This week, Dr. Suzanne Moon and I begin team-teaching “Climate Change in History” (HSCI 3473: History of Ecology and Environmentalism) as a Presidential Dream Course, a program which allows University of Oklahoma faculty to upgrade an existing course into its dream version, with guest lectures Continue reading
What does a collection of plastic shopping bags have to do with choreographing a dance? For me there was a powerful connection—and in this post I want to explain how a material we associate with waste richly fueled a creative process. Continue reading
I actually prefer plastic as a material because it is a material for our times. It represents the now. Ironically it is also ‘archival’, meaning in terms of its longevity it lasts over 100 years. This means that for art, it is a great material.
Claudia Hart (artist/sculptor), “Resolution, Reification,
and Resistance,” 3d Additivist Cookbook.
Not so long ago I had a conversation with a respected curator and gallery director about my research on Continue reading
I find examining human history more comforting than considering the ever-encroaching future promised (or threatened?) by talk of the Anthropocene. This preference informs my work as an artist: Continue reading
This is the first in a series of posts on Perceiving the Anthropocene.
After escaping Polyphemus’s cave, Odysseus, ignoring protests from his men, shouts back in anger at the giant:
Cyclops! If any mortal asks you how
your eye was mutilated and made blind,
say that Odysseus, the city-sacker,
Laertes’ son, who lives in Ithaca,
Destroyed your sight.
— Homer, The Odyssey, IX.502-506, Emily Wilson, trans.
Odysseus’s announcement functions like a signature Continue reading
resistance (Biology): Ability (of an organism, tissue, or cell) to withstand a destructive agent or condition such as a chemical compound, a disease agent, or an environmental stressor. (American Heritage® Medical Dictionary) Continue reading
On November 4, 1966, the Arno overflowed its banks into the streets of Florence. A number of prominent foreign art historians, including Frederick Hartt and John Shearman, arrived soon thereafter to assist their Italian colleagues, working generally under the oversight of the Uffizi’s conservation director Umberto Baldini, in developing a response to a cultural emergency: the Italian Renaissance was underwater. Their collective expertise facilitated the arduous work of restoring what could be salvaged from the flood, which had Continue reading