question which Jessica Fogel, choreographer, Artistic Director, and Professor, has made central to Into The Wind, a dance and music performance that will be presented at the Michigan Alternative and Renewable Energy Center (MAREC) in Muskegon, Michigan on August 22nd and 23rd.

Tim Powers: Below the Surface

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* Robert Sparrow Jones *

“Tim Powers: Below the Surface” is a quiet meditation on the mundane and intimate space of sleep. His source of investigation is the philosophical and existential oppositions that manifest themselves in the industrial materials he uses. The theme of the unconscious is carried through in the ethereal hues inherent to polystyrene and latex, which collectively invite the viewer into a meditative space. But what stirs this exhibit are the oppositions Powers designates in the details. They are full of physically engaging contradictions that lure you inside the work. And while dreams themselves remain nameless; a sustaining eternal question about what makes our own landscape lingers.

Tim Powers: Below the Surface Read More »

* Robert Sparrow Jones *

“Tim Powers: Below the Surface” is a quiet meditation on the mundane and intimate space of sleep. His source of investigation is the philosophical and existential oppositions that manifest themselves in the industrial materials he uses. The theme of the unconscious is carried through in the ethereal hues inherent to polystyrene and latex, which collectively invite the viewer into a meditative space. But what stirs this exhibit are the oppositions Powers designates in the details. They are full of physically engaging contradictions that lure you inside the work. And while dreams themselves remain nameless; a sustaining eternal question about what makes our own landscape lingers.

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