Tags: bibliography

planet stamp

Feeding Trees: Slide and reference list

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


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




“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.






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