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News from Planet Art

Commentaries on Biocenology

Northwest to Gwangju
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odaraia
Here are the works I brought to Gwangju, Korea for the 2012 International Women Artists' Exhibition, September 7 through 26, 2012 at Geumnamro Annex of the Gwangju Art Museum and the Geumnamro Metro Gallery, which is actually an exhibition space in the Gwangju metro underground transit. Gallery office address: B2,21-8, Geumnamro 4-go, Dong-gu, Gwangju, South Korea. Thanks to Noh Jung-Suk, General Exhibition Director, Jeong Soon-Yi, Chair of the Exhibition Committee, and Kang Un-Tae, Mayor of Gwangju city; all envisioned and made this exhibition possible. Special thanks to staff including Lee Ga-Yeon, Programmer, An Kyeong-Mi, Coordinator, and Lim Li-Won, Coordinator; all provided for the comfort and opportunities to experience Gwangju for over 42 artist visitors. An exhibition catalog is available.

I am including artists' works, statements and links to the websites of each. At the very end is the image of my new stencil edition; I brought a few of these as gifts for my hosts, along with some samples, and gave the gallery a can of (art) spray paint as well.

Barbara Bruch, Seattle, WA, USA
http://tarotofcosmicconsciousness.blogspot.com/


Galaxial SpinnersArt is a bridge for me between my inner spiritual life and everyday existence. This work represents the result of the search for an inner spiritual realm that is luminous in structures of light and color revealing the secrets of the universe. The integral forms in this painting represents an attempt to capture the essence of the hidden organizing processes of formation—from the tiniest cellular microbe to the vast universe of galaxies. Much of my artwork is based on an interest in metaphysics, archaeology, and the physical sciences, exploring spatial concepts, underlying structures, healing, transformation, and cycles of existence.

Galaxial Spinners, 2012
acrylic, colored pencil, watercolor on Rives BFK paper
9.5 x 15 inches





Alice Dubiel, Seattle, WA, USA
http://www.planetart.us/
Military Archaeology 2
Topographic maps appeal to me because they are created by physically active scientists and engineers who document the terrain directly by walking on it. Intimacy with a place affects our relationship to it. I try to see as much as I can most of the places I depict.

Here I work with an older map of Ft. Lewis and McChord Air Force Base, now Joint Base Lewis McChord, showing some landmarks which no longer exist. I was struck by the temporal nature of this document and the evasiveness of the geography to reinforce a static view. Visiting the Korean South Sea area in June 2011, I witnessed the dramatic impact of Typhoon Maeri with massive flooding and loss of life and livelihood. JBLM dominates the landscape in Western Washington state: there are always traffic jams on Interstate 5 and the social costs of war are constantly present.

I would like to create a different visual language referring to many traditions including maps, classical and middle eastern mosaics, decorative art, textile design, indigenous paintings and shrine technologies of many cultures. The term biocenology characterizes this interface of cultural and natural systems because it is the study of communities and member interactions in nature; it is an exploration of systems, part of the science of ecology. Currently I work with acrylic, encaustic, mixed media and printmaking approaches. I am trying to express the complexity of overlapping multiplicity and the tendency of natural processes to pursue cycles of life.

08.2012

See notes on the text of this work
Notes on Military Archaeology 2

Domestic Violence/The War on Terror: Military Archaeology 2 (JBLM), 2012
acrylic, digital media, watercolor pencil, ink on paper
52 x 183 cm



Kathryn Glowen, Arlington, WA, USA
http://www.sedersgallery.com/Artists/086/GlowenREsf.html
https://artistsregister.com/artist_info.phtml?memberId=6492&number=WA880

Glowen_moisture

About a Snowman
A snowman is a benign character, and product of the natural world and childlike imagination. I think of them today as an endangered species, a bellwether of climatic change and global warming. A snowman is also an alter ego, a temporary sculpture subject to the whim of both cold and warm. The work is a continuation of my use of dictionary fragments and images to represent ideas as well as shapes.

mr. moisture and snow, sleet with fog, 2012
monotype, digital mixed media collage
10 x 15 inches












Joan Stuart Ross, Seattle and Nahcotta, WA, USA

http://www.joanstuartross.com/


Ross_Reveal_10x6.5_ss


Your new work strikes me as a reflection of what is going on in our world today. Layers and grids of information have become the norm and we all have to navigate through them--this is in this work. It is fascinating and repelling at the same time. I am curious as to what is underneath each layer and concurrently I start to feel overwhelmed by all the grids and layers...it’s similar to how I feel about navigating technology. It is powerful and haunting work.” Angie Dixon, Artist
My encaustic and oil paintings have developed from juxtaposed jabs of color and line that create deep space and lead the eye into submerged light. Grids’ webs connect points, create dimension, and travel in time. The imposition of the grid melds layers and intersections; color fields transverse the paintings, around surfaces and perimeters.
Layers of grids, color and translucence, like layers of information, are all different, directional, yet connected, to take on a seamless quality. Variant luminosities cross one another, yet convene. Grids, dots and their trajectories open to show us what is happening beneath the surface.

Reveal, 2012
encaustic on handmade paper
9 x 5 3/4 inches


Ann Leda Shapiro, Vashon Island, WA, USA


http://www.annledashapiro.com/

samia


The body as landscape, energy and the interconnectedness of all are ongoing themes.

I have been creating paintings about the body based on clinical observations in my acupuncture practice. They are a compilation of human anatomy, landscape imagery, written words, medical notations and symbols.


Samia, 2012
watercolor and mixed media on paper
15 x 44 inches











Ruth Scheuing, Vancouver, BC, Canada

http://www.ruthscheuing.com
Scheuing Ariadne
Ariadne Showing the Way
"Ariadne showing the way" eveolved from an earlier "to walk the line," which is part of Digital threads <digital threads.com>. It combines my interest in mythology inspired by weaving and GPS technology. The GPS tracks are grounded in everyday life, routine trips to and from work, shopping etc. here joined with a grander leap into history and foreign places via Internet connections.
The GPS tracking of all my daily activities are part of my interest in working with patterning and new technology. Jacquard weaving, similarly explored uses of hand and machine technology. Weaving technology played an important role in the industrial revolution and in Babbage's early computer, as Ada Lovelace's reference "the analytical engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves," indicates from 1843.
"Ariadne showing the way" explores floral patterns. In this case dandelions form my backyard replace traditional ornate floral constructs. The sky is made from a traditional mid 19th cent. New Brunswick, Canadian coverlet now in the Textile Museum of Canada collection. The overshot pattern is rendered here in a fake pixelation  process.
Ariadne, initially saved Theseus from the Minotaur with this simple 'ball of thread technology' that works so similarly to today's GPS. Here she stands over my house and directs me/the viewer into the opposite direction fo the blue GPS track, which goes to my workplace. Elevation data from the trip creates a dividing line between flowers and patterns, inside/outside, nature/culture, order/chaos, keeping them in a balance.
The weaving was done from my design on an industrial Jacquard loom with a multi colored warp.

Ariadne Showing the Way, 2011
Jaquard weaving, cotton
53 x 60 cm

Jessica Spring, Tacoma, WA, USA


http://www.springtidepress.com/
girl_moon_3754


The Girl in the Moon
A collaboration with illustrator Susan Estelle Kwas, The Girl in the Moon cycles the reader through one full moon night to view all manner of mischief. Using an innovative structure designed by Hedi Kyle, the three-color illustrations float off the page and the book can be displayed as an accordion or in a star shape.

Illustrations were printed with photopolymer plates and handset Artcraft was letterpress printed on duplexed Hahnemühle Ingres. Through the use of metallic and glow-in-the-dark inks, the book delights in both sun and moonlight. Boards are covered with indigo momigami and the book is packaged in a silver bubble-wrapped spacesuit.

Edition of 72.

The Girl in the Moon, 2011
Letterpress, polymer lithography, mixed media
5.25 x 8.25 x .75 inches
edition of 72


A gift for my hosts
Alice Dubiel, Homage to George Tiller, MD (1941-2009)
from the series, Stencils for Street and Home

28 x 20 cm
10 ml polyester stencil

 Stencil study

“Trust Women” was a motto of George Tiller, MD. Dr. Tiller was the medical director of Women’s Health Care Services in Wichita, Kansas, US, a clinic which provided services, including abortion, to women who were over 21 weeks pregnant. In 2009, an activist opposed to women’s reproductive freedom murdered Dr. Tiller while he attended church. Dr. Tiller had assumed his father’s family practice which included abortion after the elder Dr. Tiller’s death in 1970. Ths stencil is produced in an edition of 100 using the font, Ciseaux in 10 ml polyester. Please use the stencil freely. There is no copyright, although the work is created by Alice Dubiel in 2009, the stencils in 2012.


link to Dr. George Tiller in Wikipedia:
http://en.wikipedia.org/wiki/Dr_tiller
font info: Ciseaux
Ciseaux was inspired and is dedicated to the art of paper cutting.


Feeding Trees: making art and rethinking how we live in the world
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odaraia
to view posts on my visit to Korea, see Wiwaxia Travels
© 2011 Alice Dubiel alicedubiel@planetart.us 206.782.7455 USA

Feeding Trees: making art and rethinking how we live in the world
식목(植木) : 예술제작과 세상을 사는 방식의 재고(rethinking)

I would like to thank Una Kim, Park Yeonsook, Ryu Seesook, Park Nam Hee, Harriet Levi, Karen Swallow, Jeonsoo Shin, Choi Seungyoun, and our dear, late sister, Madeline Janovec who made it possible to appear before you today.

[I included the post Part One: Musings on Feminism first.]

Feeding Trees
My opening images are snapshots I took during a residency at North Cascades National Park in Washington State in 2006. While there I received a topographic map drawn by park staff in 1976. This map shows landmarks which no longer exist due to erosion and other natural effects. I have used it in the works which I have brought on this visit and will show others at the end of this talk.

This work by Thomas Moran, Cliffs of the Upper Colorado River, Wyoming Territory, 1882, (와이오밍영역의 콜로라도 강 상류의 절벽, 1882, 캔버스에 유채.) represents a traditional approach most viewers in the US expect to see as a “landscape painting.” Moran made many works like this to impress the US Congress to fund a national parks system. By creating a dramatic, picturesque and pristine landscape, he perpetuated the myth that the western US was unclaimed, open space. At the same time, he showed that the beauty of this land needed “protection” through the park system. Among the problems with this myth is the erasure of the native peoples from the land. Moreover, since most people would never visit it, any subsidized activities, such as mining, oil exploration or livestock production, could continue without scrutiny. This kind of artwork is the tradition within which I work, but which I seek to critique. I wanted to find a different language for expressing our relationship to the land.

As an artist and culture worker, I am less interested in recreating the compelling and controlling power of illusion and representation than in exploring visual conceptions and ideas. I grew up and studied in California during times of social activism and the interest of artists in creating socially responsible work.

I drew inspiration from conceptual artists who worked in political contexts. This is Rheinwasseraufbereitungsanlage (Rhine-Water Purification Plant), (라인강 수질정화 발전소, 유리와 아크릴 플라스틱 용 기, 펌프, 오염된 라인 강물, 튜브형 필터, 화학물질과 금붕어) 1972 by Hans Haake. An installation work made of glass and acrylic plastic containers, a pump, polluted Rhine water, tubing filters, chemicals and goldfish, the artist asserts an attempt to clean as an aesthetic act.
Manhattan Real Estate Holdings, a Real Time Social System, as of May 1, 1971, (맨하탄 부동산 점유, 1971년 5월 1일의 실시간 사회시스템) shows the buildings, mostly tenement slums, owned by members of the board of trustees of the Museum of Modern Art where this work was exhibited and censored. The artist demonstrated the connection between control of land and the nature of these power relations to the art world.

In San Francisco, Bonnie Sherk created the Crossroads Community/The Farm (공동체 교차로/ 농장) from 1974-1980, a working farm below the overpasses of freeways. The striking contrast of an idealized, organic farm with urban transportation such as these freeway overpasses seriously challenged the image of the pristine landscape. At the same time, Sherk offered a utopian vision to solving the problems of industrialization.

Also in San Francisco, sculptor Jo Hanson recycled discarded materials in her work, and she created performances about street aesthetics. Here is an image of the 1980 performance, Public Disclosure, Secrets from the street (대중노출, 거리의 비밀). Her repeated personal acts “of sweeping one sidewalk grew into a celebrated public art practice and citywide anti-litter campaign.... [She] compiled volumes of urban detritus ...[to raise] community awareness as it chronicled rapidly changing demographics. Hanson organized city-wide street sweepings, children’s anti-litter art campaigns for City Hall, and led a famous bus tour of San Francisco street dumping sites—all extensions of her conceptual real-life artworks. Hanson’s community-inclusive strategies set precedents in public ecoart, created models for younger artists, and gave poor neighborhoods visual access to City Hall.”

Mierle Laderman Ukeles for several years was resident artist in the New York city Department of Sanitation. One of her works, Touch Sanitation, (접촉 위생) 1978-79 documented her shaking the hands of every worker in the department which manages trash collection and disposal, including recycling, incineration, and for a while, notoriously exported trash to other states and countries. She has referred to her work as Maintenance Art, emphasizing the necessity of maintenance in the aesthetics of everyday life.

In Los Angeles, artists Suzanne Lacy and Leslie Labowitz coordinated installations and performances to create public discussion of rape. Here Lacy uses a rubber stamp to mark incidents within the time frame (and title of the piece) Three Weeks in May (5월의 삼주), 1977 which expressed the relationship of social action to actual sites throughout the city. All these works developed visual strategies to address social and environmental concerns in real time with viewer participation.

During the 1970’s several artists employed pattern and decoration as a strategy at once to take the “discards” Kiki Smith referred to, and expand the “fine art” definition by including textile arts, traditional arts such as ceramic tile and wall decoration. In the 19th century English artist William Morris created decorative works such as wall paper, fabrics and limited edition books in response to what he saw as the aesthetic impoverishment of industrialism. Here is a wallpaper design, Acanthus, (아칸서스 식물 모양의 벽지 디자인) 1875. Morris’s critique led to activism as a socialist: here is his woodcut design for the membership card of the Democratic Federation (민주연합 멤버쉽 카드). During the 1970’s artists explored multiple visual languages including Kim MacConnel’s Turkish Delight (터키의 환희), 1973, acrylic on found fabric, 51” x 72” which refers to a traditional candy, and the “sweetness” of the imagery; Miriam Schapiro’s “femmages,” feminist collages which incorporate cloth, mementos and formal elements such as the fan traditionally associated with women (부채들, 설치). Here is “Gates of Paradise,” (천국의 문, 북 다코타주), 1980, acrylic, digital images and mixed media on canvas, 50” x 60” . Joyce Kozloff has created public ceramic tile work based on worldwide ceramic ideas, here in Pasadena California (의 분수조각과 타일을 붙인 벽이 있는 켈리포니아 주 파사 디나(Pasadena)의 시청) and among her map work, Mekong and Memory (메콩강과 기억, 도자 타일로 테두리가 된 종이에 혼합재료), mixed media and paper (ceramic tiles along the sides) 1996.

In the Americas, Mexican artists’ murals expressed socialist ideals and critiques. These works created a visual language for narrative and history using cinematic devices such as montage and the notion of architectonic space. In San Francisco during the 1970’s, mujeres muralistas in this tradition expressed local women’s history (미션 (Misstion)가의 여성의 거리, 1970년대.(현재 파괴됨)), and Judy Baca in the Great Wall of Los Angeles showed Latinos’ historic struggle in southern California. These women expanded the notions of public art and the history painting to include marginalized people. Another strain developed by feminists using traditional formats is the altar. Here, Amalia Mesa-Bains’ Altar for Dolores del Rio, (돌로레스 델 리오(Dolores del Rio)를 위한 제단) 1988, mixed media, 8’ high, reclaims the actress’s work and heritage when the dominant culture defined her as exotic and limited her film roles.

During this time, the concept of audience or viewers also developed through critical analysis, frequently from the literary world. Artists who invited viewer participation include Yoko Ono, whose “Painting in Three Stanzas,” (3연(聯)으로 된 그림)1962, from Grapefruit (1964) suggests poetic form for the collaborative act of imagination between artist and viewer. Mary Beth Edelson’s “Story Gathering Boxes,” (이야기 를 모으는 상자)1978 installation at Franklin Furnace invited viewers to tell their own personal experiences, some of which included domestic violence, and place them in the boxes to become part of the installation.

During 1980-81 I created an installation,”A Journey Within,” reflecting personal, environmental and celestial images to depict one year. Using watercolor illustration techniques, I wanted to attract the viewer’s eye, luring them to view the narrative of the interactions of the inside and outside, personal and the natural world. I included a small altar with elements depicted in the painting, rocks, plants, bird feathers, and references in book form because I like to leave “clues,” from my training as an academic in literature studies.

In “Apocalyptic Visions,” 1983-4, I again used watercolor illustration and painting techniques to juxtapose fears, whether fantastical or realistic, about the end of the world through earthquake, pollution, nuclear annihilation. The form consisted of three continuous scrolls, with three or four panels. The panel formats and the content were inspired by Spanish manuscripts of the 10th century about the end of the world. (“우리는 지구의 오염으로 해양생태계와 어류의 죽음을 두려워한다.” “우리는 사랑스러운 모든 것을 잃어버리는 것이 두려웠다.” “우리는 이 대륙 이 바다 아래로 침몰하고 우리의 집이 파도에 뒤덮일까봐 두려웠다.”)

In 1990, I created “Watershrine,” (물의 사원) another altar dedicated to the element in Puget Sound, the body of water which surrounds Seattle. I collected water from different creeks to place in little jars lit from below to resemble candles. The scrolls depict wildlife characteristic of the region and some of the environmental challenges the animals face. This shrine was part of a collaborative installation, Dreaming the Earth Whole,” with other artists on the four elements. There were many opportunities for viewers to respond by adding to a community created shrine. Over 26,000 people visited this work during the Seattle Arts Festival, Bumbershoot, that year.

After the birth of my son, I stopped using watercolor so much because I often had to drop my work at a moment’s notice. I started employing relief print shapes and acrylic media to create brilliant cloth or wallpaper-like works, at first about ecosystems, then about seeds and reproductive issues for women. I use brilliantly colored and iridescent pigments derived from mica. With these techniques, I am trying to express the complexity of overlapping multiplicity and the tendency of natural processes to pursue cycles of life. Here are some images from the series, Re: Seeding Gaia. (응답 :가이야(Gaia) 씨뿌리기) The title of the series is a pun, regarding the seeding or increasing the fertility of Gaia (another name from Greek mythology for the Earth) or suggesting that the Earth is receding, drawing back, paved over as we create an artificial landscape. Here is Flow, (유동”) 1996, which appeared last year in the INWAC exhibition in Portland, and Co-evolution, (“상호 진 화”) 1998

In 1993, I created the installation, The Landscape Tale, (풍경 이야기, 농업으로부터 : 연금술 논문) which didn’t include any painting at all. This is the announcement for the event, made of an art postcard superimposed with a letterpress print of a map of 18th C Paris, edition of 250. I framed reproductions of classic European landscape paintings and hung transparent scans of historic maps in front of the prints. I took quotations from literary and art history sources to create a quotation essay. I included Edward Said, Vincent Scully, Jane Austen, Gary Snyder, William Shakespeare, Raymond Williams. This is the theme: in its relentless desire for control, the Western landscape tradition, represented by Moran’s work, distances the viewer from the outdoors and people. This neighborhood was at the time comprised of light industrial manufacturers, commercial photography and artists’ studios. Now, through urban renewal facilitated by Microsoft co-founder Paul Allen, the area is home of Amazon.com, Seattle’s biotech industry and many new luxury condominium buildings, privatizing much of the space.

The series, Penelope’s Web, is about power: the power of personal integrity amid the complexity of domesticity. The web is a symbol of protection. These works are paintings of acrylic and mixed media on paper. Some of the water imagery is derived from recent ocean science research in thermal vents, much by University of Washington biologists.
Penelope was the wife of the ancient Greek warrior, Odysseus, who fought ten years in the Trojan War and journeyed for ten more years before returning home. Penelope waited for Odysseus’s return. As was the custom, the suitors came to her home, exploiting her hospitality, screwing her servants, insulting her son, insisting Odysseus was dead and would never return. She developed a stratagem to delay them: every day she wove the shroud for her father-in-law’s eventual burial, and each night she unraveled nearly all the day’s work.
Penelope’s web of protection can be a metaphor to explore our stewardship of the planet. We can use our creative skills to devise new strategies to protect our earth household, neither to exploit nor abandon it.
The Light Bursts Forth, 1999, 22x30” Naiads Assist, 1999, 38 x 56 cm, The Veil of Ino, Kadmus’s Daughter, now Leucothea, 2000, 60 x 85 cm, refer to the help ocean goddesses gave to Odysseus. Carnage Suited Me, 2001, 38 x 53.5 cm, recounts a story Odysseus, in disguise, tells about his preferences for war adventures over home life, even as in actuality, he is seeking to return.

The series, Resistance/Resilience and Strategic Clearing integrate topographic maps of the North Cascades, Mt. Rainier and Mt. St. Helens with the acrylic painting approaches of earlier work. I’ve incorporated texts I have written, some poetic.
Children of the Rivers, White Pass and Bumping Lake(exhibited in Daegu in 2006), The Marine Origin of Minerals, Mt. Rainier
Collagraph prints: Ape Cave, Worm Flows

In recent years, I have been thinking about the legacy of slavery in the US and its continuing influence in social justice. The work, “1492,” oil on canvas 125x125 cm, 1992 by Mexican artist Sylvia Ordonez refers to the year when European powers began to colonize the Americas. She depicts foods, now part of our world heritage, which came from this trade, superimposed on a map of the area. Artist Marita Dingus (one of the artists which whom I collaborated on Dreaming the Earth Whole) has created an imaginative body of work about slavery using recycled and cast off materials. Here is “Fence with Skeleton Hand,” 2000, 27x14x1” I incorporated the words of the great 19th C African American orator and essayist, Frederick Douglass, on maps showing areas of slave rebellion, including Haiti which continues to struggle for social justice today. I used nets, textural relief and stamped images of skulls and coffee beans to represent the extremely oppressive and restrained work conditions in the sugar plantations. The map work combined formal ideas of The Landscape Tale with the decorative approaches of my recent painting.

Finally, I’ve been working on a retelling of the tale of Cinderella. Based on variants such as Grimm’s fairy tales and the ballet by Sergei Prokofiev, The Hazel Tree Mother retells the story with the heroine as a botanist specializing in trees. The prince is an arborist. There are political intrigues involving the environment in his court. This series offers cultural and environmental contexts to explore symbiosis, especially in the care of offspring and loved ones during fearful times. Cinderella’s loss of her mother and her subsequent adventures require her resourcefulness, imagination, devotion and persistence. I wanted to expand the notion of syndicalism developed by the labor movement to include the planet’s environmental systems. I have used handmade papers, watercolor and collage techniques and digitally manipulated images of my own photographs and cultural artifacts. The work appears here with the support of 4Culture, King County’s arts ministry and is dedicated to the memory of my parents.
The Tree In Winter, acrylic, digital imaging, ink, paper, 2007, 78x60cm refers to the tree Cinderella planted on her mother’s grave and where little birds brought her the dress for the ball. (Cinderella’s mother leaves a dress in the tree, 2005, diptych, 24x19cm each). The Summer Fairy, digital image chine colle, collagraph, and mixed media on paper, 2010 50x21 cm

In response to my residency at North Cascades National Park, I have made new works to reflect the landscape’s change over time. Here is Lake Ross from late fall 2006. Here is a picture of me in front of “Liberty Bell,” a peak in the North Cascades, from late fall 2006. Using maps of the areas given to me by park staff, here is a piece for the park’s collection, The effect of snowmelt on past cultural landscapes: Beaver Creek 1976, acrylic mixed media and digital media on handmade paper, wood, 152 x 91 cm
The print edition I have brought to Korea is part of the same map series, using collagraph, acrylic paint and lithography. I have incorporated texts concerning the effect of climate change on the glaciers in the park: every glacier has shrunk, although not at the same rate.

Visual traditions and themes create a kind of language that exerts a powerful effect on social consciousness. Artists choose particular traditions and themes to explore and alter these ranges of expression.

Feeding Trees refers to the journey of salmon, the totem animal of the Pacific northwest of North America, whose anadroumous life brings minerals from the ocean to the great temperate rainforests. This is Reunion by British Columbia artist Andy Everson of Comox and Kwakwaka’wakw ancestry. Salmon spawn in freshwater creeks, journey to the ocean where they feed and grow, and return to spawn and die. The sea minerals from their bodies are found in the trees and the soils of the forest, and this cycle reflects the integrity of the ecosystem. Forests have been described as the lungs of the planet. With human caused imbalances in this system, I believe our ethical choices require action to feed trees.

식목(植木) : 예술제작과 세상을 사는 방식의 재고(rethinking)
planet stamp
odaraia
식목(植木) : 예술제작과 세상을 사는 방식의 재고(rethinking)

Feeding Trees

My opening images are snapshots I took during a residency at North
 Cascades National Park in Washington State in 2006. While there I 
received a topographic map drawn by park staff in 1976. This map shows landmarks which no longer exist due to erosion and other natural effects. I have used it in the works which I have brought on this visit and will show others at the end of this talk.



III. 식목 : 나무 키우기
1. 작품분석
첫 번째 작품은 2006년 워싱턴 주 노스 캐스케이드 국립공원에 상주할 때 찍은 스냅 사진으로, 연구자가 체류하는 동안 1976년 공원 관리인이 그린 지형도를 얻었다. 이 지도는 침식 및 다른 자연적인 영향으로 더 이상 존재하지 않는 이정표들을 보여준다. 이번 한국 방문을 위해 가지고 온 작품에 이 지형도를 사용했다. 이 강연의 마지막에 다른 예들을 더 보이고자 한다.

This work by Thomas Moran, Cliffs of the Upper Colorado River, Wyoming
Territory, 1882, represents a traditional approach most viewers in the US
expect to see as a “landscape painting.” Moran made many works like
this to impress the US Congress to fund a national parks system. By
creating a dramatic, picturesque and pristine landscape, he perpetuated
the myth that the western US was unclaimed, open space. At the same
time, he showed that the beauty of this land needed “protection” through
the park system. Among the problems with this myth is the erasure of the
native peoples from the land.

1882년 토마스 모란의 작품, <와이오밍 지역, 콜로라도 상류의 절벽>은 미국의 대부분의 감상자들이 ‘풍경화’를 보는 전통적인 접근을 재현한다. 모란은 이러한 작품들을 많이 그려서 미국 국회가 국립공원 시스템을 위한 기금 조성을 하도록 영향을 주었다. 역동적이며 한 폭의 그림 같이 순수한 풍경을 창조해서 미국의 서부는 아직 개발되지 않은 열린 공간이라는 신화를 심어주었다. 동시에 이러한 자연의 아름다움은 국립공원 시스템이라는 ‘보호’가 필요하다는 것을 보여주었다.



Feeding Trees: Slide and reference list
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Feeding Trees: making art and rethinking how we live in the world

references

list of works

Thomas Moran, Cliffs of the Upper Colorado River, Wyoming Territory, 1882, oil on canvas
Hans Haake, Rheinwasseraufbereitungsanlage (Rhine-Water Purification Plant), 1972, glass and acrylic plastic containers, a pump, polluted Rhine water, tubing filters, chemicals and goldfish
____________, Manhattan Real Estate Holdings, a Real Time Social System, as of May 1, 1971
Bonnie Sherk, Crossroads Community/The Farm, 1974-1980
Jo Hanson, Public Disclosure, Secrets from the street, 1980
Mierle Laderman Ukeles, Touch Sanitation, 1978-79
Suzanne Lacy and Leslie Labowitz, Three Weeks in May, 1977
William Morris, wallpaper design, Acanthus, 1875
___________, membership card of the Democratic Federation
Kim MacConnel, Turkish Delight, 1973, acrylic on found fabric, 51” x 72”
Miriam Schapiro, Fans, installation, mid 1970’s
___________, Gates of paradise, nd.
Joyce Kozloff, City Hall of Pasadena, California, tiled wall with Michael Lucero fountain sculpture, 1990
___________, Mekong and Memory, mixed media and paper (ceramic tiles along the sides) 1996
mujeres muralistas, women’s wall in the Mission district, 1970’s (destroyed)
Judith Baca, The Great Wall of LA, 1976-2005
Amalia Mesa-Bains, Altar for Dolores del Rio, 1988, mixed media, 8’ high
Yoko Ono, “Painting in Three Stanzas,” 1962, from Grapefruit (1964)
Mary Beth Edelson, “Story Gathering Boxes,” 1978 installation at Franklin Furnace
Alice Dubiel, A Journey Within: an environmental codex, 1980-81, 52” (h) x 52’(l), installation view, great blue heron, garnet, altar
___________, “Apocalyptic Visions,” 1983-44 “We feared the slow death of fish and marine life from the poisoning of the planet.” “We were afraid of losing everything dear to us.” “We feared that our land would sink beneath the sea and that our homes would be covered by the waves.”
___________, “Watershrine, 1990, mixed media, 8’ x 13’ x 5’
___________, Re: Seeding Gaia, “Flow” 1996, 26 x 52” “Co-evolution” 1998, 60 x 85cm, both are acrylic and mixed media on paper
___________, The Landscape Tale, from Agriculture: An Alchemical Treatise, 1993, letterpress and commercial print announcement; installation view.
___________, Penelope’s Web, “ The Light Bursts Forth, 1999, 60 x 85cm, Naiads Assist, 1999, 38 x 56 cm, The Veil of Ino, Kadmus's Daughter, now Leucothea, 2000, 60 x 85 cm, Carnage Suited Me, 2001, 38 x 53.5 cm, Text: “Never, ... did I fear Death/ ahead, but went in foremost in the charge,/ .... That was my element,/ war and battle. Farming I never cared for,/nor life at home, nor fathering fair children.... Carnage suited me; ....--Homer; all acrylic and mixed media on paper.
___________, Resistance/Resilience: “Children of the Rivers,” 2002, 60 x 85 cm, Text: Like Ino on [Mt.] Parnassus, whose son, Melicertes, rode dolphin-back, our mountains lure salmon home, children of the rivers;
___________, Strategic Clearing: “White Pass and Bumping Lake,” 2000, 60 x 85 cm ea [diptych, exhibited in Daegu, 2006] “The Marine Origin of Minerals,” 38 x 56 cm; “Mt. Rainier,” 2004, 60 x 85 cm ea; all acrylic, photocopy and mixed media on paper
___________, The Transformation of the Landscape, “Ape Cave,” 2001, collagraph, 28 x 19 cm; “Worm Flows,” 2001, collagraph, 28 x 19 cm
Sylvia Ordonez, “1492,” 1992, oil on canvas 125 x 125 cm
Marita Dingus, “Fence with Skeleton Hand,” 2000, mixed media, 27x14x1”
Alice Dubiel, The Slave Trade Was Free Trade: A Tale of Money, 2000, acrylic and mixed media on paper, 60 x 85 cm, Text: ... morality and religion ... both allow that if men can make money by stealing men and women, and working them up into sugar, rice and tobacco, they may innocently continue the practice, and he who condemns it is an unworthy citizen, and a disturber of the church. Money is the measure of morality, and the success or failure of slavery, as a money making system, determines with many whether the thing is virtuous, or villainous, and whether it should be maintained or abolished.  --Frederick Douglass
___________, The Slave Trade Was Free Trade: A Tale of Struggle, 2001, acrylic and mixed media on paper, 60 x 85cm; Text: Let me give you a word of the philosophy of reform. . . . If there is no struggle, there is no progress. Those who profess to favor freedom and yet deprecate agitation, are men who want crops without plowing up the ground, they want rain without thunder and lightning. They want the ocean without the awful roar of its many waters.
–Frederick Douglass
___________, The Hazel Tree Mother: The Tree in Winter, 2007, acrylic, digital imaging, ink, handmade paper, 78 x 60cm
___________, The Hazel Tree Mother: Cinderella’s Mother leaves a dress in the tree, diptych, 2005, acrylic and mixed media on paper, 24 x 19 cm each
___________, The Hazel Tree Mother: The Summer Fairy, 2010, digital image chine colle, collagraph, and mixed media on paper, 50 x 21 cm
Lake Ross, North Casades National Park, Washington State USA, late fall 2006
Alice in front of Liberty Bell, North Cascades National Park, Washington State USA, late fall 2006
The effect of snowmelt on past cultural landscapes: Beaver Creek 1976, acrylic mixed media and digital media on handmade paper, wood, 152 x 91 cm
Andy Everson, “Reunion,” nd., serigraph


links, footnotes

http://www.nmwa.org/

http://en.wikipedia.org/wiki/Susan_Faludi

http://en.wikipedia.org/wiki/Kiki_Smith

“In her own words: interview by David Finkel,” in Kiki Smith (Boston: Bullfinch Press, 1998), 34, cited in Wy Zeynep Simavi, “Kiki Smith: Embracing Outcasts,” in Women in the Arts, Spring 2011, volume 29, no. 1, publication of National Museum of Women in the Arts, Washington DC.

http://weadartists.org/jo-hanson-2

http://www.suzannelacy.com/

http://www.joycekozloff.net/index.html

http://www.judybaca.com/now/

http://www.marybethedelson.com/


other resources/notes:
Asher Durand's "Kindred Spirits" is the painting sold under dubious circumstances by the NYPL to Alice Walton

A City's Heart Misses a Beat


Civic Treasure: A Need for Transparency, Not Secrecy


Feeding Trees, part one: musings on feminism
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The following is part of a talk I am preparing for a conference on women's art, Cultural Sensibilities V, to be held in Daegu, Korea, June 14-24.

© 2011 Alice Dubiel alicedubiel@planetart.us 206.782.7455 USA

Feeding Trees: making art and rethinking how we live in the world

I would like to thank Una Kim, Park Yeonsook, Ryu Seesook, Park Nam Hee, Harriet Levi, Karen Swallow, Jeonsoo Shin, and our dear, late sister, Madeline Janovec who made it possible to appear before you today.

I have posted links, a bibliography and image list on my blog, “News from Planet Art” http://odaraia.livejournal.com/

Today I will present my work and some other artists’ works which have influenced my thinking about the relationship of culture to western society’s interaction with our planet. This is my theme in Feeding Trees. Before I begin, I wish to respond to a request for a definition of feminist art and some ideas about feminist philosophy.

For me, feminism is about liberation and self-determination. It is a powerful intellectual philosophy and movement for social justice. It's also very inclusive, more than just about calls for workplace parity. In the US the development of feminism, or kinds of feminism is intertwined with the struggles against slavery, racism and labor oppression.

My mother lived in a time of US economic hard times and subsequent prosperity. She was born after women acquired voting rights and was the first in her family to attend university. I had learned to be assertive and inquisitive from my parents. As a young woman, I became more aware of women’s position in society through my experiences with the health care system which I felt had objectified women. I think I wouldn't have made it through art school had I not already embraced the approaches of feminist philosophy toward art making, whether imagery or materials. The art world then, in 1977, was more sexist even than now. There were few women instructors in my department. Different feminist artists and art historians developed varying strategies, not all interested in parity. As artist Kiki Smith has said, “If you’re a female artist, you’re already marginal, on a discard pile, so you can use things or situations that are discarded, that are sort of free, and that aren’t associated with power.” (from “In her own words: interview by David Finkel,” citation available)
For me one appeal of feminist thinking was how its social analysis models could be applied to the traditions of our relationship to the environment.

Soon after my early professional days began, a rather intense backlash against US feminism struggle took place, well documented by journalist Susan Faludi. Media definitions, as a result, supplanted feminists' own. Despite reactionary assertions such as “feminists hate men; so be afraid, be very afraid,” I think since 2000, a larger portion of US society, especially younger people, expect opportunities for women to be fair and that men can no longer privilege themselves, isolating themselves from the domestic sphere or even traditional women’s roles.

Here, I would like to illustrate the changes in social mores with the depiction of hostility toward Greg for being a nurse in Meet the Parents (2000) as a feminist perspective. The antagonists, Greg’s prospective in laws, both the physicians and Pam’s father, belittle Greg’s vocational choice as not adequately gendered “male.” After the first wave of US feminism, in mass produced films made during the 1930’s and 40’s, women were depicted as capable of taking men’s roles. However, not until the mid 1990’s was it considered reactionary not to loosen gender roles in reverse.

I believe feminism involves more than critiques of gender roles and fairness in opportunities. Its strength lies in the ability to analyze power and the intersections of class, race, gender as well as human relationships with our ecosystems. Feminists have redefined social codes such as respect, self-determination, and social responsibility. They have continued to explore the politics of personal and domestic life. Like other critically analytical perspectives coming from the struggles of the oppressed, feminism continues to evolve.

The NEA debate and urban land use policies
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Why artists and their communities should care about public arts funding

The recent renewed attacks on funding the National Endowment for the Arts may be located in cynical political attempts to revive “culture wars” for electoral political advantage. However, the consequences for our society are greater than the nuisance for funding agencies such as state arts commissions or performing arts groups. Arts journals and critical discourse were already decimated in Jesse Helms’s led assault on NEA during the Reagan era. Narrowing opportunities for creative and critical discussion encourage an oppressive, anti creative context for society at large.

Some legislators use the budget deficit as an excuse to cut arts funding. Such excuses cause larger political problems for women: with health care cuts, especially around obstetrical-gynecological care (such as the Planned Parenthood debate), women have fewer resources or time to dedicate to political activism. We often assume members of both parties employ this ruse to demonstrate a commitment to fiscal responsibility (but compare who voted to bailout the banks). As artists, we face multiple challenges at the same time we need to increase our commitment to our profession. When these discouraging pressures mount attacks on art support, our own creativity is our sustenance.

What are the real benefits of publicly funded art? I believe these benefits go beyond the issues of making art with community themes. Our profession is an industry overlooked by civic planning unless officials consider tourism or marketing. We know that art provides economic sustenance in the urban environment; so we also need to consider, how friendly is your city to art? Does it zone for art? Does it provide tax incentives or even subsidies to artists who locate there, providing employment and purchasing materials and services? What about civic support for low cost housing and art work zones? Some artists have considered approaching such questions using visual art models.

This image is a shot of Ballard Works, a private building owned by artists. In addition to renting studio space upstairs, the building holds Sev Shoon Arts Center, a complete print studio available for community artists to rent. I rent occasionally to create my prints. 2862 Market Street, Seattle 98107, 206.782. 2415 http://www.sevshoon.com/

Architect and urban planner Rick Lowe is best known for “Project Row Houses” in Houston where artists and low income people are employing art approaches to community development. His 2010 project in Anyang, Korea, to work with neighborhood businesses, offers insight into creativity’s social benefits. Lowe found that in the midst of large scale redevelopment from single story to multistory towers, small shopkeepers faced demise of their businesses and expressed opposition to new construction. Knowing little of business models, he perceived the limitations of their resistance since they had no alternatives to propose. The artist developed processes for participants to explore their own vision of development, including implementation. Lowe’s work expresses his perception that the creative process is a source of self determination.
(from a talk at Kane Hall, University of Washington, “Generosity of Cities”, March 10, 2011, see http://nowurbanism.org/ scroll down to this event and check audio recording)

Lowe responds to Gregory Sholette in a Huffington Post interview, “For developers, it's about short-term gain. They want to put in as little as possible and take out as much as possible right up front. From my perspective, as an artist that's interested in housing, it's about the possibility of long-term value that housing would produce in a community. . . . We started to shift the dynamics of the economic structures around the community. . . . It's giving us the opportunity to do some things that can control our economic destiny. . . .” (http://www.huffingtonpost.com/gregory-sholette/activism-as-art-shotgun-s_b_785109.html#s185200 )

While the political arena continues its crisis management approach, we can emulate Lowe’s strategies, envisioning and developing our communities to provide for the arts, exercising creativity in everyday life. Making art is a muscle: the more you work it, the stronger and more resilient it is.


NB: context of this thinking: A major artists' building in Seattle is slated for demolition in 2012 (not this building) due to the state's replacing the Alaskan Way viaduct with a tunnel. The "Big Building," . . . "619 Western Avenue is one of the largest artist studio buildings on the west coast if not the world. It has been a workspace for artists since 1979. Out of the 169 buildings susceptible to damage by the tunnel boring, 619 Western Avenue is the only building that will need structural reinforcement or demolition. Not much if any chance of the former. Demolition is the focus. Tenants have been told to vacate by March 2012." (http://619western.com/)

Open Studio and Hallowe'en devotion making
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12-5pm
October 31, 2010
2811 NW 93rd Street
Seattle 98117
206.782.7455
http://www.planetart.us/

see new works, prints, paintings, catalogs
special prices on prints and small works
books and small works by other artists available
bring memorabilia of loved ones passed to create your own devotion
refreshments and treats

image attached:
detail, Alice Dubiel, The Hazel Tree Mother: The Summer Fairy, digital
media, chine colle, collagraph, edition of 26, 2010





The Catalogue of Pleasures of the Garden, an exhibition curated by Alice Dubiel
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Pleasures of the Garden: visualizing the Song of Songs
April 15 through May 31, 2010
St James Cathedral Chapel
9th & Marion
Seattle WA

In collaboration with the musical aspects of the Song of Songs Festival at St. James Cathedral in May 2010, I have curated an exhibition featuring works on the theme of gardens and the natural processes of plants and animals especially created for this event. Intimate, contemplative works bring the garden into the cathedral’s chapel.
Evocative garden and field imagery in the Song of Songs reflects its origin in a literary society both pastoral and urban. Ancient Mediterranean cities such as the Jerusalem of Solomon were created either as fortresses or as dense dwelling constructions to maximize the efficiency of water, sanitation resources and services. Privileged domiciles would have enclosed or rooftop gardens, functioning as private space. The fabulous “hanging” gardens of Babylon are thought to be a series of roof top gardens cascading at different levels to imitate the mountain terraces in ancient northeastern Iraq. In our imaginations, the pastoral is often idealized as a “natural” world more ethical and authentic than contemporary city life. Pastoralism is, in fact, linked developmentally to the rise of urban societies and is frequently situated in ancient literature as an opposite to urban restraints.
A garden’s enclosed space is domestic and often private. In the text of Song of Songs, the poet alternates between the exquisite charm of the enclosed space and the expansive delight experienced in the pasture land. The charms of the enclosed spaces are further subverted by the authority represented by confinement there. The land is not wilderness, but has been tamed by human culture: the pomegranate, apricot, vines and goats and sheep evoke sensations of prosperity, fecundity, luscious satisfaction. Spring and summer, seasons of growth, quickening, of verdure, figure prominently in the poet’s imagery. Descriptions of springtime activities and the revivification of perennial fruits look forward to summer’s bounty and fullness.
Reinterpreted in medieval Europe, the Song of Songs takes on multiple and often allegorical meanings. The late Roman garden is an enclosed space, protected, and often increasingly through the medieval period, a gendered female space. Those who reside in the garden are nurtured by its bounty, protected by the Virgin or by God. The urban world and the pastoral commons become too large for the privacy and intimacy within the wattle fence. The garden is a retreat from this larger world, and it functions as a contemplative space where nature and artifice are integrated; I would argue, nature and artifice are socially constructed opposites whose science merges in the garden.
I invited these artists to create or offer works informed or inspired by garden imagery and the Song of Songs. Keeping in mind the intimate nature of the text and the domestic garden, I requested smaller works from artists, many of whom work in large format, or who create and maintain gardens, simple or elaborate. Each artist represented by her work in this exhibition reiterates her insight into natural processes through her visual creationsTeofanov Labyrinth, Farmington, NM. Cabeen [below left, in Seattle, WA] and Teofanov [right, Farmington, NM] have created garden labyrinths based on the kinds of sacred paths in northern European cathedrals.Cabeen Labyrinth, Seattle WA Walking these paths are healing meditations and reaffirm the regenerative powers of their gardens. Teofanov’s extensive family garden incorporates permaculture strategies including domesticated livestock. Peters’s [below right, with flowers in her garden] garden designs and maintenance in mid Atlantic climates explored strategies of intensive biodynamic horticulture. In recent years, she has incorporated shifting weather patterns, especially increasing aridity, into an extensive established garden in the xeriscape of Santa Fe. Moria Peters in her garden with flowersBruch’s studies in sacred geometry reveal connections among natural structures and processes with the mysteries of the universe as we are able to understand them. [below, Kathryn Glowen at her homestead, with donkeys and yoyos]Kathryn Glowen homestead with donkeys and yoyos

Inheriting these ancient traditions, the artists have reimagined images or processes evoked in the Song of Songs or similar inspirations. Lou Cabeen incorporates contemporary garden images with the weaving of the wattle enclosure, guarded by the cosmos. Sarah Teofanov fashions small shrines which re-create the microcosms of personal or family gardens, linking them to energetic Sanskrit physiology, each shrine representing a different chakra. Gillian Theobald and Karen Schminke, through explorations of shape and color of garden flora, bring formal insights into natural processes. Barbara Bruch reveals the sacred geometry of flowering plants metaphorically, evoking the pomegranate’s lusciousness with color and contrasting shapes. Kathryn Glowen’s assemblage incorporates traditional livestock references with the natural processes of decay and revivification present in established urban and suburban gardens. Moria Peters provides a view from the garden to illustrate the interaction of the wild with the domesticated. In my own work, I situated surface text, from the Song of Songs, to become a lens through which we view the elements of garden and sky, and refer to ancient Mediterranean ceramics and mosaics reiterating patterns of life.

Seattle has long been a gardener’s dreamscape with its mild climate, mineral rich soils and water resources. Gardeners and farmers in the region have incorporated and developed many innovative cultivation techniques which extend the integration of urban and pastoral. Below  are links to the artist’s work and where you can contact them regarding purchase, or contact me to coordinate purchase. All works are for sale.
Alice Dubiel
Seattle, Washington, Cascadia
List of works in the exhibition


Bruch, Pomegranate CheeksBarbara Bruch Pomegranate Cheeks, acrylic on paper, 2010, $500.
contact the artist for sale












Dubiel, Turtledove SongAlice Dubiel The Song of the Turtledove, acrylic & mixed media on paper, 2010, $180.
contact the artist for sale











Dubiel, under cedarsUnder the Cedar Roof: The Patterns of Life, acrylic & mixed media on wood, 2010, $500.
contact the artist for sale










Dubiel, ApricotThe Apricot Tree, acrylic & mixed media on paper, 2010, $180.
contact the artist for sale












Dubiel, your voiceLet me hear your voice, acrylic & mixed media on paper, 2010, $260.
contact the artist for sale












Glowen Garden of ParadiseKathryn Glowen, Garden of Paradise, mixed media assemblage: vintage egg  box, blown eggs covered with music,
ceramic found object, glass flowers 2010, $500
The artist will donate half the sale to MWC
contact the artist for sale: kaglowen@earthlink.net








Peters, In the GardenMoria Peters In the Garden, oil pastels, colored pen, India ink on scratchboard, 2010, $500.
contact the artist for sale











Karin Schminke Columbine 2, laser etched acrylic on aluminum, 2009, $1275.
contact the artist for sale











Wild Tomato, pigment ink and acrylic on aluminum, 2009, $1800.
contact the artist for sale













Theobald, Golden GardenGillian Theobald Golden Garden acrylic on canvas, 2005, $500.
contact the artist for sale












Teofanov, FallSarah Teofanov Garden Shrine: Fall [ah, throat chakra] mixed media on wood: found objects, beads, acrylic, 2010, $150.
contact for sale: alicedubiel@planetart.us











Teofanov, night #2Garden Shrine: Night Garden #2 [ah, throat chakra] mixed media on wood, found objects, beads, acrylic, 2010, $400.
contact for sale: alicedubiel@planetart.us











Teofanov, ToadGarden Shrine with Toad [ah, throat chakra]  mixed media on wood: found objects, beads, acrylic, 2010, $150.
contact for sale: alicedubiel@planetart.us












Teofanov, CreteGarden Shrine: Crete [OM Mani Padme Hum] mixed media on wood, found objects, beads, acrylic, 2010, $200.
contact for sale: alicedubiel@planetart.us












Teofanov, night #3Garden Shrine: Night Garden #3 mixed media on wood, found objects, beads, acrylic, 2010, $200.
contact for sale: alicedubiel@planetart.us












Cabeen, a seal Lou Cabeen Set Me As A Seal collage 2010 $400.
contact the artist for sale: http://www.loucabeen.com









contact Alice Dubiel 206.782.7455 or alicedubiel@planetart.us for information and coordination of inquiries and sales

The Artists:
Statements
Biographies
Resumes

[where possible, links to artists' sites are provided; otherwise summaries are listed below]

Barbara Bruch

Pomegranate Cheeks
Your cheeks are like the halves of a
Pomegranate
behind your veil.

Song of Solomon (6:7)

Lou Cabeen
Statement for Pleasures of the Garden
I have said for a long time that my work is an ongoing effort to say what I know. In fact, it reflects my ongoing effort to discover what I know by bringing to my worktable my experience, my insight and my questions trusting that meaning/understanding will emerge as I see surfaces, textures and imagery emerge. Embroidery and stitching have been a potent tool in this process of discovery for over 20 years. And my Seattle garden, perpetually overgrown and viewed from my studio window has provided companionship, inspiration and comfort as I sit and stitch my way to understanding. It also reminds me that to tend a garden is a valiant act, an act that flies in the face of cynicism and despair. A well-tended garden is an embodiment of hope.
This work is made in many layers. Many years ago I made collages from garden calendars and photographs from space as I emerged from a life-altering illness. Later I made digital prints of those collages. Now the last of the digital prints have been cut and re-stitched together and collaged again with fabric roses to evoke my response to the text that frames them, a text from the epiloge of the Song of Songs.
The garden is a powerful metaphor for the spiritual life, which can thrive untended but which flourishes best under a humble hand. When I tend my garden, it tends my heart and I am grateful.


Alice Dubiel
In this project, I conceived two responses to the Song of Songs: incorporating the text in abstractions of garden walls and references to ancient art traditions. The garden walls and texts are on paper, using a resist ink. These I mounted on wood. The other work refers to ancient mosaic and ceramic technologies in floors.
Recently I have been experimenting with a textured acrylic material on board which mimics ceramic crackle glaze. To incorporate movement and drama, and the colors of the garden, I chose green and azure backgrounds with pink highights. I also use mineral pigments which, through their iridescence, refer to the geology and biochemisty of our world. These materials are somewhat fragile but allow complexity in both surface texture and background variation, inviting comparison with the diversity and interdependency of ecosystems.
As curator, I invited artists to create new works in response to the collaboration with the Song of Songs music festival. Each had some connection to gardens and or pasture, most not working figuratively. Curating also became part of the creative process. The Song of Songs is a sensual text; its imagery links the enthusiasm of love with the senses, whether taste, smell or sight and the natural world. The focus of our work is through the visual.

Barbara Bruch
Short Biography
Born in Seattle, I spent much of my childhood in California. After returning to Seattle to attend the University of Washington, I received both a Bachelor of Art degree (1962) and Master of Fine Arts degree (1964). My studies included painting with Viola Patterson and Spencer Moseley, specializing in collagraph printmaking with the late Glen Alps. I also undertook special studies at Summer School at the University of California at Santa Barbara with Thomas Browne Cornell (student of Leonard Baskin) in “Old Master” drawing techniques.
From 1967 through 1978, I was Artist in Residence for the City of Seattle, teaching printmaking and painting in the Model Cities Program. I was also a team teacher in environmental courses at Seattle Pacific University 1974-78, where we hiked, canoed, and backpacked to endangered locations. Currently, I teach workshops on Collagraph Printmaking at Sev Shoon Arts Center in Seattle. For many years I directed gallery exhibitions at the Husted Gallery in Seattle, and I also restore art and old frames in my Studio Tara West.
Much of my work is based on an interest in metaphysics, archaeology, and the physical sciences, representing spatial concepts, healing, transformation, and cycles of existence. I have traveled several times to Britain, Scotland and Norway, exploring and documenting megalithic sites and museum collections.
Over the years, my paintings and prints have been exhibited at the Seattle Art Museum, Portland Art Museum, Seattle Pacific University, Cheney Cowles Museum in Spokane, Henry Art Gallery, Oregon School of Arts and Crafts, Washington State University in Pullman, California State University at Hayward, and numerous galleries in Texas, Florida, Oregon, New York, South Carolina, Washington DC, and Chicago. I have also exhibited in Italy, Holland, Scotland, China, South Korea, and South America.
Currently, I have completed work on 78 paintings for a Tarot deck and accompanying book: Tarot of Cosmic Consciousness. This work is unique in its abstract approach to a long tradition. My paintings and Collagraph prints are in several public collections and over three dozen private Northwest collections. My illustrations have been included in magazines, including Woman of Power, We’ Moon Calendar, Technical Analysis Stocks & Commodities, and The Hastings Center Report and the cover for a textbook: Inherited Bleeding Disorders in Women (Ed. Lee, Kadir, Kouides). For more complete information, refer to the book and website: Women Artists of the American West: http://www.cla.purdue.edu/waaw/
Http://tarotofcosmicconsciousness.blogspot.com Http://www.aeclectic.net/tarot http://www.metaformia.org


Lou Cabeen
http://www.loucabeen.com
cv link: http://www.loucabeen.com/cv.html
Lou Cabeen lives and works in Seattle. She works in a variety of media including fibers and collage. Her studio overlooks her front garden which is always getting out of hand, but nevertheless provides continual comfort and encouragement. She makes stitched paper collages from old maps and calendars. She makes artist books using cloth, embroidery, collage and letterpress printing. She also makes large hangings from silk organza onto which she hand stitches with sewing thread.
Her work has been exhibited in a variety of venues including the Museum of Arts and Design, the Chicago Cultural Center, the List Gallery of MIT, the Museum for Textiles in Toronto, the Art Gym, Western Washington Gallery, and the Bellevue Art Museum. Most recently her work has explored the topography of contemplation and the role of place in the construction of meaning.
She is an Associate Professor at the University of Washington in the School of Art where she is Chair of the Fibers area and Co-chair of the Interdisciplinary Visual Arts degree program.


Lara Candland

Lara Candland’s book Alburnum of the Green and Living Tree (a finalist for the Motherwell, St. Lawrence, and Hudson Prizes) was just released from BlazeVOX.  Her work has appeared or is forthcoming in Fence, The Colorado Review, The Quarterly, Mary, FRiGG, EAOUGH, Barrow Street, Free Verse and many other journals, and her pamphlet, Tongue Child was published by the University of South Carolina’s Palanquin/TDM series.  She is a founder and the librettist for Seattle Experimental Opera, and a finalist in the Genesis Prizes.  Her opera, Sunset with Pink Pastoral with husband and composer Christian Asplund, was performed by Almeida Opera in London’s Sadler’s Wells Theatre.

Alice Dubiel
link to resume http://www.planetart.us/resume.html
bio http://www.planetart.us/bio.html

Kathryn Glowen
resume  pending
Moria Peters resume/bio pending

Karen Schminke
biography http://www.schminke.com/about/Biography.html
resume http://www.schminke.com/about/resume.html

Sarah Teofanov
Sarah Teofanov is a nationally recognized mixed media artist, community organizer and activist involved with peace issues and sustainable living. Her artwork explores the use of myth in healing the community as well as the individual, and using the creative process to bring forth new visions of wellness. As a myth-maker, storyteller, activist and artist, she takes seriously the task of "vision keeper" for this culture and has created countless works which bring together community building and environmental activism.
Teofanov received a BA in Art from Western Washington State University, Bellingham. She worked and resided many years in Seattle where she was represented by Mia and Foster White Galleries. Later, she and her family resided in Montclair, New Jersey and she now resides with her husband and children in Farmington, New Mexico.
Her current work includes the development of a permaculture site on her family’s property where she has created a labyrinth, and maintains a daily practice of meditation and compassionate works through which she develops humility and patience. The Garden Shrines and the Hearts of Compassion series intertwine with these practices and have evolved out of her need to surrender to the symbolic language of creative process for problem solving when the path becomes obscured. She started Farmington Sustainability Group, and works on bringing practical information to her various communities, ranging from gardeners, peace activists, to paticipation in Buddhist practice.
Teofanov’s work regularly appears in We’Moon and the Lunar Calendars, and two extensive video documentaries have been created on her work and life.
This exhibitions list includes her work during Seattle residence
Selected solo and two person exhibitions
Two Woman Bride, Carlyn Galerie, Dallas, Texas, 1993
Our Body the Earth & the Prayers For Her Recovery, Highline Community College, Des Moines, Washington
Art Downtown Gallery, Spokane Art School, Spokane, Washington, 1993
Making Up the Path & Other Myths, Chase Gallery at City Hall / Spokane Arts Commission, Washington, 1993
Invisible Journey, Foster White Gallery, Kirkland, Washington, 1993
Lilith: The Dance Continues, Lilith, Seattle, Washington, 1992
Our Body the Earth, Seattle Pacific University, Seattle, 1989
Art from the Heart, Roeder Home Gallery, Bellingham, Washington, 1988
Dream Chambers & Night Visitors, Linda Meier Gallery, Seattle, 1987.
Selected group exhibitions
Crossings, Women's Caucus for Art National Exhibition, Seattle, Washington, 1993 3rd Annual Juried Art Show, Kirkland Art Gallery, Kirkland, Washington, 1992 Women's Struggles, Women's Visions, Maude Kerns Art Center, Eugene, Oregon, 1992
Rain Forest Installation, Art Works, Seattle Center, Seattle, 1992
Collaborations, Tacoma Art Museum, Tacoma, Washington, 1991;
Drawings, Foster White Gallery, Frederick & Nelson, Seattle, 1991
A Spirit Reigns, Marianne Partlow Gallery, Olympia, Washington, 1990
Dreaming the Earth Whole, Bumbershoot, Seattle Center, 1990
Watercolor Watercolor Watercolor, Bellevue Art Museum, Bellevue, Washington, 1990
Lost & Found, MIA Gallery, Seattle, 1989
Facts of the Imagination, Washington State University Museum of Art, Pullman, 1989.

Gillian Theobald
link to bio/resume: http://www.gilliantheobald.net/Bio.htm

acknowledgements
all texts and images copyright 2010 Alice Dubiel excluding texts and images generated by the exhibition artists, who maintain their own copyrights

photo credits:
K. Glowen with donkeys and yoyos, credit Ron Glowen
Moria Peters in garden with flowers, credit Moria Peters
artworks, credit artists, except
Sarah Teofanov, Garden Shrines, credit Alice Dubiel

unless identified, credit Alice Dubiel

Appreciation is extended to the staff of St. James Cathedral including James Savage and Corinna Laughlin for their contribution to sponsoring this exhibition.
I am deeply grateful to Ian McFail for his excellent preparation and installation of the exhibition.
I am indebted to the generosity and creative imagination of the artists in this exhibition and the visual arts community of Seattle and the Pacific Northwest.
Thanks are due also to my family, especially my husband, Jim Hopfenbeck, for his patience, support and understanding.
Finally, I thank Margriet Tindemans for her invitation to collaborate with the Medieval Women’s Choir to create this exhibition. The continued sponsorship and support Margriet and the choir have provided is a perpetual source of nourishment and inspiration.

please put your responses to
Pleasures of the Garden: visualizing the Song of Songs
in the comment section below. All responses are public. If you would like to be on the mailing lists of Planet Art and/or Medieval Women’s Choir, please put your contact information below as well or post at the choir’s website.

Pleasures of the Garden: visualizing the Song of Songs, an exhibition curated by Alice Dubiel
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odaraia
In collaboration with the Song of Songs Music Festival at St. James Cathedral, Seattle, I am curating an exhibition featuring works especially created for this event in the cathedral’s chapel. The poetic texts evoke gardens, plants and the loyalties among people, both private and civic. Several of the artists keep gardens, maintain labyrinths, work with plant imagery or abstracted natural forms. Such sources inspire art and text celebrating the lush landscape, the intimacy of an enclosed garden, and domestic employment. The exhibition will be on display April 15 through May 31, 2010. There will be a reception at the end of the Joseph Adam organ recital on May 1.

For more information regarding the exhibition, 206.782.7455 or alicedubiel@planetart.us

Artists participating: (click artist's name for image links or contact)
Barbara Bruch
Lou Cabeen
Lara Candland
Alice Dubiel
Kathryn Glowen
Moria Peters  additional images
Karin Schminke
Sarah Teofanov
Gillian Theobald

image from Barbara Bruch: Pomegranate Painting, acrylic on paper, will appear in this exhibition.

images from Kathryn Glowen: Garden of Paradise, mixed media assemblage: vintage egg box, blown eggs covered with music, ceramic found object, glass flowers, will appear in this exhibition.


image from Moria Peters: In the Garden, oil pastels, colored pen, India ink on scratchboard, 12 x 16, 2010 will appear in this exhibition



images from Karin Schminke: Columbine 2, Laser etched acrylic on aluminum, 20 x 16 in, 2009;  and Wild Tomato, pigment ink and acrylic on aluminum, 24 x 24 in, 2009  will appear in this exhibition
    



images from Sarah Teofanov: beaded works similar to work for exhibition.


image from Gillian Theobald: Golden Garden, acrylic on canvas, will appear in exhibition:



St James press release Song of Songs Festival
 
For some, the SONG OF SONGS is simply a celebration of
human love in splendid poetry.  For others, it is an allegory of
the love of God for the human soul.  For still others, it is a
cultic poem, with imagery drawn from the fertility rites of the
ancient Middle East.  The Song of Songs is a dramatic poem,
in which different voices are heard; a poem that moves from
longing, to union, to loss, to discovery, as bride and
bridegroom alternately sing of the beauty of the beloved, of
the delights of love, and of the glory of chastity.  St. James
Cathedral celebrates the Song of Songs with a festival of music
and art in May, 2010.  This collaboration between Seattle Pro
Musica, St. James Cathedral, and the Medieval Women’s Choir
will include concerts, workshops, art exhibits, and lectures. 
 
Saturday, May 1, 2010 | 8:00pm
Joseph Adam, Cathedral Organist
Cathedral Organist Joseph Adam begins the Song of Songs
Festival with Six Vesper Antiphons by Marcel Dupré, works
based on texts from the Song of Songs, a 10th-anniversary
performance of The Last Judgment by Naji Hakim,
commissioned by St. James Cathedral for the inauguration of
the east apse Rosales organ in 2000, and other works by
Olivier Messiaen and Louis Vierne.  For information, 206-382-
4874 or visit www.stjames-cathedral.org/music
 
Friday, May 7, 2010 | 8:15pm
Kathryn Weld, mezzo-soprano
Cathedral Soloist Kathryn Weld, with Cathedral Organist
Joseph Adam, piano, presents a program of Sacred Song, with
compositions by Bern H. Herbolsheimer, Samuel Barber, Paul
Hindemith, Hugo Wolf and others.  For information, 206-382-
4874 or visit www.stjames-cathedral.org/music
 
 
 
Friday, May 14, 2010 | 8:15pm
Saturday, May 15, 2010 | 8:00pm
Song of  Songs Festival
Seattle Pro Musica, a Cathedral Resident Ensemble, continues
the Song of Songs Festival. Seattle Pro Musica’s concerts
highlight the Festival with choral settings of texts from the
Song of Songs from all over the world, including world
premieres by Ivan Moody and Karen P. Thomas. Suggested
donation at the door is $25. For information, 206-781-2766, or
visit www.seattlepromusica.org.
 
Sunday, May 16, 2010 | 7:00pm
Cantileña, A Medieval Open Sing
We offer you a unique opportunity to take a peek behind the
curtain: come and sing for one evening, and experience the
sheer joy of singing with fellow music lovers. Medieval
Women’s Choir director Margriet Tindemans will direct several
settings of texts from the Song of Songs, mostly in Latin.
Scores in modern notation will be provided.  This event is
open to the public, so please make sure to bring your musically
inclined friends. Space is limited in the beautiful Chapel at St.
James Cathedral, so don’t wait too long to register. For
information, 206-264-4822, or visit
www.medievalwomenschoir.org.
 
Saturday, May 22, 2010 | 8:00pm
Medieval Women’s Choir
Medieval Women’s Choir, a Cathedral Resident Ensemble,
continues the Song of Songs Festival. The biblical Song of
Songs holds a central place in both the Christian and Jewish
traditions. Its sensuous imagery has inspired poets and
composers through the ages. Boston soprano Laurie Monahan
and the choir will present both medieval settings of texts from
the Song of Songs and new settings by composers Karen P.
Thomas and Shira Kammen. Ms. Kammen will also be playing
medieval fiddle and harp. For information, 206-264-4822 or
visit www.medievalwomenschoir.org 
www.stjames-cathedral.org/song

agoraphobia
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odaraia
I have it, and I work on it, but sometimes I'm in a store, thinking I'll only be there a short time, and forget until I'm overwhelmed. This happened last night.
I just read a couple of articles this morning in The Nation discussing the transitions from Eastern Europe in the wake of perestroika and the breakup of the Soviet Union. It struck me that some of the difficulties described were extremely personal and involved shopping: the writer and some others were overwhelmed by "choices" and cried with frustration. I feel this frustration and urge to cry every time I go into a large store. Online shopping isn't the only solution because the overwhelming number of choices, especially if not organized easily, also invokes retreat.
Marketing is often designed to obscure differences among products. I know some of the sorting is created by the stores themselves, buyers and marketing staff and the priorities of the stores themselves. I don't want to choose between their priorities, and I have spent much time online looking for the ideal product: how close to local, fair labor, high quality (so it will last). I try to care for what I purchase so it lasts as long as possible, motivated by marketplace avoidance as much as thrift and environmental respect.
As a cultural worker, I appreciate the beauty of design and the craft of objects I use in daily life, even mass produced objects. As a critical thinker, I make the link between Roland Barthes' semiotic analysis of magazine advertising to the working class and the success of Martha Stewart. Meryl Streep's takedown in The Devil Wears Prada about the effects of the fashion industry on our choices is not lost on me. I like people who embellish themselves, but at the same time, I find comfort in the daily "uniform" I've selected of comfortable plant and animal hair fibers. I prefer visiting a department store, like the one I went to last night, when there are few customers, the new stock is in, not ready for clearance sales and the staff is plentiful and bored. I like the service of a knowledgeable sales person who wants both the sale and my satisfaction, who's made me comfortable enough that I don't retreat without buying what I came for.
My department store excursion was prefaced by the most desirable of commercial interactions: meeting [at last] the producer of excellent fall fruits, Stina Booth, whose orchard produces gorgeous pears and apples, all organically grown in Twisp, just on the east side of the North Cascades. We chatted about fruit varieties (I want quinces and apricots), growing strategies (my quince tree is loaded with blossoms but has little fruit), and evolution (Stina's reading about apple cultivars; apples and pears co-evolved in Central Asia with omnivorous and herbivorous mammals such as bears and elephants whose scat spreads the trees).
So I have a continuum of comfort starting at the neighborhood grocer, which thankfully sells organic produce and natural foods instead of fat, sweets and tobacco; through the farmer's market and my csa deliveries where I know and communicate with the source providers; to the weekly supermarket, generally Puget Consumer's Coop and occasionally the Ballard Market; to the occasional hardware, bookstore, art supply, clothing store or department store; and ultimately the rare visit to Costco or Home Depot.
I've learned to cope with agoraphobia, which isn't extreme, through cognitive behavioral strategies. I have called friends while I'm shopping, to help me over the confusion and think more calmly what I'm doing. It will never be easy, but it's better than it used to be when I avoided shopping altogether.

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