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Newsletter 2009
NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists. -
Turbulent World: an Artwork Indicating the Impact of Climate Change
Turbulent World: An Artwork Indicating the Impact of Climate Change Angus Graeme Forbes∗ Electronic Visualization Laboratory University of Illinois at Chicago Chicago, IL, USA [email protected] Abstract New World.” In their call for entries, they asked artists to think about creative responses to climate change: “What is This paper describes an artwork created in response to a ques- the role of the artist as citizen in this climate? How might we tion about the role of the artist in communicating climate reclaim our choice, our connection, our social power when change issues. The artwork, titled Turbulent World, incorpo- 1 rates turbulence and surprise as a means to visualize the po- immersed in a deteriorating environment?” Turbulent World tential instability of our culture and the environment due to was originally featured in this show, presented within the climatic changes indicated by increased worldwide tempera- Spare Change Artist Space in downtown San Francisco. It tures. The artwork makes use of a custom fluid engine that can was installed for the duration of the exhibition, which ran represent any amount of turbulence and energy. A dataset en- from late 2013 through early 2014. coding a simulation of rising surface-air temperatures over the The goal of Turbulent World is to provide insight into a next century is mapped to the turbulence system; and the visu- data model that represents current thinking by leading sci- alization is updated as the months and years flow by, based on entists about climate change. Scientific visualization often the projected temperatures at different areas of the world. -
The Bottom-Up Alternative: the Mitigation Potential of Private Climate Governance After the Paris Agreement
\\jciprod01\productn\H\HLE\42-2\HLE205.txt unknown Seq: 1 30-JUL-18 10:11 THE BOTTOM-UP ALTERNATIVE: THE MITIGATION POTENTIAL OF PRIVATE CLIMATE GOVERNANCE AFTER THE PARIS AGREEMENT Maria L. Banda* ABSTRACT The 2015 Paris Agreement on Climate Change has sought to inject renewed energy into the international climate regime. As a “bottom-up” treaty, however, it allows States to set their own emissions targets. Even before the U.S. withdrawal, States Parties’ commitments fell far short of what is required to achieve the treaty’s objectives. The low level of State ambition, coupled with the lack of an international enforcement mechanism, means that pri- vate initiatives—including through courts, investor actions, and voluntary business commit- ments—will be critical, especially in the U.S., if the climate regime is to deliver on its goals. This Article seeks to contribute to both the theoretical and empirical literature on private climate governance and develop a richer understanding of bottom-up options for the imple- mentation of the Paris Agreement where State leadership is weak or lacking. First, it develops an analytical framework to evaluate the effectiveness, or the mitigation potential, of private climate governance. Second, it provides a critical assessment of three promising forms of pri- vate climate governance: (a) disclosure of company emissions and climate risks; (b) voluntary commitments to reduce emissions; and (c) carbon labeling. The Article shows empirically that these private initiatives face a number of constraints that make them unlikely to generate significant mitigation action in the near term without regulatory backing. However, other bottom-up options, such as climate litigation, can play an important role in closing the ambi- tion deficit by increasing government accountability and facilitating the de facto implementa- tion of the Paris Agreement in the U.S. -
Why 350? Climate Policy Must Aim to Stabilize Greenhouse Gases at the Level Necessary to Minimize the Risk of Catastrophic Outcomes
Why 350? Climate Policy Must Aim to Stabilize Greenhouse Gases at the Level Necessary to Minimize the Risk of Catastrophic Outcomes ∗ Matt Vespa INTRODUCTION After years of inaction, the possibility of substantive federal and international climate policy is finally in sight. With so much time already squandered, insufficient action today will foreclose the ability to prevent catastrophe tomorrow. If we are to avoid saddling future generations with extreme economic and environmental hardships, emerging climate policy must ensure a high probability of keeping future warming below dangerous levels. Unfortunately, proposed federal climate legislation, which aims at limiting temperature rise to 2–3°C above pre-industrial levels by stabilizing greenhouse 1 gases in the range of 450–550 parts per million (ppm) CO2eq, poses significant and unacceptable risks. The best available scientific evidence now indicates that a warming of 2°C is not “safe” and would not prevent dangerous interference with the climate system. In addition, due to a number of climactic processes that are not fully understood, equating a particular atmospheric concentration of greenhouse gases with a specific temperature increase involves a significant degree of uncertainty. As the consequences of overshooting a 2°C threshold could include the displacement of millions due to sea level rise, irreversible loss of entire ecosystems, and the triggering of ∗ Matt Vespa is a senior attorney at Center for Biological Diversity’s Climate Law Institute. Mr. Vespa received his J.D. in 2002 from University of California, Berkeley, School of Law. 1. CO2eq is a unit of measurement used to compare the climate effect of all greenhouse gases to each other. -
Download CV As
CHRIS BORS www.chrisbors.com [email protected] Instagram @chris_bors Born in Ithaca, New York. Lives and works in New York City. EDUCATION M.F.A., School of Visual Arts, New York Rhode Island School of Design, Providence, Rhode Island BA, University at Albany, Albany, New York SOLO EXHIBITIONS 2021 Brian Leo Projects, Ackchyually, New York 2018 ADO Projects, American Jesus, Brooklyn, New York 2016 Guttenberg Arts, Kill Your Idols, Guttenberg, New Jersey 2013 Randall Scott Projects, The Youth are Getting Restless, Washington, DC 2009 Envoy Gallery, Forward and Backward Pam and Tommy, New York 2008 Go North, i against i, Beacon, New York 2005 Argo Gallery, America is a mistake, a giant mistake., Nicosia, Cyprus Haven Arts, Virtual Dumpster Diving, Bronx, New York 2002 Here Art, Quest for Herb, New York TWO PERSON EXHIBITONS 2021 Chris Bors and Joe Waks, curated by Brian Leo, IFAC Arts, The Yard Lower East Side, New York 2001 Meredith Allen and Chris Bors, P.S. 122 Gallery, New York SELECTED GROUP EXHIBITIONS 2020 The Confidence Game, curated by Joe Nanashe and Savannah Spirit, www.theconfidencegame.website Electoral Electric, curated by Michelle Vitale, Hudson County Community College, Jersey City, NJ General Store, SPRING/BREAK Art Show, New York The Mind Is a Terrible Thing to Taste, SPRING/BREAK Art Show, Los Angeles, California A Horse Walks Into a Bar, curated by D. Dominick Lombardi, Hampden Gallery, UMass Amherst, Amherst, Massachusetts 2019 Foodie Fever, curated by D. Dominick Lombardi and Thalia Vrachopoulos, Anya and Andrew Shiva Gallery, John Jay College, New York (catalog) Malled & Walled: American Style, curated by Fred Fleisher, Turbine Space, Glarus, Switzerland 2018 The Southwest Brooklyn Biennial, Kustera Projects, Brooklyn, New York Summer of Love, curated by Nick Lawrence, Freight+Volume, New York (catalogue) Shadowman Meets the Kids, curated by Noah Becker, Contra Studios, New York 2018 Collect Hudson, curated by Fred Fleisher and Michelle Vitale, The Benjamin J. -
The Culture Wars of Climate Change
Queensland University of Technology From the SelectedWorks of Matthew Rimmer June 1, 2015 The ulturC e Wars of Climate Change Matthew Rimmer, Australian National University College of Law Available at: https://works.bepress.com/matthew_rimmer/238/ The Culture Wars of Climate Change Matthew Rimmer* In a 2005 essay, Bill McKibben considered the role of art and culture in the scientific and political debates over climate change.1 He considered that it was a paradox that the creative communities were slow to respond to the climate crisis: Here’s the paradox: if the scientists are right, we’re living through the biggest thing that’s happened since human civilization emerged. One species, ours, has by itself in the course of a couple of generations managed to powerfully raise the temperature of an entire planet, to knock its most basic systems out of kilter. But oddly, though we know about it, we don’t know about it. It hasn’t registered in our gut; it isn’t part of our culture. Where are the books? The poems? The plays? The goddamn operas? Compare it to, say, the horror of AIDS in the last two decades, which has produced a staggering outpouring of art that, in turn, has had real political effect. I mean, when people someday look back on our moment, the single most significant item will doubtless be the sudden spiking temperature. But they’ll have a hell of a time figuring out what it meant to us.2 McKibben emphasized that earth had changed dramatically in the face of climate change: ‘That famous picture of the earth from outer space that Apollo beamed back in the late 1960s –already that’s not the world we inhabit; its poles are melting, its oceans rising.’3 He * Dr Matthew Rimmer (BA/LLB ANU, Phd UNSW) is an Australian Research Council Future Fellow; an Associate Professor at the ANU College of Law; and an Associate Director of the Australian Centre for Intellectual Property in Agriculture (ACIPA). -
Extraction: Art on the Edge of the Abyss
EXTRACTION ART ON THE EDGE OF THE ABYSS Preview of a Glorious Ruckus Michael Traynor Earth Day ❧ april 22, 2021 “Tap ‘er light.” Dedicated to the memory of Edwin Dobb. Michael Traynor, Senior Counsel at Cobalt LLP in Berkeley, California, is an honorary life trustee of Earthjustice and a member of its Council, a member of the Leadership Council of the Environmental Law Institute, an honorary life trustee of the Lawyers Committee for Civil Rights under Law, President Emeritus of the American Law Institute, a Fellow of the Ameri- can Academy of Arts & Sciences, and a Fellow of the American Association for the Advancement of Science. He acknowledges with appreciation the many generous and helpful suggestions from friends and family. The views stated are personal. A compilation of references selected from the growing litera- ture accompanies this preview. Jetsonorama, I Am the Change, installation, photograph by Ben Knight Copyright © 2018 and 2021 by Michael Traynor. INTRODUCTION Layout and design by Samuel Pelts & Peter Koch. At this critical time of climate disruption and unsustainable extraction of natural For noncommercial purposes, you may copy, redistribute, resources, Peter Koch,¹ a printer, publisher and fine artist, has conceived of quote from, and adapt this preview and compilation pursuant Extraction: Art on the Edge of the Abyss (www.extractionart.org).² He, and the late Ed- to Creative Commons Attribution-NonCommercial 4.0 Inter- win Dobb,³ a writer and teacher of environmental stories, and a growing group national License (CC BY-NC 4.0), https://creativecommons. of allies, launched this inspiring project in 2018. They created “a multi-layered, org/licenses/by/4.0/. -
Climate Engineering Field Research: the Favorable Setting of International Environmental Law
Climate Engineering Field Research: The Favorable Setting of International Environmental Law Jesse Reynolds* Abstract As forecasts for climate change and its impacts have become more dire, climate engineering proposals have come under increasing consideration and are presently moving toward field trials. This article examines the relevant international environmental law, distinguishing between climate engineering research and deployment. It also emphasizes the climate change context of these proposals and the enabling function of law. Extant international environmental law generally favors such field tests, in large part because, even though field trials may present uncertain risks to humans and the environment, climate engineering may reduce the greater risks of climate change. Notably, this favorable legal setting is present in those multilateral environmental agreements whose subject matter is closest to climate engineering. This favorable legal setting is also, in part, due to several relevant multilateral environmental agreements that encourage scientific research and technological development, along with the fact that climate engineering research is consistent with principles of international environmental law. Existing international law, however, imposes some procedural duties on States who are responsible for climate engineering field research as well as a handful of particular prohibitions and constraints. Table of Contents I. Introduction ........................................................................................... -
A Comprehensive Approach for Reducing Anthropogenic Climate Impacts Including Risk of Abrupt Climate Changes *
Fate of Mountain Glaciers in the Anthropocene Pontifical Academy of Sciences, Scripta Varia 118, 2013 www.pas.va/content/dam/accademia/pdf/sv118/sv118-molina-zaelke.pdf A comprehensive approach for reducing anthropogenic climate impacts including risk of abrupt climate changes * Mario Molin a1 & Durwood Zaelk e2 Summary Annual greenhouse gases emissions in 2010 were at their highest recorded level in spite of a global recession. The risk is growing that the climate system could pass tipping points that lead to abrupt and irreversible impacts on a continental scale, perhaps within decades. Successfully address - ing climate change requires fast and aggressive action to reduce CO 2 emis - sions, which are responsible for up to 55% of radiative forcing since 1750. It also requires fast and aggressive action to reduce emissions of the pollu - tants causing the other 45% of warming – the non-CO 2 climate forcers, including hydrofluorocarbons (HFCs), black carbon, methane, and tropos - pheric ozone. Along with reducing CO 2, reducing emissions of these non- CO 2 climate forcers, which in most cases can be done using existing technologies and existing laws and institutions, can cut the rate of global warming in half for several decades and by two-thirds in the Arctic in the next 30 years. In addition, given the profoundly persistent nature of CO 2, it is necessary to explore and implement “carbon-negative” strategies to drawdown existing CO 2 on a timescale of decades rather than millennia, and ultimately produce a net drawdown of CO 2 when sinks exceed sources. Dangerous anthropogenic interference Increasing global temperature due to the increase in anthropogenic cli - mate forcers has put human civilization and the Earth it depends upon in *This paper draws on Molina, Zaelke, Sarma, Andersen, Ramanathan, & Kaniaru, (2009) Reducing abrupt climate change risk using the Montreal Protocol and other regulatory actions to complement cuts in CO 2 emissions, Proc. -
Jillian Pelto
JILLIAN PELTO [email protected] JillPelto.com 774-261-0834 Art exhibitions: “Imagine Climate: Artists on Climate Change” • Guest exhibitor: Anderson Ranch Arts Center, CO (Mar, 2019) “In the Ruins of the Anthropocene” • Guest exhibitor: Ellsworth Gallery, NM (Dec-Feb, 2019) “Tipping Point: Artists Address Climate Change” • Guest panelist and group exhibitor: Rockland Center for the Arts, NY (Mar-May, 2018) “Glaciogenic” • Guest exhibitor: Kootenay Gallery of Art, B.C., Canada (Mar-Apr, 2018) “Glacially Rendered” • Guest exhibitor: Hudson Museum, UMaine, ME (Sep-Jan, 2018) “Art of Climate Science” • Group exhibitor: Hutchinson Center, ME (June-Sep 2017) “Going Up: Climate Change + Philadelphia” • Group exhibitor: The Schuylkill Center, Philadelphia, PA (Sep-Dec 2016) “The Ghosts of Carnegie Hall” • Senior Art Exhibition: Lord Hall Gallery, UMaine, ME (Dec-Jan 2016) “Art Meets Science” • Group exhibitor: Mount Desert Island Biological Laboratory, Bar Harbor, ME (Jun-Sep, 2016) “Collective Works of Art and Science” • Guest exhibitor: The Rock and Art Shop, Bangor, ME (Sep 2015) “Student Art Exhibition” • Student exhibitor, annual juried show: Lord Hall Gallery, UMaine, ME (2011-2014) Video and radio features: May 17, 2018: NEXT New England for NPR — Episode 94 https://nenc.news/podcast/episode-94-climate-change-global-warming/ June 13, 2017: Maine Today — Communicating Science Through Art https://www.youtube.com/watch?v=2N_owJdj-LM December 12, 2016: Yale Climate Connections — Artist Turns Climate Data into Paintings https://www.yaleclimateconnections.org/2016/12/artist-turns-climate-data-into-paintings/ -
Climate Change and Forestry Legislation in Support of Redd+
Climate change and forestry legislation in support of REDD+ by Francesca Felicani Robles FAO LEGAL PAPERS No. 92 July 2015 FAO LEGAL PAPERS are a series of articles and reports on legal issues of contemporary interest in the areas of food policy, agriculture, rural development, biodiversity, environment and natural resource management. LEGAL PAPERS are available at: www.fao.org/legal/ For those without web access or email, paper copies of Legal Papers may be requested from the FAO Legal Office, FAO, Viale delle Terme di Caracalla 00153, Rome, Italy, [email protected]. Readers are encouraged to send any comments or reactions they may have regarding a Legal Paper to the same address. The designations employed and the presentation of the material in this document do not imply the expression of any opinion whatsoever on the part of the United Nations or the Food and Agriculture Organization of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The positions and opinions presented do not necessarily represent the views of the Food and Agriculture Organization of the United Nations. © FAO 2015 Analysis of climate change and forestry legislation in support to REDD+ TABLE OF CONTENTS ACKNOWLEDGMENTS ................................................................................................... 4 ACRONYMS AND ABBREVIATIONS ............................................................................. 5 INTRODUCTION .............................................................................................................. -
The Role of Art in the Global Climate Change Movement
THE ROLE OF ART IN THE GLOBAL CLIMATE CHANGE MOVEMENT BY AMANDA GORSEGNER THE ROLE OF ART IN THE GLOBAL CLIMATE CHANGE MOVEMENT A Thesis Submitted to the Faculty of Drexel University by Amanda Gorsegner in partial fulfillment of the requirements for the degree of Master of Science in Arts Administration March 2016 © Copyright 2016 Amanda Gorsegner. All Rights Reserved. ii DEDICATIONS Dedicated to my daughter, Dottie Bear, who brings fresh perspective to my world every day, to my supportive husband, Brian, who grounds me when my ambitions are a little too grandiose, and for the Earth, that is vital for life and inspiration—worth the daily struggle of advocacy. iii ACKNOWLEDGMENTS I would like to thank my advisors, Dr. Jean Brody and Dr. Andrew Zitcer, for their guidance and instruction during the past year in the creation of the work herein. I would also like to acknowledge the pivotal role that Dr. Joe Smith played in the initial direction of this paper. His insights and vast experiences at the intersection of culture and climate change opened up my brain to new ways of thinking about the role and function of arts and culture in the contemporary global climate change movement. Lastly, I would like to thank all seven conversational partners who allowed me their time, experiences and opinions during in-depth interviews. iv TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................................... V ABSTRACT ..............................................................................................................................................