Showing posts with label Memphis College of Art. Show all posts
Showing posts with label Memphis College of Art. Show all posts

Friday, May 17, 2013

Big Fish of Fish Story

The  NYC art world is responding to the bigness of two male artists making big & irrelevant artworks: Paul McCarthy and Jeff Koons dueling for attention. Of the 2, McCarthy is arguably a better artist. Both sell their works for many millions of dollars. The three galleries/ gallerists showing them, Hauser & Wirth, David Zwirner and Larry Gagosian sell to very big collectors, some of whom are using art to launder money. The art often gets stored in a warehouse as one more commodities investment without further aesthetic discussion.

What is "big" art in today's world? What are big ideas? I humbly submit that the biggest idea may be to simply stop doing what we have been doing: making many babies and consuming many planets to support all those extra people. The second big idea might be to put things back where we found them- like missing fish. Apparently, easier said than done.

So, what else's big? Perhaps, the enthusiasm and commitment and success I witnessed among the people I encountered in Memphis for a better environment,



Participatory map from playing the Anthropocene Game at Crosstown Arts, Memphis, TN.,  May 6, 2013
as part of Fish Story, Memphis for Memphis Social


Fish Story Memphis generated 80 blog posts on this website since November 2012, with 9 911 views; 1 room size installation at the Memphis College of Art, Memphis, TN.; 1 9.5'x 28' painting on paper, almost 100 paper cut-outs of individual fish from 16 freshwater North American species; 7 13"x19" encaustic paintings on google map prints of the tributaries; 3 video tapes- 1 from a Pecha Kucha at Crosstown Arts Gallery in Memphis, TN. December 2012, 1 of a participatory mapping exercize after playing the Anthropocene Game at Crosstown Arts Gallery in May 2013 and 1 of a webcast between NYC, Memphis and Greece connecting river dots to radioactivity and fracking May 11,2013 ; 1 participatory map of what causes and cures environemntal degration; about 50 photographs of fish habitat and ecosystems taken on site in Memphis and on the Wolf River; 15 assessment evaluations and 1 hand-out, all to establish a basis to say that our world needs to pay attention to the story fish tell and pull together to save our common environment MORE than we need to extract energy to keep on the way we've been keeping on. That basis for change is the big fish I'm trying to land. I came away from Memphis happy to know that so many others are fishing in this new way.



Saturday, May 11, 2013

Connecting the river dots in Fish Story

Today at 2:PM CT from the Memphis College of Art, we will do a public webcast to compare river issues in Memphis, TN from Fish Story, to river issues in Greece with Yvonne Senouf of MELD and Amy Lipton from ecoartspace and relate those problems to the emerging impacts of radioactivity with Eve Andre Laramme and radon from fracking with Ruth Hardinger.

Installation detail from the Hyde Gallery, Memphis College of Art, Memphis, TN
On a pedestal outside the installation room a hand-out says:

"Scientists have confirmed that carbon dioxide levels in the air have reached 400 parts per million.
(see article) Off-setting that rise would require people to green the earth by an additional 36% by 2030.  Without such drastic measures, most species, including humans will not survive. The easiest way to change that is to restore degraded ecosystems. Everyone on this earth can participate in that work. Memphis may be a critical place to begin.

    We emit globally about 10 BMT/yr of  carbon (billion metric tons per year) in Fossil Fuel burning       and deforestation. In 20 years, that would mean about 200 BMTs.There are about 550 BMT of carbon in all plants above ground, and 1,500 BMT below ground (in soil carbon), so you need to add   about 2% to the living global biosphere every year to offset the above. In 20 years that would mean you need to add 36% to the living biosphere to offset Fossil Fuels and deforestation, or you'd need 1/3rd more biosphere in 2030 to do the offset. Its less if you can figure out a way to speed up the transfer of carbon form the living bits to the soil carbon pool. 
–Dr. James White, member of the Fish Story team

Fish Story Memphis is about how the causes and effects of global warming are affecting fish as indicator species for habitat and water quality. Memphis is a critical ecoregion: in the third largest watershed in the world, along the sixth largest river, South of factory farms and North of dead zones in the Gulf of Mexico. The Wolf River may be a bioregional opportunity to effect large landscape restoration. Reconnecting the Wolf River to the Mississippi may be the first step.


Monday, May 6, 2013

Fish Story update

I've been adding images of my visual progress towards the two events below, on FB each day for the past couple weeks. The FB screen shot above is from an album posted yesterday, of what I saw on Beale St, at A.L. Green's service and at Graceland. My impressions both seem on a continuum of what I saw on the Wolf River Saturday and in contrast to the green and subtle sounds I saw from the canoe I shared with Gene Turner, with whom I've been working since he joined me Friday. Tomorrow, before the participatory mapping @ Crosstown Arts, we will start installing at the Memphis College of Art.


Tuesday: 6:PM CT May 7, 2013 @ Crosstown Arts, Memphis, I will speak for a few min of intro, then give out instructions for an interactive, role-playing "Anthropocene Game" about environmental dynamics that affect fish habitat (and human survival). After the game, people will be asked to find a place to sit down, close their eyes and consider what might have been learned from the exercize, as I sing to them. Then we will start to map the insights & experiences people can share about fish & fish habitat, on a large piece of butcher paper, with markers, while discussing relationships between these local problems. Finally, there will be refreshments.

Saturday: 2:PM CT May 7, 2013 @ Memphis College of Art (MCA), Memphis, there will an unknown audience number viewing a webcast projection in a room with an installation @ MCA (detail images or earlier on this page) and interacting with about 7 people internationally, discussing how issues local to Memphis about fish habitat relate to other issues both nationally & internationally that are serious ecological problems:

The location is 477 South Main, The Hyde Gallery at the Nesin Graduate School Memphis College of Art (Downtown campus). I will host an open, public webcast comparing global bioregional habitat concerns. Webcast participants will include ecological art practitioners: curators Yvonne Senouf and Corinne Weber of M.E.L.D. of shows on global warming and endangered river systems; Amy Lipton, ecological art co-curator with Tricia Watts for ecoartspace; artist Eve Andree Laramee who works on radioactivity; artist Ruth Hardinger whose work focuses on fracking; artist Lenore Malin who experienced Sandy in NYC; Fish Story team members Dr. Eugene Turner, wetlands ecological biologist, restorationist and dead zone expert; Dr. James White, paleoecologist and Director of INSTAAR UCB and ecological artist Aviva Rahmani. The webcast will be recorded and made publically available after May 20, 2013.

Wednesday, April 24, 2013

Fish Story progress report

Eight days before I leave for Memphis. I have 30 pages in a dedicated notebook, each committed to a different aspect of the work there, from the participant list at Crosstown Arts Tuesday May 7 to a list of what needs to be packed.

I spent most of today tracing the path of the Wolf River. It was in preparation for painting on a 12 yard x 9'  roll of black paper that should arrive tomorrow. I also worked on drawing the metallic shapes of the fish I'll be cutting out and attaching to the paper. It's wondrous to study all the subtle differences between species, to read about their natural history and infer the intelligence in the dead eyes of the trophies held up by fishermen.

Detail of mock up sketch for installation at the Memphis College of Art opening May 10, 2013
I'm stepping up my training for the canoe trek, having strengthened my foot that went out a few weeks ago. I can take more weights with my reps and seem to have more stamina. But I'm considering buying a cheap waterproof camera for the trip in case I capsize.

My singing was coming along until about a week ago, when I did a recording of the song I'll sing at Crosstown.  I've slacked off a bit since then and need to step up my practice time.

The webcast is coming together with the right participants for May 11 and my thinking is beginning to self-organize. I'm thinking about it now as less of a summit than a conversation with whomever is there about observations. I imagine much will change, however between now and then.

Last weekend, I designed some T-shirts for one of the Rockethub gifts, a limited edition of $75. each in either black or white and sold the first one to the artist Deborah Kotaka. I'm finding it difficult to keep priming the pump to raise money while creating the work but this was fun to do.


http://www.rockethub.com/projects/20146-fish-story#description-tab

My assistant, Daisy Morton has been following up our contacts in Memphis, to be sure I let everyone know what we're up to and we all have a chance to connect and share our thinking about the region. I'm looking forward to the entire experience.




Thursday, April 11, 2013

Fish Story Talk and Artmaking Workshop in Memphis, TN



Organizer - Aviva Rahmani, ecological artist, as a part of Memphis Social at Crosstown Arts
Address: 427 N Watkins St, Memphis, TN 38138
Phone:(901) 507-8030
Transit: Ncleveland@Autumn 
Monday, May 6, 6 - 7:30 pm  
Where do the lives of fish and people meet in Memphis? An evening of talk and artmaking will map the answers! Middle and high school students and community members welcome. The results will become part of a public exhibition at the Memphis College of Art. Please reserve your place. Refreshments will be served.
 Suggested donation to cover materials and refreshments: $30.
registration details- ghostnets@ghostnets.com
more info- www.ghostnets.com
Memphis Social calendar of events: 



Memphis has several special environmental and economic challenges. Some of Memphis' specialness is because of it's location along the Mississippi River, downstream of agriculture and upstream of the Gulf of Mexico. Could bringing together a small group of young people and adults, to share and map their experiences of the natural world, bring about some of the environmental changes Memphis might need?  

Some opportunities for change are in the health of local fish. Fish need clean, cool water. Healthy habitat for fish means a healthy environment for people. Together, we might find a way to make things better for fish, water and ourselves. The evening will include a brief talk, refreshments, The Anthropocene Game, a game to help us think differently about challenges for Memphis, making drawings about that need for change, a short period of meditation and music and a wrap up discussion. 

The result will be a map of our group insights, which will be shown publically at the Memphis College of Art, opening May 11, as part of Memphis Social. This may be the start of a longer project in 2014, which would include canoeing the Wolf River with a group of students.

Wednesday, March 13, 2013

Training to prepare for performing Fish Story in Memphis

Most of my blog posts here have been about the ideas behind what Fish Story means to me. But I have many  categories of work to complete before I return to Memphis in May. Some I haven't written much about include, the fund raising, the marketing, the thinking, the networking. These are all time-consuming tasks. The "work" of the art work, however, will be a series of performance events, some private and some public. Training to perform that "work" will make the art happen and requires some daunting preparation to be "ready."

What I mean by ready, is ready to sing, row, draw and talk in four discreet events. Each event will be progressively more public. The first of those events will be rowing to the Mississippi via the tributaries while I document fish habitat. The second will combine performing a game with an audience, leading participatory mapping and singing as part of the workshop at Crosstown Arts.  The third will be several days of semi-publically creating an installation of drawings, photographs and other material at the Memphis College of Art. The fourth and final will be a live interactive live webcast with audience.

I take the singing part very seriously and it's often the most difficult part of my training because it requires the most disciplined focus. So no matter how tired or distracted I am, I begin my work day with 15 min of vocalization and then another 15-30 min of work on particular art songs that work the part of my voice I need to concentrate on, for example middle voice transitions this week. Most recently some new Gabriel Faure repertoire. I need to build that up with long sustained melodic passages.

Rowing the Wolf River to document fish habitat is the most intimidating to me. I'm out of shape and need to build my stamina and strength and requires the most willpower to be consistent in my work. I'm preparing for the canoe work by training at a local gym at least 3X per week. So, again, no matter how tired I am, I haul myself North to the Paris Gym above 96th St and lift weights for at least 30 min. Wednesday, I increased my reps and totaled 40 min.

The show goes on no matter how tired I am. This shot after a gym work out, training to row the Wolf River in Memphis
Developing my drawing ideas for the installation is the most fun to prepare for and takes the least effort. But requires me carve time out of my day when it seems like a million other tasks are demanding my attention. I have started by assembling the raw material- translucent Japanese papers, maps, images of fish & fish habitat. Since my tiny apartment in NYC is already cluttered with research to complete my PhD, it is no small feat to perform orderly work and store the results. Readiness for drawing on site means fixing in my mind where the factory farms are, what the habitat looks like, the demographics of the city, the topography .... Today, I started fitting some of the google earth images together and studying paper samples from NY Central Art.

Finally, there is preparing for the webcasts. In some ways, that is both the easiest of all and the hardest because so much can go "wrong" and be out of my control for me to worry about. Besides the tech and people's availability & interest to participate on line, there's whether I can be on top of data, somewhat funny, a little glamourous, responsive and ready to swing with the tides when there are glitches. There will surely be glitches. I prepare by trying to be a rested version of myself, which is sort of like saying I prepare by making my brown eyes blue. I prepare by reading voraciously- not just for my dissertation, tho that will be relevant when the time comes but all sorts of things that help me put conceptual flesh on an exoskeleton of my thinking about why I'm doing all this. I prepare by digesting sorrow and hope about environmental events from the news. I prepare by trying to be warm and friendly and patient with people no matter how stressed I feel so that my empathy and acceptance muscles are exercised.

My basic motivation for these efforts, is to make those four performances a living paradigm, ten-days of enacting responses to the environment in Memphis, in the world, in the age of climate change, in the anthropocene. The paradigm/ parallel is how we must collectively exert ourselves in ridiculously demanding ways to make things happen differently.

Saturday, February 23, 2013

Fish Story launching on Rockethub

I have made the decision to set aside work on my dissertation so I can focus entirely on producing Fish Story for May. I'm diving in with both feet and beginning my launch with Rockethub to start raising some serious financial support. This is the project description that will go on line in 24 hours:

Fish Story is a May 2013 participatory public art project about water and habitat for Memphis, TN. 

  Fish Story is about how the lives of fish in the Mississippi River reflect global environmental challenges. It is planned by artist Aviva Rahmani for May 2013, Memphis, TN, as part of the city-wide Memphis Social, apexart franchise exhibition curated and organized by Beautiful Fields. Fish Story is based on four years of art/ science research with Gulf to Gulf, a series of webcasts about global warming. The project is designed as a model for artists, scientists, conservationists and activists to work together on ecosystem problems. Fish Story will unfold in 4 stages: 1. Traversing river tributaries, 2. Mapping knowledge at Crosstown Arts, Memphis, TN., 3. Interpretive installation at Memphis College of Art, 4. Webcast public discussion about implications of what was learned and national options: May 11, 2011. 

Saturday, February 2, 2013

Participatory mapping and Fish Story


Participatory mapping is a key tool for many ecological artists working with communities. It will also be a phase of the work planned for Fish Story. It will be part of our event at Crosstown Arts May 8 and contribute both to the subsequent installation at the the Memphis College of Art and the webcast event there May 11. Here, I've excerpted an edited rough draft version of the introduction to the fourth chapter of my dissertation, which discusses how participatory mapping can function in communities to bring attention to critical problems which might otherwise be overlooked:

“Geography, sir, is ruinous in its effects on the lower classes. Reading, writing, and arithmetic are comparatively safe, but geography invariably leads to revolution.” (1879 testimony before a Select Committee of the House of Commons, London, England, regarding expenditures of the London School Board and the introduction to Juliana Maantay's blog on GIS mapping http://geographer-at-large.blogspot.com/2011/12/map-of-week-12-05-2011new-dencity.html)

“Where maps measure and notate the world, mapping is, in the words of landscape architect James Corner, ‘a collective enabling enterprise,’ a creative act that describes and constructs the space we live in, a project that ‘reveals and realizes hidden potential.’” (Abams, Hall 2006)

Arguably, mapping is the perfect visualization of metaphorical relationships. Increasingly, what is mapped is far more complex than simple indications of where material, abiotic elements might be located. Mapping is used to diagram conversations, ideas and consumer habits. It is therefore not surprising that many artists, especially those concerned with conceptual or ecosystem functions have explored mapping as either a genre or a tool, as have I.

In this chapter, I will discuss how mapping is used as a tool for environmental activism and conservation. I will make comparisons between how GIS is used by environmental artists.  I will consider what GISc means in the particular context of identifying nucleation points for landscape scale restoration as environmental triage and discuss why and how I employed GISc as a tool to argue for trigger point theory.

Participatory mapping as a means to empower the invisible 

In other cultures, as Australian aboriginal Maori peoples, maps of dreams and spiritual experiences in walkabouts have always been considered as real, if not more so, as the material world. Such maps may be seen as precursors to participatory mapping, a ubiquitously applied Western educative exercise in “locating” experiences of a place that may include diverse elements which might be given relatively equal spatial value, e.g., subjective perception and memory, emotions of fear or serenity, government regulations, a bicycle route or a river. Participatory mapping is often used to formally engage communities, as pastoral Kenyan farmers in public planning for ranked risk management (Smith et al 2000). This may be a critical methodology for land and water management.  In the Kenyan example microvariant concerns about education and health were brought to the attention of government policy makers. It can make a relatively inexpensive bridge between intuitive and precise observations and engage hitherto unlikely sources for critical analysis, as sexworkers in Madagascar (Kruse et al 2003) to track where sexually transmitted diseases might be communicated.

In these examples, events and experiences are not always expected to be locationally accurate as psychosocial reality which can be a disadvantage of the technique. A church may be disproportionately large in relation to a forest stand. It can be difficult to later georeference important data. As with adaptive management, less vocal participants can become excluded. At worst, these documents can be a treasure map for scarce or protected resources.

The International Fund for Agricultural Development (IFAD) recommends that communities undertaking participatory mapping with outside stakeholders protect themselves with written legal agreements. IFAD recommends that goals be clearly identified by asking questions such as:
• Why do we want to make a map?
• Who do we want to show it to?
• What are some of our most important land-related issues?
• What can we use the map for in the short term?
• What can we use the map for in the long term?
• Is there a predefined reason for creating the map?
The advantages of participatory mapping, besides economics and time sensitivity include that respondents who actively participate can determine priorities, create easily understood, informal visuals and indicate early warnings of problems without laborious training. Indigenous communities often initiate participatory mapping as a means of empowerment. It can be a first political advocacy step in archiving or sharing local knowledge and making concerns visible to an outside world, including sovereignty claims (IFAD 2009) and resistance to industrial hegemony. These maps may be 3D, include oral or written histories and songs as well as graphics, creating accessible performative scripts for map readers. Policy and restoration work is often best served by a combination of participatory mapping and GIS spatialization. In poorer communities the need to integrate participatory mapping with low cost GIS can be served by a movement for participatory GIS (PGIS). But that doesn’t mitigate how difficult GIS software can be.