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Artists Confront Species Loss

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Artists Confront Species Loss April 4 - May 10 , 2014 Opening Reception: Friday, April 4 | 6:30 - 8:30 pm rather than natural or cultural, the crisis is part of what Donna Haraway has Open Studio—Canada’s leading Open Studio acknowledges the Artists Confront Species Loss called naturecultures.2 Responding to this crisis, the five artists in this exhibi- printmaking centre since its founding in generous support of its government by Matthew Brower tion use a variety of conceptual, material, semiotic and aesthetic strategies 1970—is a charitable, non- profit, artist- funders, members, individual donors Threatened, Endangered, Extinct: to draw attention and affect change, including humour, irony, reportage and run centre dedicated to the production, and volunteers. preservation and promotion of documentation. Their work connects to a long tradition of socially engaged Artists Confront Species Loss contemporary original fine art prints. 2014 marks the centenary of the extinction of the passenger pigeon. The imagery in print media. Open Studio offers affordable and 2013-2014 Corporate & Foundation Bill Burns, Emmalee Carroll, Sue Coe, loss of the pigeon was an important event given that flocks of the birds equal access to printmaking facilities, Supporters: once filled the skies over North America, obscuring “the light of the noon Upstate New York artist Jenny Pope makes colour reduction woodcuts to programs and services for artists and the CUMBA Foundation Roger Peet & Jenny Pope 1 day sun ... as by an eclipse.” The decline of the passenger pigeon from bring awareness to current threats facing animals and the environment. In public—from across Canada and abroad. The Emerald Foundation The Japanese Paper Place Curated by Matthew Brower the billions of birds described by Audubon in the 1830s to a lone bird this relief printing process, the artist works from light to dark colours by Open Studio’s priority is to provide The Ontario Arts Council Foundation: (named Martha) in 1914 was a harbinger of the accelerating demise of carving a single block. The block is consumed during the process and the support and professional development opportunities for its membership and Arts Endowment Fund Program species due to human activity. Due to overhunting and habitat destruc- images cannot be remade after the edition is printed. Pope consults with the broader community of printmakers. tion, the pigeons suffered from colony collapse: the species fell below a scientists and reads a lot about the ecological scenes and narratives depict- ed in her work. This concern with ecology can be seen in Sleeted Chicklets, threshold from which it could not recover. As the pigeon’s demise Matthew Brower is a curator and writer reveals, species don’t always follow the mythic logic of Noah’s Ark, in which explores the effects of anthropogenic climate change on Antarctic who teaches in the museum studies which they can be saved by a single breeding pair. (In contrast, the plains Gentoo penguins. The increased rainfall in Antarctica brought on by climate program at the University of Toronto. bison population recovered from near extinction in the late 1880s based change can kill penguin chicks that haven’t fully developed their feathers. Much of his writing focuses on the role on a few scattered herds.) The anniversary of the loss provides an occa- What results is a beautiful image of horrific suffering. of animals in visual culture. He is the sion to examine contemporary artists’ use of printmaking and multiples author of Developing Animals: Early to confront species loss. The five artists in Threatened, Endangered, Extinct Pope takes a different tack in Right Whale Breach in which the “edition of 97 American Wildlife Photography (University deploy a variety of artistic strategies to explore the precarious position of corresponds to the number of North Atlantic calving females left in our of Minnesota Press, 2011). 3 animals in what has been oceans.” In this work the mechanics of the printmaking process are used to called the sixth extinction. add an ecological message towards representing the endangered whale. While extinction is part of Roger Peet is nature and a necessary a Portland, OR component of evolution, based artist the current rate of species and activist loss is reminiscent of the who prints at five earlier mass extinc- Flight 64 An agency of the Government of Ontario. Un organisme du gouvernement de l’Ontario. tion events that have cooperative printmaking marked the history of life Printing provided by our Friends at: on earth. Also called the studio. He is Emmalee Carroll, 5,634 remain, 2012, linocut, 6"x8" anthropocene extinction, also a found- the current age is marked ing member by rapid species decline of Justseeds and loss caused by Artists’ Open Studio human interventions into Cooperative, 104 - 401 Richmond St. W. the environment. In other which is Toronto, ON, Canada, M5V 3A8 Charitable Registration #11906 8823 RR0001 devoted to using printmaking to promote environmental and social justice. tel/fax 416-504-8238 words, the species loss is Open Studio is an active member of ARCCO, [email protected] both a political and envi- Included in this exhibition are three screenprints based on paper-cut designs commissioned by the non-profit Center for Biological Diversity as the Association of Artist Run Centres and www.openstudio.on.ca ronmental catastrophe: Collectives of Ontario, and OAAG, the Ontario Gallery Hours: Tues - Sat, 12-5pm Association of Art Galleries. -1- -2- (continued over...) threatened-brochure.indd 1 2014-03-06 2:18 PM wrapper images for their Endangered Species Condoms series. Polar Bear series of woodcuts addressing animal welfare issues, using a poster for- Artists' Biographies depicts the iconic species of climate change whose continued viability is mat that is explicitly political and confrontational. The visceral physicality Bill Burns’ work about art, nature and civil society are included in collections at threatened by declining polar ice caps. Dwarf Seahorses depicts a pair of of the woodcut process materially expresses the artist’s anger at the injus- the Museum of Modern Art, New York, the Cabinet de estampes, Geneva, the horses entwined with sea grass, a species in decline due to the afteref- tices depicted. The works focus on the economic structures that encour- Getty Center, Los Angeles, and the Davis Museum, Barcelona. His most recent fects of the BP Deepwater Horizon oil spill, harvesting for the pet trade, age the exploitation of animals by calling out practices threatening spe- books include Three Books and an Audio CD about Plants and Animals and War and habitat loss. Leatherback depicts a swimming tortoise with jellyfish in cific animal species. Poacher Parts Soup calls out shark fin fishing practic- (Verlag der Buchhandlung Walther Konig, Cologne, 2011) and Dogs and Boats and the background. The species is declining in part because of the prolifera- es, which mutilate millions of sharks per year, leaving them finless and Airplanes told in the form of Ivan the Terrible (Space Poetry, Copenhagen, Denmark, tion of plastic waste; the tortoises mistake plastic bags for jellyfish, eating suffocating on the bottom of the ocean. The snarling (smiling?) shark 2011). His forthcoming book Hans Ulrich Obrist Hear Us is in preparation with YYZ them and choking to death. Each wrapper uses a short rhyme to empha- offering a ladle while surrounded by bloody fins demands that we con- Books (Toronto, 2014). Since 2010 Bill has been artistic director of the Dogs and Boats and Airplanes Children’s Choir. size its message: “In the sack? Save the Leatherback!” The series links spe- front what’s in our bowls. cies loss to human population increases but uses humour to make its dif- Emmalee Carroll lives and works in the greater East Bay in Northern California. ficult message more digestible. Perhaps fewer humans would be the Irony is also a key component of the prints from the related project How Moby Dick ironically references Melville’s whale hunting novel in its angry She is influenced by the natural world and especially endangered species and most effective environmental program. to Help Animals Escape from Degraded Habitats. The project proposes attack on contemporary whaling conducted under the guise of research. their dwindling numbers. After a few semesters studying biology at UC Berkeley, model technologies for enabling animals, as individuals or in small Its breaching whale overshadows the sonar-equipped whaler, while the Carroll decided to pursue her love for printmaking instead and received a BFA Humour is groups, to be smuggled out of untenable situations and into zoos and print’s text (“I’m Moby, You Are Dick”) clearly establishes the work’s poli- from UCB in 2009. The sciences still play an important part in shaping the direc- also an impor- sanctuaries. It presents animals as if they were political refugees being tics. Turning a Blind Eye focuses on elephant exploitation for entertain- tion of her printmaking. Carroll received her MFA in printmaking at the Academy tant strategy secreted across the borders of a totalitarian state heading towards the ment in the context of the collapse of African elephant populations. The of Art University and was granted a scholarship for a Summer in Italy Study Abroad program. She also completed a 14-day artist residency in Venice in for Toronto freedom of the zoo. cruelty that underlies the animal’s performance is brought onstage in the August 2011 in which she made prints on the island of Murano at the Venice artist Bill hopes that we can’t unsee it. The images pass on the burden of their wit- Printmaking Studios. Heavily occupied with animal rescue, Carroll has the unique Burns. This Bay Area artist Emmalee Carroll is represented by a series of relief prints nessed injustice, asking us to see the world anew.
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