Showing posts with label architecture. Show all posts
Showing posts with label architecture. Show all posts

Friday, August 31, 2012

From Last Chance To Venice: A M12 Mixtape

This week the M12 art collective has traveled from their usual base of operations on the Colorado High Plains to the European Lowlands, more specifically the 13th International Venice Architecture Biennale, the most prestigious event in this field. [full disclosure: AOTR Director Matthew Fluharty is on the M12 Board of Directors.]

In a confirmation of the values and aesthetic objectives of the M12, the collective's Campito Project will stand in the US Pavillion as part of the show Spontaneous Interventions: Design Actions for the Common Good. 

We will be featuring an interview with Richard Saxton and Kirsten Stoltz of the M12 when they return stateside but, until then, we offer this From Last Chance to Venice mixtape -- a selection of songs near and dear to these artists. The Last Chance portion of the title refers to the small town (pop. 14) in Colorado that is collaborating with the M12 to create The Experimental Site for Rural Creativity, a permanent home for the M12's work. 


For folks who don't use Spotify, we offer this mixtape via YouTube. As some of these songs could not be found on YouTube, other songs by these artists are presented instead:


A Good Flying Day - The Sadies
Cherry Bomb - The Runaways
Cachaca - Calexico
Cannonball - Waco Brothers
Ether - Gang of Four
Aspirin - Green on Red 
Rebel Girl - Bikini Kill
43 - Richmond Fontaine
Betty's Overture - Lambchop
She's a Wild One - Blue Moutnain
Oh Bondage Up Yours - X-Ray Spex

Wednesday, June 6, 2012

Readings: A New Definition Of Landscape

Grain Elevator from Measure of Happiness; Frank Gohlke

We offer this Readings selection from John Brinckerhoff Jackson's seminal text Discovering the Vernacular Landscape. The New York Times called Jackson "America’s greatest living writer on the forces that have shaped the land this nation occupies." His work has influenced generations of artists, designers, and writers.

••••••••••

As far back as we can trace the word, land meant a defined space, one with boundaries, though not necessarily one with fences or walls. The word has so many derivative meanings that it rivals in ambiguity the word landscape. Three centuries ago it was still being used in everyday speech to signify an expanse of village holdings, as in grassland or woodland, and then finally to signify England itself--the largest space any Englishman of those days could imagine; in short, a remarkably versatile word, but always implying a space defined by people, and one that could be described in legal terms.

This brings us to that second syllable: scape. It is esentially the same as shape, except that it once meant a composition of similar objects, as when we speak of a fellowship or a membership. The meaning is clearer in a related word: sheaf--a bundle or collection of similar stalks or plants. Old English, or Anglo-Saxon, seems to have contained several compound words using the second syllable--scape or its equivalent--to indicate collective aspects of the environment. It is as much as if the words had been coined when people began to see the complexities of the man-made world. Thus housescape meant what we would now call a household, and a word of the same sort which we still use--township--once meant a collection of "tuns" or farmsteads.

From this piece of information we can learn...that the word scape could also indicate something like an organization or a system. And why not? If housescape meant the organization of the personnel of a house, if township eventually came to mean an administrative unit, then landscape could well have meant something like an organization, a system of rural farm spaces. At all events it is clear that a thousand years ago the word had nothing to do with scenery of the depiction of scenery.

Landscape; Albert Pinkham Ryder, 1897

We pull up the word landscape by its Indo-European roots in an attempt to gain some insight into its basic meaning, and at first glance the results seem disappointing. Aside from the fact that as originally used the word dealt only with a small fraction of the rural environment, it seems to contain not a hint of the esthetic and emotional associations which the word still has for us. Little is to be gained by searching for some etymological link between our own rich landscape and the small cluster of plowed fields of more than a thousand years ago.

Nevertheless the formula landscape as a composition of man-made spaces on the land is more significant than it first appears, for if it does not provide us with a definition it throws a revealing light on the origin of the concept. For it says that a landscape is not a natural feature of the environment but a synthetic space, a man-made system of spaces superimposed on the face of the land, functioning and evolving not according to natural laws but to serve a community--for the collective character of the landscape is one thing that all generations and all points of view have agreed upon. A landscape is thus a space deliberately created to speed up or slow down the process of nature. As Mircea Eliade expresses it, it represents man taking upon himself the role of time. 

Open Space; M12 art collective

In the contemporary world it is by recognizing this similarity of purpose [between civil engineering and landscape architecture] that we will eventually formulate a new definition of landscape: a composition of man-made or man-modified spaces to serve as infrastructure or background for our collective existence; and if background seems inappropriately modest we should remember that in our modern use of the word it means that which underscores not only our identity and presence, but also our history.

Wednesday, April 11, 2012

Rural Arts From The Rustbelt To The Artist Belt


Later this week, The Art of the Rural will take part in the fourth Rustbelt to Artist Belt conference, which is meeting this year in Saint Louis, Missouri -- which is also home to Washington University, the headquarters of AOTR.

We're pleased to welcome a phenomenal panel of artists, writers and cultural workers for the Re-Thinking The Rural Arts discussion at the Rustbelt to Artist Belt conference: Mary Stewart Atwell, writer, critic, and author of the novel Wild Girls (Scribner, 2013); Brian Frink, artist, professor, and founder of the Rural America Contemporary Art Institute; Rachel Reynolds Luster, folkorist, AOTR Contributing Editor, and founder of HomeCorps; and Richard Saxton, artist, professor, and founder of the M12 interdisciplinary art collective. AOTR Editor Matthew Fluharty will moderate the discussion.

In light of conference preparations and events, new articles will appear again on The Art of the Rural next week -- though we will be updating the Arts and Culture Feed during this time.

Please find the introduction to the Re-Thinking The Rural Arts panel discussion below: 
Rural America is undergoing a period of dramatic cultural and demographic change. Its people are poised to take agency over their own narrative, as new media is allowing for the open and decentralized sharing of stories – from next door to across the continent. In concert with this, interest in sustainable and local food systems has leant a visibility, and a cultural and economic force, to a rural landscape often relegated to distorting pastoral clichés.
These dynamic possibilities offer a moving and multi-layered metaphor for the kinds of work to be created in rural America, as artists and community members are working across disciplines to re-think and re-imagine rural America – and to make connections to their partners in urban and international locales.
This panel presents the work of four artists and community leaders who are offering a new vision for the role of the arts in rural America. By connecting across disciplines and across geographic regions, these practitioners are examples of how serious aesthetic work can also function as an engine for social change and community development.

Friday, February 3, 2012

New Work From Places: Rural Studio, Cotton Farmers, The Sound of Music, And Our Natural Space

Bloom, 2010; Michael Lundgren 

One of the most valuable resources for considering how the arts intersect with and enliven the rural-urban exchange can be found in Places, "an interdisciplinary journal of contemporary architecture, landscape and urbanism, with particular emphasis on the public realm as physical place and social ideal."

Today we would like to offer links to some recent work from Places that expands conversations and ideas we've shared with our readers and collaborators. Below we will feature a brief selection from each piece followed by links to the larger, visually-rich articles:

Samuel Mockbee of Rural Studio

Lessons From The Front Lines Of Social Design is an essay by Will Holman that charts this designer's time spent at the Arcosanti urban laboratory, YouthBuild, and Rural Studio - while also touching on projects we've also discussed: Epicenter and Studio H. 

Below is an excerpt from Mr. Holman's time at Rural Studio:
The Rural Studio was founded in 1993 by architects Samuel Mockbee and D.K. Ruth, around the same time I was dreaming away afternoons in my elementary school library. Both professors at Auburn University, Mockbee and Ruth set up shop in Newbern, Alabama, three hours away from the main campus. Greensboro, ten miles north, along with nearby Moundville and Tuscaloosa, were at the center of James Agee and Walker Evan’s Depression-era study of sharecroppers, Let Us Now Praise Famous Men [10]. Mockbee and Ruth hoped to expose students to three things usually missing from modern architectural education: construction, clients and social engagement. “Rural Studio is what architecture should be about, not what it should theoretically be about,” said Danny Wicke, a former instructor and student. “Engaging in practice makes school real and gives it context.” [11] Mockbee died in 2001, and Ruth in 2009, but not before the Rural Studio earned Mockbee a MacArthur “genius” grant and a wave of positive press from around the world. Now directed by British transplant Andrew Freear, the studio has concentrated on raising standards of professionalism and building larger civic projects. “I want to get students to dream about our society,” says Freear. “Architects are not just playthings of the rich.”


The Hills Are Alive is an interdisciplinary and wide-ranging essay by Michael P. Branch, a Professor of Literature and Environment at the University of Nevada, Reno and a columnist for The High Country News. 

In this piece Dr. Branch takes a moment of family history - his daughter's performing a version of Julie Andrews' revelry on their Nevada hillside far -and transforms the memory into the groundwork for a meditation on romantic and ecological landscapes. Here's his introduction:
My grandmother’s highest compliment for a natural landscape was to say that it was “pretty as a picture.” Even as a kid I remember thinking that this aesthetic was somehow upside-down, that the beauty of art should be judged according to the inimitable standard of natural beauty rather than the other way around. During the late 18th and early 19th centuries, well-heeled European travelers toured the countryside looking for views that would be as pretty as a picture — or, to be more precise, as pretty as a painting. And because they had a certain kind of painting in mind as embodying their standard of natural beauty, these early ecotourists often carried with them a small, convex, tinted mirror known as a “Claude glass,” after the 17th-century landscape painter Claude Lorrain. When a picturesque landscape was encountered — say, the snow-capped Alps — the tourists would turn their backs to the mountains and whip out their Claude glass, holding it up to frame the mountains, which were not only reflected but also color-shifted to a tonal range that made them appear more painterly. And voila! The rugged Alps become not only pretty as a picture, but become a picture, as the pleased ecotourists admired not the mountains but rather the image they had created. But must we turn our backs on the land to see it as aesthetically pleasing? Why do we so often love our representations of the world more dearly than we love the world itself? 
a selection from a photograph from Kathleen Robbin's project

We also highly recommend visiting Places to view Cotton Farmers: Photographs from the American South, a collaboration between Kathleen Robbins and writer Mary Carol Miller. Ms. Robbins, whose grandfather was a third-generation cotton farmer, recently returned to her family farm for an intensive five weeks of photography and interviews, alongside Ms. Miller. (NPR also provides more of the context here.)

The Places slideshow captures the breathtaking sweep of the land, yet also communicates the physical and mental hardship of continuing these practices. Below, Mary Carol Miller's prose speaks to this situation:
We found a handful of men and women who remain where their fathers and mothers and grandfathers and grandmothers planted their flags. Each spring, they weigh the odds and walk the land, recognizing every turnrow and low point and subtle rise over a thousand or two thousand or even eleven thousand acres. And, once again, as their parents and grandparents and great-grandparents did, they will buy the seed and the fertilizer and service the tractors and the combines and hire the cropdusters and begin the daily prayers for more rain or no rain and sunshine and cool nights and no tropical storms in September and no frost in early October. And their children, muttering about the social challenges of being way out there and never having a next-door neighbor, will slowly, slowly find their own souls tied to that dirt.
Untitled, 2010; Michael Lundgren

Last week Places published a collaboration that speaks to the concerns delineated across these pieces. If There Be Such a Place is a slideshow of work by two photographers with divergent visions of the American West: Aaron Rothman and Michael Lundgren. Poet and Places Assistant Editor Josh Wallaert offers an introduction not only to their work, but to the problems of aesthetic representation in natural space. As a whole, this is an intellectually complex and visually stunning presentation, and we highly recommend it - the techniques and ideas here can find application across the American landscape. Here is a selection from Mr. Wallaert's introduction; please follow the links to larger, high-resolution examples of the photographs:
By sundown in this Western town, you’ve met an artist, likely an environmental artist, a role synonymous these days with a kind of citizen interpreter of landscape. This is a golden age for geography in art, and its artifacts range from embarrassing to inspired. We embroider birds on pillows and use historical maps for découpage; we also write gorgeous poems whose lines re-enact processes of geological transformation, engineer mobile apps that enable hikers to identify the Latin names of plants, and exhibit photographs of altered landscapes that challenge old notions about the dichotomy of built and natural environment. The artist invites the audience to participate in an active reading and interpretation of landscape. We all want to read the world these days, or, more often, have the world read to us.

These exchanges are thrilling, yes, but also dazzling — as in, they can make you go blind. An afternoon hike with a naturalist friend can feel like immersion in a hypertextual, augmented reality, where the names of wildflowers hang, shimmering, in the desert air. It’s exhausting. I have often longed for the mute world I knew as a child: where a rock was a rock and a tree was a tree, and none of it spoke to me, except through direct perception and experience. Nature offers this still, if we are willing to accept it: the blank, unreadable, unbeautiful, apolitical moment. There have been times, when I found myself staring at exposed rock on the side of a hill, that I have known something about its formation; and times when I was accompanied by a scientist or artist who was obliged to translate. But there have been many more unreadable moments, when I could comprehend nothing in that open face of the world but its presence, when I had only the desire to climb the wall or poke at it with a sharp stick.

Wednesday, December 14, 2011

Studio H: Designing & Building Skills For Rural Youth

Studio H students, at the grand opening of the Windsor Farms Market

Today we feature an "In Brief" report on an inspiring project that we will discuss in far greater depth at the start of 2012: Studio H.

When Contributing Editor Rachel Reynolds Luster passed along news of Studio H, she mentioned something to the effect of "this is like The Rural Studio for high school students" - which is a helpful point of comparison for folks familiar with that group's work in Alabama. The spirit of Samuel Mockbee can be found here, as can the unique vision of Studio H's directors: Emily Pilloton and Matthew Miller. Both are extraordinarily accomplished architects, designers, and writers who, through their Project H Design organization, have made a commitment to bring their expertise out of the university grounds and into the lives of teenagers in Bertie County, North Carolina. 

This is such a rich and vibrant project that only a much more in-depth article can do justice to the work of these students and visionaries, but, for now, we encourage folks to visit Studio H, meander through their excellent blog, and learn more about their projects.

In addition to this, we were very excited to learn that a documentary film project is in the works on Studio H, led by the creative team of Christine O'Malley and Patrick Creadon and writer Neal Baer. They are currently seeking funders through Kickstarter to bring the story of Studio H to viewers across the country. Please find their campaign introduction below:


Here is a selection from the Studio H mission statement:
Studio H is a high school design/build curriculum for rural community benefit. The one-year program is offered to Junior-year students of the Bertie County school district in North Carolina, providing college credit, a summer job, and a hands-on opportunity to build real-world projects for the community (in this, our first year, we’ll build chicken coops and a farmer’s market in downtown Windsor!). By learning through a design sensibility and “dirt-under-your-fingernails” construction skills, we’re developing creativity, critical thinking, citizenship, and capital to give students the skills they need to succeed, while building the assets the community needs to survive. Given the opportunity to engage within a public education system, we believe the next generation will be the greatest asset and untapped resource in rural communities’ futures.

Related Articles:
Rural Studio and the 20K House
Striking the Epicenter in Rural America
Filming the Land Arts of the American West
M12: A New Vision for the High Plains
Richard Saxton's Vernacular Landscapes

Tuesday, November 22, 2011

Frybread: In Film, Art, Architecture, And Beyond

Photograph by Visible Narrative, from RPM's Frybread Stand flickr gallery

Revolutions Per Minute: Indigenous Music Culture is a relatively new site that's offering a wealth of news on contemporary music and arts. One of the recurring features on RPM is #frybreadfriday; a multimedia series that explores the centrality of this delicacy across Native American culture. From playwrights to rappers, interpretive dance to comic book art, RPM has opened up a vibrant discussion on this relationship between food culture and the arts. The photograph above is included within RPM's Frybread Stand gallery, a collection that demonstrates how this food is also influencing vernacular art and architecture.

One project that's appeared across a few #frybreadfridays has been Holt Hamilton's More Than Frybread, a hilarious mockumentary currently set to be released in early 2012. Here's an introduction to the film:
The First Annual State of Arizona Frybread Championship, sponsored by the World Wide Frybread Association, will be holding the first ever state frybread competition. All twenty-two federally recognized Arizona tribes will be sending their best frybread maker to represent their nation and to compete for the coveted frybread title. The winner will receive $10,000 cash, the official WWFA frybread trophy and a spot to compete for the National Title, which could possibly then lead to a shot at the World Wide Frybread Championships later in the year.

Five contestants; Buddy Begaye (Navajo), Sharmayne Cruz (Tohono O’odham), Betti Muchvo (Hopi), Sunshine Smith (Yavapai-Apache), and Sammy Powsky (Hualapai) allow a small documentary team to follow them as they travel the frybread road to the state finals. You won’t want to miss this exciting, never before seen, frybread event of the year!


The folks behind this film have made the World Wide Frybread Association a reality -- follow the link for videos, maps and further information.

Again, there's much more to explore on RPM - it has become one of our favorite sites, and we highly recommend a visit. 

Thursday, November 3, 2011

Striking the Epicenter in Rural America

The Epicenter staff at home in Green River, Utah

Every piece of architecture should express some moral. If it has moral merit, it deserves the title of ‘architecture.’ For me, the professional challenge, whether I am an architect in the rural American South or the American West, is how to avoid becoming so stunned by the power of modern technology and economic affluence that I lose focus on the fact that people and place matter… Everyone’s too busy trying to make a living. We have to be more than a house pet to the rich; we need to get out of that role.
      - Samuel Mockbee, quoted on the Epicenter site

Folks, I'm still getting on track from a few days of writing deadlines; today I'd like to share an introduction to a project that should be exciting to a number of our readers: Epicenter.

They are group comprised of members with training across the arts and humanities, and, for the last two years, they have lived in the small town of Green River, Utah, (population 953) located "at the trifecta of the Green River, Interstate 70, and the railroad." Many of the Epicenter staff were influenced by The Rural Studio and the vision of Samuel Mockbee, and their early work in Green River already demonstrates this sensitivity to rural place and local culture Mr. Mockbee found so lacking in the field of architecture.

A visit to their dense and visually-striking site will reveal the extent of their current and future projects. I'd like to offer this brief article as an introduction -- I expect to share the particulars of this work across a series of posts. 

Until then, I'd also recommend giving their own detailed introduction a read - what excites me about the work of Epicenter is how its serious aesthetic focus is integrated within a respect for local place, and also how these folks are considering art and architecture as engines for local economic growth. 

Below is an excerpt from Epicenter's introduction, followed by a few images of their work and their proposed projects:
The Epicenter is a community-based housing and business resource center, instigating economic progress and creating decent shelter in the town of Green River in the desert of southeast Utah. It is a part of a larger umbrella non-profit organization, which serves the town with a myriad of unduplicated social services including affordable rental housing, a Boys & Girls Club, a soup kitchen, and a thrift store. Epicenter is a comprehensive creative studio. We are young, enthusiastic designers.
From the Project Green River festival, 2010
The Epicenter Crew is a studio-of-sorts currently made up of graduates of architecture, graphic design, industrial design, sociology, and theology. Expertise is valued in any allied design field, or in anyone simply willing to sweat and wanting to build something with their hands. In this rural town, the Epicenter has an opportunity to engage, collaborate with, and learn from a community that the profession has chosen not to serve. Current projects include the renovation of a 104-year-old building on Broadway, developing affordable housing through Habitat for Humanity and USDA, Rural Development, holding a music, art, and film festival, acting as a liaison for the design and construction of a new community center (designed by Marlon Blackwell Architects), provoking the idea of a river walk as an aesthetic and functional asset for the town, applying for grants and involving the community in the construction of a skate park, collaborating to build volunteer housing, and partnering with the University of Utah’s College of Architecture + Planning to infuse expertise and student-led enthusiasm to the town.

We see ourselves as part of a change of tone occurring in the design professions, led by students and emerging professionals who want more than what the professions have settled for: working unapologetically for the socio-economic elite. We are crafting an alternative model of practice, one that can accommodate our fervent desire to collaborate, to provided “shelter for the soul,” and to emphasize place and circumstance. Our insistence for these ideals has led us to a radical mission taken on by “citizen architects” (and citizen designers, more broadly). 

Wednesday, September 14, 2011

The 2011 BIG FEED

Photograph from a previous BIG FEED; Richard Saxton

Next month (October 15-16) the M12 art collective will host their annual BIG FEED celebration at the Yuma, Colorado Fairgrounds. Readers of our site may already be familiar with the M12 artists and Richard Saxton's work with his students in Yuma (please see the links below), so we can be certain that this event will be in keeping with the ethos of these artists' work: creative, playful, and forward-thinking.

It's an honor for me to share with everyone that I will be presenting on The Art of the Rural at this year's BIG FEED. I've been asked to offer a kind of "best of" contemporary rural arts and culture, and the invitation will present the opportunity to reflect on what we've covered here on the first two years of the site (two years!). As our coverage of the M12-related work has hopefully demonstrated, I have great respect for these artists and scholars' vision of how aesthetically-adventurous art and architecture can interact in a meaningful and sustainable way with communities. I look forward to sharing more of their artwork, ideas, and connections on this site when I return from Yuma.

I'll include below a list of this year's participants. The full BIG FEED program can be viewed here, and it contains much more information on each artist and presenter. As the schedule demonstrates, there's going to be an extraordinary range of perspectives shared during this two days, so, if folks live in the area, this will be an event not to be missed. That Saturday evening will come to an exciting close with a performance by the legendary alt.country group Blue Mountain.
The BIG FEED: Saturday, Oct. 15-16 at the Yuma County Fairgrounds, Yuma, Colorado.The entry to this event is FREE with a $5 donation and one food item to share!
  The BIG FEED is an annual event and action held by M12. It is a celebration of the regional landscape, experimental art and architecture, food, music, culture and community. It is a forum to connect community members and artists in a casual atmosphere, as well as an opportunity for the larger public to learn more about the groundbreaking work presented by the attending community members, artists, musicians, critics, and curators. Landing somewhere between a family reunion, potluck dinner, symposium, and festival, The BIG FEED is held every second weekend in October. The event is open to the public and free with a $5 donation and one food item to share. For more information on the event and the organization please visit the M12 website.
Saturday, October 15:
2:30PM—DJ Rockcrusher, Maiden Rock, WI (DJ, Country & Western 78’s)
3PM—Vic Anderson, Estes Park, CO (Country & Western, Yodeling musician)
4PM—CU Art Students, Boulder, CO (Visual Art Presentation)
4:30PM—Yuma County Rodeo Queens, Yuma, CO (Presentation)
5PM—Gregory Hill, Joes, CO, native (author of East of Denver)
5:30PM—The Art of the Rural Presentation
6:15—Eric Steen (artist) & Ro Guenzel (Head Brewmaster, Left Hand Brewery)
6:45PM—The BIG FEED (with spit-roasted bison) with music by 4H Royalty
7:30PM—Mimi Ziegler, Los Angeles, CA (editor of loud paper; author of Tiny Houses, New Museums, )
8:15PM—4H Royalty, Denver, CO (full set)  
9:00PM—Blue Mountain, Oxford, MS (full set)
Sunday, October 16:

9:30AM—PANCAKE FEED
10AM—Jami Lunde, Lyons, CO (full set) 
Related Articles:

Wednesday, July 13, 2011

Introducing The Yuma Project

Yuma, Colorado; from the Baseline Group flickr page

Today we're excited to present The Yuma Project, a collaboration between art students at The University of Colorado-Boulder and the community of Yuma, Colorado. This project is led by Richard Saxton, an artist and scholar interested in vernacular, place-based expression. Folks may remember our earlier discussions of his work as well his collaborations with the M12 group and The Rural Studio, where Mr. Saxton was previously an artist-in-residence.

Over the next few weeks we will have the privilege of presenting a number of the art projects Mr. Saxton's students and collaborators created in Yuma. Today I'd like to offer an introduction, beginning with this excerpt from the syllabus itself:
Community and Site-based Art Practice (AKA The Baseline Group, AKA The Yuma Project) is a special topics course that focuses on approaches to community and site-based art practices with a particular interest in the rural landscape and rural communities.  Through a collective class atmosphere, students in this course will discover and discuss approaches to a unique realm of the art-making profession. Focusing on themes that include site, community, and collective practice, students will learn about the history of these art avenues, be introduced to concepts of site proposals, learn about project development, and collaborate on the design and implementation of ambitious community and site-based art projects.

This course will take place primarily off campus and is designed as an experiential course, meaning that students learn through the experience of doing. Students will experience and participate, first hand, on tangible projects in the field.  In this course we will spend a substantial amount of time outside of the traditional studio environment.
In the weeks that follow, Mr. Saxton leads these emerging artists to Yuma for an immersive process of thinking through--as a group--how art-making can address the "aesthetic, social, and historical context" of their sites in Yuma; the answers come through repeated visits to the region and through close contact with the Yuma community. In the end, these travels into the rural places beyond the traditional art-studio world offer an "experimental and interdisciplinary approach to creativity." 

In corresponding with some of the Yuma Project / Baseline Group students, I can attest to the unique kind of work this vision can inspire. Below, I'll offer two teasers of the installations which will follow in The Art of the Rural in the coming weeks. 


Adrianna Santiago, Nourish

I want to incorporate new technologies with old practices, without losing ties between people and the land. During my time in Yuma, I spoke with patrons of the historic grocery store, Shop All, a common place where community members frequent. I asked people to nominate community members who they think may be interested in a work exchange. Lastly, I traded my time for a lesson in a historical Yuma tradition. The documentation of this learning exchange is presented and archived as the Yuma Historical Society Museum.


You Jin Seo, Untitled

As I move to different places, I start collecting objects in order to be aware of the different cultures and to get used to the new environments. I installed the shiny and beautiful objects that I have collected in Yuma so that people walking on the street can see the artwork in their daily life. I long to bring the beautiful moment when I observe the softly glittering lights into the vast and barren landscape near Yuma.

Thursday, July 7, 2011

In Brief: Prairie Churches and Sunken Steamboats

Hope Church, Grant County, North Dakota; Preservation North Dakota

Today we debut In Brief, a series offering a selection of links and videos for folks to explore. While in the early months of The Art of the Rural I faced challenges locating material, thanks to our readers and the wonders of the internet (including the increasing rural presence on Facebook, Vimeo and YouTube) there's now more great stories to share than I have time to responsibly cover in a given week. I feel it is important to get the word out about these pieces, and I hope that In Brief will help keep the conversation going. 

Prairie Churches: "All these steeples, the vertical spikes in our prairie horizons, they look like exclamation points, but I think they may be question marks. Where did all of these churches come from? Who built them, and where did those people go to? What does it mean when every other material expression of who those people were is gone?"

Courtesy of Prairie Public Broadcasting, Prairie Churches is an hour-long documentary that considers those questions of migration, preservation, and community:
Prairie Churches showcases the diverse history and architectural traditions represented by 117 churches throughout Manitoba, Saskatchewan, North Dakota and Minnesota. Prairie Public's video crew filmed prairie spires, onion domes, and steeples through four seasons. "Prairie Churches" explores the role churches have in sustaining the history and culture of the vanishing rural landscape of the prairie. Often the first community structure to be built and the last to close its doors, these landmarks represent the hopes and dreams of early settlers and the congregations that currently occupy them.


Please also visit the gorgeous Preservation North Dakota, "a statewide, grassroots, nonprofit organization that provides resources for local preservationists." Their Prairie Places exhibit is a phenomenal resource. Folks can follow here on Facebook.

Sunken Steamboats: Rural Missouri Magazine edits an excellent Facebook page that I would recommend to folks who use that internet service. In particular, RM posts additional material to complement their print stories, and this often takes the form of high-quality short documentaries. This piece caught our attention: it's a work of archeological rural art. 
On August 30, 1856 the steamboat Arabia set out from St. Louis on the mighty Missouri River with 130 passengers and more than 200 tons of new cargo. On September 5, less than a week later, she arrived in Kansas City. And before the sun set, the steamboat and her cargo would sink from sight. 
This short documentary tells the story of the excavation of the Arabia from a Kansas cornfield. Effects from the ship are now housed at the Steamboat Arabia Museum.

Thursday, May 19, 2011

Contexts: Flooding, Farms and Modern Art

Sketch by Christo; New York Times

These three articles may be useful to consider together. Nature and agriculture, rural place and man-made artifice comingle here; combined, there's an ambiguous narrative at work, sketching a series of scenes from the ongoing discussion over how we figure the urban-rural interchange and what assets contemporary culture locates within rural place.

1. Christo's Colorado Project May Hinge on Sheep, by John Collins Rudolf, New York Times:
Nearly 20 years after the artist Christo and his wife, Jeanne-Claude, proposed draping a river canyon in southern Colorado in miles of translucent fabric, a federal thumbs up or down on the project may hinge on one factor above all others: the happiness of several hundred bighorn sheep. 

Crucial to the federal government’s decision, expected in August or September, will be a final environmental impact statement on the $50 million installation, known as “Over the River,” that federal land managers plan to unveil in coming weeks. 

Some wildlife experts worry that sheep could be displaced or even harmed if the fabric is unfurled over 5.9 miles of the Arkansas River between Salida and Cañon City. Last week the Colorado Wildlife Commission voted unanimously to urge federal officials to reject the proposal, citing in part its concerns about the bighorn, Colorado’s state animal. Continue reading here:

 Army Corps of Engineers exploding the Birds Point-New Madrid Levee; CNN

 2. Speak Your Piece: Breaching The Levee, by Timothy Collins, The Daily Yonder:
Breaching the levee on the Missouri side of the Mississippi River to lessen the impacts of the 2011 flood is more than a rural-urban conflict. 

Flooding thousands of acres of farmland to lessen the pressures of raging Ohio River waters on cities such as Cairo, Illinois, and Paducah, Kentucky, was, at the moment, clearly about saving developed urban property at the expense of less developed and less populated rural areas.

But there’s a long history here, one that reveals big mistakes by leaders of the Conservation Movement during the twentieth century. They believed that wise use entailed controlling the nation’s rivers by building levies and draining wetlands to create farmland and promote other development. 
The same principle applies to the massive irrigation projects that spurred farming and urban development in the western United States.

Sadly, in retrospect, these projects were called reclamation. People who claimed to want to preserve nature really sought to put our species above nature. They acted on misguided hubris that all of the gifts of the Earth were there for our use. Meanwhile, we made minor accommodations for plants and animals in the name of conservation. Continue reading here:

 A flooded wheat field near Vicksburg, Mississippi; Scott Olson, Getty Images

3. Flooding Takes Economic Toll, And It's Hardly Done, by Christine Hauser, New York Times:
Like the very nature of water, the trickle-down effects of the historic flooding are leaving no corner untouched. Retail gasoline prices, already at two-year highs, and food prices could rise in the region because of supply disruptions. Tens of thousands of people are unemployed, shut out of jobs at establishments that are literally under water. State and local government coffers, strained because of the economic downturn, may lose many millions of dollars in revenue from tourism and taxes. 

In about a dozen interviews, economists, farmers and industry officials said they expected hundreds of millions of dollars in damages including crop and infrastructure destruction in communities along the 740 miles of river that meanders from Memphis to New Orleans. But while the final bill has yet to be determined, the costs are already being felt. 

In Yazoo County, Miss., John Phillips, a 61-year-old farmer, said thousands of acres of his cotton and corn crops had been destroyed. “In our area in the south delta, it is a widespread and very economically devastating disaster,” he said in a telephone interview, as he tried to run a pump. He said his annual revenue would be reduced by 40 percent because it was too late to replant. Continue reading here:

Tuesday, February 15, 2011

The M12: A New Vision For The High Plains

The Black Hornet racecar at the I-76 Speedway; designed by the M12

Last week we discussed Richard Saxton, a Colorado-based artist whose work considers the intersections of artistic and community practice across a number of mediums: design, architecture, photography and sculpture. Today we'd like to continue to investigate the idea of "the vernacular" in  modern art by focusing on the M12, a collective of artists who emerged from The Municipal Workshop group Mr. Saxton helped to organize. 

Here's how this "community resource for evolutionary thinking" describes its place within rural America and contemporary art:
The mission of M12 is to plan and execute new projects in the realm of contemporary public art, to facilitate creative research regarding public art making, and to promote and facilitate public art as a vehicle for exploring community identity, contemporary issues, and the creative process. We seek to engage communities and individuals in the exploration of art through exhibitions, residency programs, educational programming, and collaborative visual arts projects. M12 has a particular interest in the rural landscape and the agrarian tradition, and often develops projects that engage, celebrate, and explore the value of these often under-represented communities.
What's profoundly inspiring about the work of the M12 is the way in which these artists are able to merge both a responsibility to local communities and a responsibility to their medium While locating much of their work in areas outside of urban attention, these artists are still pushing at the conventional assumptions of what public art can articulate and achieve.

The collective's site contains many examples of this kind of innovative thinking, as seen above in the Black Hornet project, a racecar the M12 developed to "engage the regional landscape and community of the Eastern Colorado High Plains;" the car raced every Saturday of the season at the I-76 Speedway in Fort Morgan, Colorado. While many visual artists can depict NASCAR and American motor sports from a critical (and often ironic) distance, the M12 has actually engaged with this community.


The Campito is another exciting project that goes onto a terrain that many contemporary artists only consider from a distance. Here, the group has redesigned the traditional sheep wagon of the West, and--still within an condensed space--offered a portable living quarters that contains solar panels, a composting toilet and a portable garden (among many other features). The M12 sees in this commonplace structure an opportunity to assess a region's connections both to their place and their history:
The project as a whole looks to stimulate community dialogue about the campito and larger subjects inherently tied to its present day reality; heritage of the American West, contemporary agriculture and food production, globalization, immigration, workers rights, and federal policies and practices. The project fuses contemporary, historical and geographical knowledge with the intention of putting it to use on the future Western American landscape.
This fusion of "contemporary, historical and geographical knowledge" can be viewed in much greater detail on the M12's website, which is also featuring their Prairie Module--a gorgeous geometric public art structure that is powered by solar panels. Currently installed in Indianapolis, the M12 tells us these Module is "the first public art installation to return solar power to the electrical grid."