Mapping a Green Future

Home , Brooke Singer, Eve Andree Laramee, High Museum of Art

MAPPING A GREEN FUTURE

Center for Contemporary Arts October 9 - November 21, 2009

Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505 505.982.1338 www.ccasantafe.org

The Center for Contemporary Arts [CCA] was established in 1979 as a venue for the pursuit of cultural practices fostering ideas and collaborations in multidisciplinary contemporary art with a focus on the intersection between visual and media art, performance, and film culture. This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endow- ment for the Arts. ARTISTS Andrea Polli + Chuck Varga Jenny Polak Jenny Marketou Basia Irland Joan Myers Catherine Harris Bill Gilbert John Fogarty + Lea Rekow Beatriz da Costa Eve Andree Laramee Brooke Singer Claudia Borgna CLUI PRESENTERS Bioneers New Energy Economy AIA 516 Arts With Support From George and Fay Young Foundation Land/Art Vision: Shift Tyler Rogers Mapping a Green Future Curated by Lea Rekow

October 9 - November 21, 2009 Muñoz Waxman Gallery, CCA Opening Reception - Friday, October 9th 5:00pm - 7:00pm

To be opened by the Mayor of Santa Fe, David Coss Lecture by John Fogarty Performance by Little Globe

CCA is proud to present Mapping a Green Future, an exhibition that looks toward the promise of sustainability, and the challenges we currently face. The connection between the automobile, life and air is explored through Andrea Polli and Chuck Varga’s Cloud Car. Polli’s weather station, Hello, Weather! attempts to de-mystify the collection and use of weather and climate. Bill Gil- bert documents walking the grid, as topography and legalities allow. Jenny Polak negotiates lan- guages of water politics through a sound installation made from conversations with local farmers. Joan Myers panoramic photography of power plants deals with industrialization’s impact on the environment. Eve Andrée Laramée displays documentation of her work with uranium. The Cen- ter for Land Use Interpretation’s [CLUI] Display Facility* draws people to a site-specific project located on the fringe of Albuquerque. Basia Irland documents her rainwater harvesting systems along rivers. Jenny Marketou gathers and disseminates aerial data from the region. Claudia Bor- gna creates a garden installation utilizing recycled shopping bags and showcases her new video in the Moving Image Lab. Catherine Harris, with support from Lee Montgomery, charts the water displacement of the gallery through use of sculptural hydrographs. Beatriz da Costa displays documentation of Pigeonblog, an environmental monitoring device, and Brooke Singer exhibits her data collection on superfund sites. John Fogerty and Lea Rekow create a video booth to ask the public where their electricity comes from. The Bioneers presents their Dreaming New Mexico project. As well, CCA serves as a satellite for the 2009 Bioneers Conference, broadcasting to the CCA cinematheque. The American Institute of Architects hosts a lecture and workshop by Marlon Blackwell.

*CLUI projects in New Mexico for LAND/ART are presented by 516 ARTS, and are made possible by The FUNd at Albuquerque Community Foundation. Future Green An essay by Lea Rekow This exhibition invites a re-evaluation of the role of maps and mapping practices in cultural explora- tions of land use. Artists have contributed across a broad range of interdisciplinary fields, working in the visual arts and sciences, cultural studies, architecture, experimental geography, and eco-studies, as well as those with interests in social and cultural memory, archival practice, and land use policy.

While the trope of ‘mapping’ has remained a prominent fixture in the lexicon of recent cultural criticism, such as in the breathtaking photography of Joan Myers, the work of many of these artists go beyond exclusively metaphorical applications of mapping, and engage more actively with real world data, as in the GIS technology used by Bill Gilbert, the aerial surveillance data gathered by Jenny Marketou, and the data-generating processes employed by Andrea Polli and Chuck Varga.

Although the world’s consciousness has turned ‘green’ and ‘sustainable’ programs are emerging in every community, blurring these interdisciplinary boundaries is becoming commonplace within arts collaborations, such as in the advocacy work and actions presented by John Fogerty, Bioneers, and artists such as Basia Irland, who inspire greater involvement in protecting and critiquing the While the exhibition comments on the impact of human- use of our environmental and human resourc- ity on the environment, it also builds a dialog opening es through engagement with local communities. possibilities to change it. It’s the abstract dynamic found in these relationships, in the flow of information in signs, The exhibition also reflects on current develop- symbols and ideas that may bring with it the power to ments in other areas of mapping research and prac- influence an audience. Visual media can be used to tice, as in the pioneering work of the Center for visualize power itself, as a way of interpreting and un- Land Use Interpretation (CLUI); the work of Beatriz derstanding it. And this understanding can become a da Costa who enlists homing pigeons in scientific basis for challenging it. Art can be used to describe data gathering; Eve Andree Laramée’s collaborative and locate power, to pressure those who hold power, search within the scientific community for practi- and ultimately to facilitate and generate power by cal solutions to decontaminating radioactive sites; bringing people together - to map their own future. Jenny Polak’s struggle in the agricultural ethno- sphere; or Brook Singer’s database of toxic sites.

These strategies and interactions present research approaches that could be considered groundwork for ecological mapping protocols. And while Catherine Harris offers us the opportunity to ponder the lack of attention we give to our neglected resource allocation, Claudia Borgna’s work elegantly asks, if surrounded by plastic plants, are we merely cultivating plastic thoughts? Bioneers Dreaming New Mexico Founder Kenny Ausubel coined the term Bion- eers in 1990 to describe an emerging culture. Bioneers are social and scientific innovators from all walks of life and disciplines who have peered deep into the heart of living systems to understand how nature operates, and to mimic "nature's operating instructions" to serve human ends without harming the web of life. Nature's principles—kinship, cooperation, diversity, symbiosis and cycles of continuous creation absent of waste—can also serve as metaphoric guideposts for organizing an equitable, compassionate and democratic society.

The Dreaming New Mexico project seeks to reconcile nature and cultures at the state level. Taking care of nature means taking care of people, and taking care of people means taking New Mexico will be hit hard with climate change. Al- care of nature. We seek systemic, collaborative ap- ready, rapid warming has occurred year-round since proaches toward a common vision of restoration. Our the 1960s and continues today and into the future. focus is on both practical and visionary solutions. Temperatures have increased roughly 2°F in the cold season and nearly 3°F in the warm. These increases The premise of this project is: Dreaming the fu- are more than twice the annual global average over ture can create the future. What would success the entire 20th century. Hotter, longer summers are look like? What are our dreams? These transfor- dramatic — increasing more than 15% since the be- mative questions have propelled a powerful pro- ginning of the 20th century. Climate change will di- cess of envisioning “do-able” dreams and map- minish water supply, soil moisture, and snowpack; and ping how to realize them in New Mexico, as a tool droughts will be more severe. All this will change the and template for place-based initiatives elsewhere. amount of hydropower, coolant for power plants and mine reclamation, as well as the demand for more The project’s centerpiece is “future maps” created by electricity. Winter heating needs have been decreas- project co-director Peter Warshall, a gifted polymath ing with warmer winters; and cooling needs have biologist, anthropologist, author and longstanding Bi- increased with hotter longer summers. Agriculture, oneer. Our first future map and an accompanying in- especially irrigated agriculture, will be hit hardest. depth pamphlet on “The Age of Renewables” were released in September 2008 to acclaim and interest in New Mexico, nationally and even globally. The maps are designed to serve as points of departure for conven- ings of cross-sectoral networks around a shared vision of restoration. They renewable energy solutions such as solar, wind, biofuels and geothermal, and address issues that keep New Mexico from adopting sustainable practices by offering practical solutions, based on the collective wisdom of dozens of people and organizations, such as transportation, governance, effi- ciency, environmental justice and energy distribution. About The state is responsible for almost twice the per cap- Bioneers fosters connection, cross-pollination and col- ita emissions of greenhouse gases than the American laboration by bringing together diverse people and proj- average (42 vs. 25 MMTCO2e) because of its inten- ects, linking strategic networks at the local, regional, sive gas, oil and coal industries. Because of distances, national and international levels. The bioneers are en- New Mexicans consume almost twice the US average gaged citizens from all backgrounds and fields who fo- gasoline per capita. New Mexico consumes 23.3 mil- cus on solving urgent problems within a framework of lion barrels of gasoline each year; 2 million more just interdependence, taking a "solve-the-whole-problem" to asphalt and oil its roads; and 2.4 million in avia- approach that is holistic, systemic and multidisciplinary. tion gas and jet fuel. About 20% of all greenhouse gas emissions come from transport. Transportation, Bioneers fosters connection, cross-pollination and which reflects population growth, is the fastest grow- collaboration by bringing together diverse people and ing emitter of greenhouse gases (29% increase in the projects within a broadly progressive framework, con- 1990’s). Over 90% of the state’s power-related GHG necting people with solutions to grow social capital emissions occur at coal-fired power plants. Just two for positive change, and linking strategic networks coal-fired power plants — San Juan and Four Corners on the local, regional, national and international — produce 75% of the total. New Mexico govern- levels. A core goal is to build a prosperous restora- ment oversight does not yet track CO2 and meth- tion economy that embraces the rights of people ane emissions from the oil, gas, and CO2 industries. and nature, grounded in social and economic justice.

2009 Bioneers Satellite Conference – Beaming to www.bioneers.org the CCA Cinematheque The Bioneers Conference is www.dreamingnewmexico.org a leading-edge forum where you can see tomorrow today: a future environment of hope. Social and scientific innovators focus on breakthrough solutions in- spired by nature and human ingenuity. These visionar- ies are already creating the healthy, diverse, equitable and beautiful world we want to live in—our legacy for future generations and the web of life on which our lives depend. You can connect with hundreds or thou- sands of engaged folks making a real difference. In 2008, more than 12,000 people attended the Bioneers Conference in San Rafael, California and 18 Beam- ing Bioneers satellite conferences across the country. Claudia Borgna Fill My Petals, Stalk My Stems, Drain My Wings a n d Oasis

Traveling around the world I have come to re- Bio alize that we live in a world overflowing with Claudia Borgna was born in Hamburg, Germany, and waste. This realization has led me to investi- raised in Italy. After graduating from Genoa University gate the relationship between discarded materi- in foreign literature, she moved to London, where she als, such as plastic bags, and the environment. has been living for the past 15 years. For several years she has attended diverse art courses, both practical In the past I have explored how rubbish and man and theoretical, which have allowed her to experiment made objects transform landscapes and become with various disciplines, media and techniques, includ- more integrated into nature. This process, which I ing ceramics, life drawing and painting, sculpture and have named “the evolution of landscape,” that is printmaking. This led to her completion in 2005 of a generated by our modern lifestyle of consumption, is second degree in fine art at the London Metropolitan interesting to work with and exploit from an artistic University. Since then she has been exhibiting in shows point of view. After working for years with all sorts in London, around the UK, Europe and the USA, and of discarded materials, waste and rubbish, I decided has attended residencies in the USA, Canada and Eu- to focus on only working with plastic bags. Plastic rope. She is a recipient of both the Joan Mitchell and bags hold remarkable contradictory qualities. They he Pollock-Krasner grant and was recently awarded are worthless and useful, disposable and recyclable, the Royal British Society of Sculptors bursary award. flimsy and strong, ephemeral and eternal, but above all, they are universal. For me, the plastic bag epito- Her work entails the investigation of what she calls mizes the perfect and quintessential discarded object. the “evolution of landscape”, a process started It is the symbolic embryo that contains our lifestyle and effected by modern life-styles and consumer- and is the vessel that carries it out in its journey. ism. Her installations are the materialization of an ongoing observation and questioning of how the By putting the plastic bag in an artistic context I elevate “plastic” and the natural realms interact with one it to another dimension. I take it away from the idea of another and thereby come to create new ephemeral the banal and obvious, and for an instant transform it orders. She mainly works with recycled plastic bags. into a poetic object by recreating it as a muse. It becomes a mass-produced muse with forms, lines, and www.claudiaborgna.keepfree.de color that cannot help but interact with the surrounding environment. I have chosen to materialize my ideas through installation because I can better express the concept of environment, space, time and duration. My large installations give a sense of multitude, and mass or mass-production, invade a space almost to the point of suffocation, and are in a state of constant evolution. CLUI About Display Facility* The Center for Land Use Interpretation is a research organization interested in understanding the nature and extent of human interaction with the earth’s surface. The Center embraces a multidisciplinary approach to fulfilling the stated mission, employing con- ventional research and information processing meth- odology as well as nontraditional interpretive tools.

The organization was founded in 1994, and since that time it has produced over 30 exhibits on land use themes and regions, for public institutions all over the United States, as well as overseas. Public tours have been conducted in several states, and over ten books have been published by the CLUI. CLUI Archive photographs illustrate journals, popular magazines, and books by other publishers, and have been used in The Center for Land Use Interpretation's (CLUI) site- non-CLUI exhibitions, and acquired by art collectors. specific landscape Display Facility on the fringes of Albuquerque will be open to the public Friday The CLUI exists to stimulate discussion, thought, and Saturdays 12-5pm throughout the exhibition. and general interest in the contemporary landscape. This facility will be located at a site that draws Neither an environmental group nor an industry af- people into a part of the city that is not often vis- filiated organization, the work of the Center inte- ited. Inside is information about the region, includ- grates the many approaches to land use - the many ing an exhibit about the New Mexico landscape. perspectives of the landscape - into a single vision that illustrates the common ground in “land use” de- bates. At the very least, the Center attempts to em- phasize the multiplicity of points of view regarding the utilization of terrestrial and geographic resources.

www.clui.org

*CLUI projects in New Mexico for LAND/ART are presented by 516 ARTS, and are made possible by The FUNd at Albuquerque Community Foundation. Beatriz da Costa PigeonBlog PigeonBlog provides an alternative way to participate environmental air pollution data gathering. The project equips urban homing pigeons with GPS enabled electronic air pollution sensing devices capable of sending real-time location based air pollution and image data to an online mapping/ blogging environment. Pigeonblog is a social public experiment between human and non-human animals.

Bio Beatriz da Costa is an interdisciplinary artist and researcher, who works at the intersection of contemporary art, engineering, politics, and the life sciences. Beatriz is a former collaborator of Critical Art Ensemble and a co-founder of Preemptive Me- dia, an arts, activism and technology group. Beat- riz is an Associate Professor of Arts, Computation, Engineering at the University of California, Irvine. www.beatrizdacosta.net John Fogarty and Lea Rekow Where’s Your Power In this work, John Fogarty and Lea Rekow create a video booth where visitors will be able to describe where their electricity comes from and where in the future they would like to see it come from. The video booth will be part of a piece that includes 3.5 tons of coal, which is the amount of coal used by every American every year. As Americans we are largely disconnected from the power we use every day; we turn on our lights and we don't know that we are burn- ing huge amounts of coal - contaminating our water and air and harming our health - to make that hap- pen. We want to make that connection, and in turn, build the political power necessary to chart a new course for energy in New Mexico and in America. In a community action, the installed coal will be walked to the Round House, and gifted to all state legislators.

We have an opportunity right now to re-energize our economy by solving global warming, but we need to reach people at a visceral level in order to create the requisite political will. Despite the overwhelming scientific data showing the necessity of bold action, the climate movement has been largely moribund and has failed to enact substantive legislation at the state or federal levels. Mapping a Green Future grew from this pressing need to bring arts to the climate movement.

The challenges before us - climate change and peak oil - will require us to quickly rethink our energy system in America. It will be a restructuring of our entire society, and will require all segments of our society to come together to develop solutions. The arts community will play an important role in lighting the path to a future that is powered by the sun, the wind, and the land. John Fogarty Dr. Lucy Boulanger and Dr. John Fogarty, physicians and Realizing that nuclear and fossil-fuels energy public health advocates, founded New Energy Economy, systems disproportionately affect communities a not-for-profit devoted to the development of a new of color; Dr. Boulanger and Dr. Fogarty are look- energy economy based on renewable sources. New ing to a new roadmap for energy development. Energy Economy believes that responsible planning and the right leadership will lead to prosperous com- Dr. Boulanger was born in Burlington, VT and received munities and a better future for generations to come. her medical degree from the University of Vermont. She completed her internal medicine residency at Highland New Energy Economy is presently developing a di- Hospital in Oakland, CA, and then moved to New Mex- verse network of advocates who are helping soci- ico in 1996 with the Centers for Disease Control as an ety transition from fossil and nuclear fuels to new officer in the Epidemic Intelligence Service. She also is energy sources such as wind and solar. The work Board Certified in Infectious Disease after having com- has a variety of impacts including the creation of pleted a fellowship at the University of New Mexico new jobs in some of the lowest income communi- and received the Diploma of Tropical Medicine and ties, reduction of air pollution, preservation of wa- Hygiene from the London School of Tropical Medicine. ter supplies, and the slowing of climate change. Dr. Fogarty was born in Iowa City, IA and received In recent months they have been organizing advo- his medical degree from the University of Wash- cates from Native American and Hispanic communi- ington. He completed his residency training at the ties along with environmental and business lead- University of New Mexico and is Board Certified ers to develop renewable energy models to replace in Family Practice. Since 1997 he has worked with polluting methods currently in use. They are also the Pueblo, Apache, and Navajo peoples of New working to develop new communications strate- Mexico as a physician in the Indian Health Ser- gies to more effectively reach broader audiences. vice. Dr. Fogarty also has a strong interest in public health and teaches courses on health, human rights, Dr. Boulanger and Dr. Fogarty’s advocacy efforts and globalization at the University of New Mexico. around clean energy started after working as clini- cians on the Navajo reservation. As physicians they www.newenergyeconomy.org have witnessed an epidemic of lung and kidney disease among their patients, stemming from previ- ous decades of uranium mining activities on Navajo lands. Uranium used in the first atomic bombs and for much of America’s nuclear weapons stockpile came from more than 1,100 uranium mines operated on the Navajo Nation. Underground miners were exposed to high levels of radiation, and the mining activities left behind radioactive waste in many communities. This waste now contaminates water supplies, harms air quality, and threatens future generations.

Although the last uranium mine on Navajo Nation closed in 1986, new uranium mining operations have been proposed for two Navajo communities, Crownpoint and Church Rock, located in New Mexico. These new mines will likely contaminate the only source of drinking water for 15,000 Navajos living in a high mountain desert area. Lea Rekow Lea Rekow is currently Executive Director of the Cen- been reviewed in the New York Times, Art in America, ter for Contemporary Arts, in Santa Fe, New Mexico. Art Forum, Time Out New York and more. She has re- Lea is active in media-making, curating, arts consult- ceived awards, scholarships and commissions from ing, publishing and filmmaking. She is an associate the Ann Arbor Film Festival, One World festival, the of Lalutta Media Collective and a member of New government of Victoria, Pratt Institute, the University York Women in Film and Television. Lea has lived of Southern Cross, and Griffith University. Her work and traveled in developing countries for most of her is held in several private and academic collections. adult life. She has produced numerous environmen- Lea holds a Masters degree in film and digital me- tal and ethnographic projects, including a documen- dia, and is a doctoral candidate at Griffith University. tary based on the continuing civil war in Burma. She has performed with media-activist group EBN, and www.learekow.com produced several publications, including DRIFT with Lee Ranaldo of Sonic Youth. Lea founded Gigantic ArtSpace, has curated for PS1 radio, and is cultural advisor to the Australian consulate in New York.

Previously, Lea has worked as director of Harmonic Ranch, director at the Center for Peace and Human Security, taught at Pratt Institute, and as a producer for Simon and Schuster Interactive. In the US, her work has been shown at such places as the Angelica, Lowes cinemas, and Village cinema in New York, and been presented at academic institutions including Cal Arts, Pratt Institute, and SUNY Binghamton. She has shown extensively in greater Asia, Europe, South America, Australia and the U.S. She has sat on pan- els for New York Foundation for the Arts, School of Visual Arts, Parsons School of Design, Amnesty Inter- national, as a juror for the MacArthur award and as an advisor for the Lower Manhattan Cultural Council. Her work as filmmaker, artist, curator and gallerist has Bill Gilbert Attempts to Walk the Grid Series Bill Gilbert documents walking the grid, as topography and legalities allow, as an exploration of place that mediates between an abstract representation of the land through maps and a direct, physical experience of walking across the planet's surface.

Bio Bill Gilbert began teaching sculpture at UNM in the Department of Art and Art History in 1987. He has long held an interest in redefining the very nature of how students are educated in the visual arts. This vision became a reality– the Land Arts of the American West program, an interdisciplinary, field based -stu dio curriculum – with support from Dean Christopher Mead, College of Fine Arts, former UNM President Louis Caldera, and Patrick Lannan, President of the Lannan Foundation who endowed the Lannan Foun- dation Chair in the Land Arts of the American West program, which Gilbert now holds. In 2000, along with Professor Emeritus John Wenger and a dozen ea- ger students, Gilbert initiated the first Land Arts trip which covered five states and some 8,000 miles. Two years later, he began collaborating with Chris Taylor from The University of Texas at Austin, and during the next four years they traveled with dozens of students, guest artists, writers and historians throughout the Southwest and parts of Mexico. Professor Gilbert will discuss this "experiment" in pedagogy, as he calls it, and how this has both affected and intersected with his work as an artist and a teacher. Following the lecture, Gilbert will sign copies of his new book Land Arts of the American West (Austin: University of Texas Press, 2009) which he co-authored with Chris Taylor. www.unm.edu/~wgilbert Catherine Harris With support from Lee Montgomery Flow Line/The Augean Stables Revisited We are interested in imagining ways to live with ecological process rather than impose upon it. Imagine a future in which building patterns will function as living networks, seeking to embrace the dynamism of ecological changes rather than resist them. What would life be like living with floods, fires, debris flows?

For CCA Santa Fe, to reflect the watershed runoff from Old Pecos Trail and trace its implied path through the Munoz Waxman Gallery building, one hundred sculptural flow meters hang from copper tubing attached to the existing 16 foot center steel truss work. The flow meters hang in an undulating path showing the hydrograph of the area’s rainfall over a typical year. Each flow meter is a 3” diameter twisted wire “propeller“ with local wool felted as a paddle on an alumi- num axle. Above the “propeller” a line of copper pipe Bio will drip a controlled water drop, powered by a hand Catherine Page Harris teaches Art and Ecology in the operated pump assembly at the north end of the gal- Art and Art History Department at the University of lery. Visitors will be able to make the water flow and New Mexico. She received her MFA from Stanford the propellers turn, tracing the pattern of the natural University and her MLA from UC Berkeley. Harris water flow. On the wall at the southern end of the in- received a fellowship at the Vermont Studio Center, stallation’s path calculations show the Old Pecos Trail created a Sustainability Master Plan for their cam- watershed flows, the area hydrograph, a topographic pus, and a solo art show. She works with the Cen- analysis of the building’s position in the water flow of ter for Land Use Interpretation and spent a funded the area, images of monsoon water in the area, and a residency in Wendover, UT. She has practiced as a plan delineating the muddy area at the northern end and landscape architect, working on public and private the retention basin at the southern end of the Munoz projects, and delivered a paper on artist residencies Waxman Gallery. This project places the interrupted and walking at the Council for Educators in Land- water flow in the hands of the gallery visitor, “clean- scape Architecture meeting in Tucson, AZ. Catherine’s ing” the building’s relationship to the land it stands on. work has been shown in venues from the Lab in San Francisco to Emily Harvey Gallery in New York City. This is a return for Catherine, in the widening gyre of life, as one of her first group shows was a Men- tors show at CCA with Meridel Rubenstein in 1989

www.catherinepageharris.org Basia Irland Bio Gathering of Waters Basia Irland, Professor Emerita, University of New A green future cannot be mapped without healthy wa- Mexico, creates international water projects fea- tersheds. The cartography of the next generations must tured in her book, Water Library, University of New include communities working together to insure clean, Mexico Press, 2007. Irland often works with scholars viable river systems. The Gathering of Waters proj- from diverse disciplines building rainwater harvest- ects establish working relationships between people, ing systems; connecting communities along lengths and connect diverse cultures along the entire length of rivers; launching carved ice books embedded with of rivers emphasizing that we all live downstream. It seeds into rivers to aid with stream bank restoration; is imperative to work together to face upcoming chal- filming and producing video documentaries; and cre- lenges, especially here in the increasingly arid South- ating waterborne disease projects around the world, west. In New Mexico, hydrologic studies have shown most recently in Egypt, Ethiopia, India, and Nepal. Ir- that climate change will produce earlier snowmelt and land is the recipient of over forty grants including a lower stream flows in the Rio Grande, resulting in the Senior Fulbright Research Award for Southeast Asia, drop of ground water levels. My work in this exhibition Woodrow Wilson Foundation Fellowship Grant, and includes sculptural backpack/repositories containing a National Oceanic and Atmospheric Research Grant. canteens, logbooks, maps, video documentaries, and She lectures and exhibits extensively. Essays about photographs from three of the five Gathering of Waters her work have been included in books published in projects. Included are: the Nisqually River, Washing- Germany, England, Switzerland, and the U.S. She ton State; Boulder Creek, Colorado; and the 1,875 mile- has produced nine video documentaries about water. length of the Rio Grande, which begins in the San Juan Mountains of Southern Colorado, flows through New www.basiairland.com Mexico, becomes the border between Texas and Mex- ico, and then enters the Gulf of Mexico at Boca Chica.

A Gathering of Waters; Rio Grande, Source to Sea took five years to complete. Hundreds of participants were invited to put a small amount of river water into a can- teen, write in a logbook, and pass these downstream to another person. Connections were made that have been lasting, and groups are working together that never would have met otherwise. In order to participate in this project, you had to physically be at the river and interact with someone else downstream, thereby forming a kind of human river that brings awareness to the plight of this stream that is always asked to give more than it has. In the video documentary about this project, my son, Derek, stands in the middle of the Rio and says; “Ask not what this river can do for you, but what you can do for this river.” Eve Andrée Laramée Prototype Designs for Portable Filters for Water Contaminated with Radium a n d Burial at Los Alamos Eve presents her work on uranium in the Southwest. She is working on simple, inexpensive clay filters to fil- ter uranium isotopes out of water. She is also working on repurposing a uranium mine in Brazil as a solar array and may present her documentation and models of this.

"I am interested in the ways in which cultures use science and art as devices or maps to construct belief systems. I try to draw attention to areas of overlap and interconnection between artistic exploration and scientific investigation, and to the slippery human subjectiv- ity underlying both processes. Through my work I spec- ulate on how human beings contemplate and consider nature through both art and science in a way that em- Bio braces poetry, absurdity, contradiction and metaphor." Eve Andrée Laramée has been exploring the mutable, triadic relationship between art, science and nature for over twenty years. Her work has been exhibited throughout the United States and in Europe, including exhibitions in New York, England, Germany, Italy, Swit- zerland, France, Israel, Poland, China and the Czech Re- public. Her work has been exhibited at the Venice Bien- nale, MassMOCA, the Museum of Contemporary Art, Chicago; the New Museum of Contemporary Art, New York; the High Museum of Art, Atlanta; the Contempo- rary Arts Museum, Houston among other institutions.

She has received awards from the Pollock-Krasner Foundation, the New York Foundation for the Arts, the Mid-Atlantic Arts Foundation, the National Endow- ment for the Arts, the Guggenheim Museum, the Andy Warhol Foundation, MacDowell Colony, among others.

Laramee is Professor of Interdisciplinary Sculpture at the Maryland Institute College of Art. Previously, she has taught sculpture, installation and critical theory at The Cooper Union for the Advancement of Art and Science, Massachusetts Institute of Technology, the Rhode Island School of Design, Sarah Lawrence Col- lege, New York University, and Fairfield University. She lives in Brooklyn, NY; Baltimore, MD; and Santa Fe, NM.

home.earthlink.net/~wander/ Jenny Marketou Red Eyed Skywalker #4 My work that emerged from the mid 90's never com- Bio mitted to a style but rather built open communication Jenny Marketou was born in Athens, Greece. Since systems and social contexts for expression. I am espe- 1984 she has lived and worked in New York. She has cially interested in social networks and various modes been awarded grants and artists residencies worldwide of production in order to create visual experiences and and holds a Master of Fine Arts from Pratt Institute new forms of representation, which grows out of my in Brooklyn, New York. She has lectured extensively interest to visualize things that are not in themselves and has taught as an adjunct professor Photography visual. One approach requires structure and hierar- and Interdisciplinary studio art at The Cooper Union chy and the other requires inhabited experience, en- School of Art and Science in New York City. She is the actment or performance and very active viewer par- author of the book "The Great Longing: The Greeks ticipation. They are fragile, unstable and displaced. Immigrants of Astoria, Queens" Kedros Publishing. Although my projects are often discussed in relation to Marketou’s 2008 exhibition venues included: Le technology and surveillance, I incorporate these con- Grand Palais, Paris, France; Chelsea Art Museum, cepts with playfulness, humor, and public participation New York, New York; Fiacs3 Biennial International in order to humanize these with other proliferating of Contemporary Art of Seville, Spain; Tina_B Bien- issues of social space, which I consider imperative nial Festival of Contemporary Art of Prague, Schez issues within our culture. In my public street games Republic; Anita Beckers Gallery, Frankfurt/Maine, and participatory installations I create open fields Germany; Ileana Tounta Art Center Gallery, Athens, of enactment between the work, the psychological Greece; Museum Abteiberg, Monchengladbach, Ger- space of imaginary playgrounds and the participants. many; Strozzina Center of Contemporary Art, La Fon- dacione Palazzo Strozzi, Florence, Italy; Kunstverein Meteorological balloons equipped with wireless (wi- Ludwigshafen, Ludwigshafen Mannheim, Germany. fi) video surveillance cameras investigate visual forms of representation and narrative under intense com- www.jennymarketou.com munication and during participatory and performa- tive situations and spectacles which take place in the public space of parks streets, galleries and museums.

The wi-fi cameras capture the visual compelling video data during enactments of the viewer-turned-player/pro- tagonist of the narrative and are usually broadcast live on monitors. The meteorological helium filled balloons like air vessels open up time and space for exploration and imagination. While they also make a reference to the use of balloons in war reconnaissance, the mobility and ephemeral quality of the balloons exaggerates the vulnerability within our ever-constricting social space. Joan Myers Western Power Series Joan Myers' photographs span the last quarter of the twentieth century and several lo- cales. She is known for her platinum-palladium prints, a hand-coating process where the image becomes part of the drawing paper on which it is printed. Myers' work is in the Mu- seum of Modern Art, the Center for Creative Photography, the George Eastman House, The San Francisco Museum of Modern Art, and the National Gallery of Art, Washington. Myers' work is in the collections of individuals and corporations such as Paine Webber, Chase Manhattan Bank and Wells Fargo Bank. Six books of her work have been published:

• Wondrous Cold: An Antarctic Journey, May 2006 • Pie Town Woman The Hard Life and Good Times of a New Mexico Homesteader (2001) • Salt Dreams: Land and Water in Low-Down California (1999) • Whispered Silences: Japanese Americans and WW II (1996) • Santiago: Saint of Two Worlds (1991) • Along the Santa Fe Trail (1986)

Bio Joan Myers was born in 1944 in Des Moines, Iowa, and had an early interest in the sciences and math- ematics. At Stanford University, her concentration on Renaissance and baroque music performance led College of Santa Fe. Another series, "Women of a Cer- to a B.A in 1966 and a M.A. in musicology in 1967. tain Age", includes nudes of women over the age of In the early 1970's Myers turned to photography. To- forty. In 1988-1989, she photographed the medieval day she utilizes various digital methods, as well as pilgrimage route across northern Spain to Santiago de the platinum-palladium process and continues her Compostela. The University of New Mexico Press pub- exploration of hand-applied color. She maintains her lished her book entitled Santiago: Saint of Two Worlds residence and studio near Santa Fe, New Mexico, and in 1991, and the exhibit was toured by the Albuquerque teaches workshops throughout the country. In 2002, Museum. In 1983-1985, she photographed the Japa- the National Science Foundation awarded Joan Myers nese Relocation Camps from the 1940s; a SITES exhibit an Antarctic Artists and Writer’s Grant to photograph tour began in 1996, accompanied by a book, Whispered at McMurdo Station, surrounding field stations, his- Silences. In 1982, Joan Myers received a NEA/Mu- toric huts, and the South Pole during the 2002-2003 seum of New Mexico Survey grant to photograph the austral summer. A SITES show entitled "Wondrous Santa Fe Trail, a project that resulted in a SITES three- Cold: an Antarctic Journey" is scheduled to begin tour- year exhibit tour and a book, Along the Santa Fe Trail. ing in May 2006, accompanied by a book published by Smithsonian Books. In 2001 Ms. Myers' book Pie Town www.joanmyers.com Woman was published by University of New Mexico Press and received an award for Best Illustrated Trade Book from the Publishers Association of the West. Joan Myers' book, Salt Dreams: Land and Water in Low-Down California, a ten-year photographic study of the Salton Sea in southern California with text by William deBuys, was published by University of New Mexico Press in 1999 and won the Western States Book Award for non-fiction. Also in 1999, Ms. Myers completed a series "Western Power" for the National Millennium Survey directed by James Enyeart at the Jenny Polak Green in Translation Jenny will meet and conduct interviews with Spanish- speaking local people who work on the land, as gar- deners or builders or on farms around Santa Fe. The ex- changes will explore less affluent, more rooted people’s understanding of sustainable energy and environmental protection. Conducted in Spanish despite her relative ignorance of the language, the efforts to communicate will be recorded by Polak and the resulting audio and documented vocabulary will become an installation.

Bio Jenny Polak is an artist making architectural installation, drawings and web projects. Her designer alter ego, Design For The Alien Within, promotes hypo- thetical hiding and dwelling places for people without immigration documents. Her furnishings, infrastruc- tural elements, maps and building kits are mutated by the dangers of today’s immigration and border politics. Yet these fictitious solutions for immigrant- citizen struggles are brought to you in the cheery terms of interior design consumption. Polak comes from England and family histories of hiding and mi- gration are behind her preoccupation with illegal assistance of undocumented and stateless people. www.jennypolak.com Andrea Polli + Chuck Varga Bios Cloud Car / Hello, Weather! Andrea Polli www.andreapolli.com is an artist, As- sociate Professor in Fine Arts and Engineering and Director of Interdisciplinary Film and Digital Media at The University of New Mexico. Polli’s work has been presented widely in venues including the Whitney Mu- seum of American Art Artport and The Field Museum of Natural History and has been reviewed by the Los Angeles Times, Art in America, Art News and others. In 2007/2008, she spent seven weeks living in Antarctica.

In 1985, Chuck Varga joined with a group of five like- minded individuals and founded the theatrical rock band GWAR. Varga created the character Sexicutioner, who starred in eight major productions of GWAR that toured the US and Europe in over 1000 shows. He also wrote scripts, designed and built costumes and sets, wrote Living and working in cities with large populations and designed over a dozen graphic stories for the GWAR has given Andrea Polli and Chuck Varga a very pub- comic, and co-authored two feature-length films includ- lic-focused perspective on media art and ecology. ing the Grammy-nominated Phallus in Wonderland. Their work has been focused on how art can play a vital role in understanding the how and why of cli- www.andreapolli.com mate change, through interpretation of the data and www.chuckvarga.com direct communications with scientists. Andrea Polli and Chuck Varga explore the connection between the automobile, life and air with their Cloud Car, a car fit- ted with special effects equipment that produces a cloud of mist, enveloping car and rider. With Hello, Weather! Andrea Polli attempts to de-mystify the collection and use of weather and climate data by bringing artists, technologists, ecologists and envi- ronmentalists together by creating workshops around Polli’s permanent installation of a public weather station. Several Twitter links and an interactive map will allow the audience to participate with the station. Brooke Singer Bio Superfund365 Brooke Singer is a media artist who lives in New York Each day for a year, starting on September 1, City. Her work blurs the borders between science, 2007, Superfund365 visited one toxic site in the technology, politics and arts practices. She works Superfund program run by the U.S. Environmen- across media to provide entry into important social tal Protection Agency (EPA). We began the jour- issues that are often characterized as specialized or ney in the New York City area and worked our way opaque to a general public. She is currently Assis- across the country, ending the year in Hawaii. tant Professor of New Media at Purchase College, State University of New York, and co-founder of the Today the archive consists of 365 visualiza- art, technology and activist group Preemptive Media. tions of some of the worst toxic sites in the U.S., roughly a quarter of the total number on superfund365.org the Superfund's National Priorities List (NPL). Special thanks to our presenters and supporters Young Foundation - Community Partners Program Bioneers New Energy Economy American Institute of Architects, Santa Fe Chapter 516 Arts Land/Art Tyler Roger Vision:Shift American Institute of Architects, Santa Fe Chapter presents Marlon Blackwell, FAIA An Architecture of UnHoly Unions Bio Blackwell is an architect based in Fayetteville, Arkan- sas. He is a professor and the Department Chair at the School of Architecture at the University of Arkan- sas. Work produced from his private practice, Marlon Blackwell Architect, has received national and international recognition through AIA design awards and numerous architectural publications including Architect, A+U, Architectural Record, Architectural Review, and the Phaidon Atlas of Contemporary World Architecture (2006/2008). In 1998, the Architectural League of New “For Blackwell, buildings are generators of and York recognized Blackwell as an “Emerging Voice” in ar- frames for experience. Profound and touching architecture. In April 2005, Princeton Architectural Press chitectural experiences arise from the tectonic re- published a monograph of his work entitled “An Archi- alities of construction, truthful materiality, and the tecture of the Ozarks:The Works of Marlon Blackwell”. existential charge of the imagery, not from fictitious pictorial fabrications.” - Juhani Pallasmaa At the University of Arkansas he has co-taught design studios with Peter Eisenman (1997 & 1998), Christo- Marlon Blackwell’s work is born out of a goal to enrich pher Risher (2000) and Julie Snow (2003). He has been the experience of the everyday world by simply ‘build- a visiting professor teaching graduate design at MIT in ing well’. The firm seeks to provide their clients an ar- Cambridge, Massachusetts in Spring 2001 and 2002. chitecture that can be felt as much as it is understood, Most recently, He was the Ivan Smith Distinguished as immediate and tactile as it is legible, contributing to Professor at the University of Florida (Spring 2009) and the fundamental civic dignity of communities. Working the Paul Rudolph Visiting Professor at Auburn Univer- from a conviction that architecture is larger than the sity (Spring 2008) and the Cameron Visiting Professor subject of architecture, Blackwell looks at the world at Middlebury College (Fall 2007). In the Spring of with a microscopic wide-angle lens to generate ideas 2003, he was the Ruth and Norman Moore Visiting and actions from concrete experiences of the everyday, Professor at Washington University in St. Louis and between the ordinary and the extraordinary, between has also taught guest studios at Syracuse University one’s own personal history and the history of the disci- (1991-92) and Lawrence Tech University (Fall 2001). pline of architecture. For his lecture, Blackwell discuss- In 1994, he co-founded the University of Arkansas es his design work as interplay between details, form, Mexico Summer Urban Studio, and has coordinated and place, challenging the conventions and models that and taught in the program at the Casa Luis Barragan in often blind us to other possibilities. Mexico City since 1996.He received his undergraduate degree from Auburn University in 1980 and a M. Arch II degree from Syracuse University in Florence in 1991.

www.marlonblackwell.com VISION:SHIFT SANTA FE ACTION CALL TO ACTION What: March to the Roundhouse to October 24th we add our voice to the call of mil- demand action on climate change. lions across the globe and take part in the Interna- When: October 24th 1-4PM tional Day of Action on Climate Change. In countries Where: Meet at CCA – March down to the across the world grassroots organizations, students, Roundhouse on Old Santa Fe Trail schools, businesses, and individuals young and old Bring signs with the number 350 or im- send a collective message to the world’s leaders. How: ages & messages about climate change. Carry a bag of coal to your Legislator. Alternatively ride critical The message: mass or buses to promote public transit and include “Action to address climate change must be immedi- the elderly and disabled. Wear green and/or blue. ate and must be comprehensive. The global com- We present our political leaders with 3 demands. munity must work tirelessly to reduce CO2 in the atmosphere NOW to 350 parts per billion or below 1) Clean Energy in Santa Fe by 2020-No more Coal! or we risk destroying the planet as we know it.” 2) State-wide Cap on Emissions The International Day of Action on Climate Change 3) National CO2 Cap and Trade and leadership in is organized by 350.org as a means to spark an in- creating an international treaty that reduces ternational climate change movement and to get global CO2 emissions to 350 NOW! political leaders’ attention before they meet in Co- penhagen this December to decide the fate of our world at the UN conference on Climate Change.

This is a collaborative effort of nonprofits and schools throughout northern New Mexico including Earth Care International’s Youth Allies, New Energy Economy, Santa Fe Critical Mass, United World College, UNM Sustainability Course, and Sierra Club. Special Thanks I wish to extend a very special thanks to the incredible staff at CCA, in recognition that their hard work is what keeps us here as an alive and vibrant arts center, and to our Board of Directors, who are tireless in their committ- ment as stewards of CCA. And a special thanks to the volunteers who generously donate their time. Lea Rekow Executive Director

Board Staff Dr. Albert S. Waxman, PHD Lea Rekow Pr e s i d e n t Ex e c u t i v e Di r e c t o r Lacey Adams Steven J. Spector Adminitrative Di r e c t o r CFO/Tr e a s u r e r Filip Celander Victoria Price Di g i t a l Me d i a Ar t s Di r e c t o r Se c r e t a r y Clara Apodaca Erich Fisher Gr a n t s Coo r d i n a t o r John C. Bienvenu Javier Hernandez Bill Conway Cinematheque Ma n a g e r Gayle Maxon-Edgerton GuruAmrit Khalsa Ga l l e r y Ma n a g e r John Gordon Jason Silverman Cindy Miscikowski Cinematheque Di r e c t o r Somers Randolph Peter Zangrillo William Siegal Vi s u a l Ar t s Di r e c t o r Dyanna Taylor Shannon Zangs Ar t Coo r d i n a t o r Sherri Land Pr o j e c t i o n i s t Interns & Volunteers Sibel Melik Kelly McBride Pr o j e c t i o n i s t Karen & Spencer Ralston Chris Brendenberg Pr o j e c t i o n i s t Alan Karp Jett Boynton Pr o j e c t i o n i s t Alina Gatti Bo x Off i c e Keith Grosbeck Bo x Off i c e Jesse Hockersmith Bo x Off i c e

MAPPING A GREEN FUTURE Center for Contemporary Arts October 9 - November 21, 2009