Taiwan, the mountainous island off the southeastern coast of China, is officially known as the Republic of China (ROC). It
read more The 10 Most Pioneering Art/Sustainability Initiatives in…Taiwan
Wind-activated undulating walls and solar-activated etchings carved onto reclaimed redwood: the San Francisco-based artist Charles Sowers makes my heart sing!
Museums and others cultural agents are key interfaces between the government and the public. As a centerpiece of the Age
read more (Art) Work-in-Progress: The Garden as Exhibition Space
On Saturday, 22nd April, on Earth Day, there was a March for Science throughout the world; a protest by scientists
I grew up on a farm near woods and streams in Northeastern Pennsylvania. Nature was all around me. As a
read more A Delicate Balance: Can Systems of Man and Nature Co-Exist?
I was born in 1974 in Romania to Greek immigrant parents. In 1980, my family was repatriated, and since then
Pages from the Frozen Sea is a scattering of photographs of the ways that ice can freeze a moment in
In Going Up: Climate Change + Philadelphia, eight artists from around the country – Daniel Crawford, Lorrie Fredette, Jim Frazer, Eve Mosher, Jill Pelto, Kaitlin Pomerantz and John Heron, and Michelle Wilson – explore the future of a hotter, wetter Philadelphia. Several of the artists use data as a point of departure, and others suggest imaginative ways of thinking about problems and solutions, even considering the responsibility of art to reduce its own carbon footprint. The gallery contains artwork made for indoor display as well as pieces that document social practice or conceptual art that happened outside the gallery or studio, less focused on the product than the process. Many help us to notice our surroundings more closely, observing the small and incremental changes around us that track global change. Going Up opened on September 24th at the Schuylkill Center, and runs through December 2016. Artist duo Kaitlin Pomerantz & John Heron explored waste and water pollution, presenting an imaginative way to think
The edges of the earth must be explored by bike… I jump on my bicycle fitted with a trailer and head towards the beach of Terre Neuve in Camargue in order to recharge my batteries, read, and unearth creatures hidden in the deposits from the sea. Like the scattered pieces of a jigsaw puzzle, unending beaches, dunes, meandering canals, and ponds come together in the first light of dawn to reveal the preserved and wild Camargue. With the sun’s first rays, the quietness of the night is disturbed by the mistral wind which whips sand on bare legs and face. Blown by the wind, the crop is ready to be harvested from the wide flat expanse. Plastic rubbish, half buried bottles, and polystyrene fragments entwined with marran grass both occupy and are hidden in that place. The landscape is striking, buried under great waves of sand where the water rushes during storms. Everything the sea has been carrying in its bowels for days seems to be stored there. An eclectic collection of objects weathered by wind
I live in nature. Surrounded by it, I experience every subtle shift and change. I witness an amazing array of species as they inhabit the same place, and I am exactly where I want to be. I never could have predicted this would be my life. I never thought I’d give up my studio, my workshop, all my tools and supplies. I loved being a full time studio artist. But at some point, as an environmental artist, it wasn’t enough. As my ideas grew, the studio felt too confined, too removed, so isolated and incapable of adequately experiencing and expressing (incubating and containing) what I needed to say. Being more visual than verbal, that’s really what art is to me; another means of expressing a concept or idea. Having sold the bulk of our possessions, my studio now fits in eight small drawers and paints live in a tiny bin. The sailboat is impossible to keep tidy and organized, and mold is a constant problem. But when I step
read more Climate Journeys Part II: Sailing the Southeastern U.S. and the Caribbean
