Seeing Seeds: Robert Llewellyn

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@ecoart
Seeing Seeds: Robert Llewellyn
Table for Listening: Lisa Wolfgang (2014)
A table for listening for answers.
Sound Piece, Reclaimed Wood Table, Headphones, Found Structure
Art Farm Nebraska, Marquette, Nebraska
https://soundcloud.com/lisawolfgang/listening-for-answers
Hidden Ecology: Looking at the Flip Side of Eradicating Invasive Plants: Megan Singleton (2012)
For two weeks water hyacinth plants grew in the gallery next to sculpture made of hyacinth paper. At the third day dragon flies began hatching from the tanks and flying around the gallery. Viewers witnessed a hidden ecology as the spiders, larva, and leaches emerged from the woven root mats of the plants. Invasive aquatic plants found in the Manchac Swamp was the focus of my most recent body of work and research. The pieces I'm showing focus on the Water Hyacinth a plant that threaten the biodiversity of Louisiana's bayous. I was interested in the small gesture of removing portions of these plants and utilizing them as studio material.
Herd Not Seen: Jenny Kendler (2016-ongoing)
Though Illinois is known as The Prairie State, less than 1% of our prairies remain. Far from being simple fields of grass, prairies are in fact diverse and complex ecosystems, reliant on the full complement of biodiversity, including ungulates, apex predators and fire, to truly exist.
American Bison (Bison bison), often called buffalo, are a keystone species, essential to healthy prairies. Though more than 50 million once roamed the U.S., only 541 survived the great slaughter of the 1800s—and today, only a handful remain in Illinois, in protected prairie fragments like Midewin and Nachusa.
Kendler resurrects the specter of this ancestral herd with tiny sculptural bison—made from soil and seeds, the components of the prairie itself—which biodegrade in the elements and become tiny prairies.
Environmental non-profits like NRDC, where Kendler is artist-in-residence, are endeavoring to allow the bison of Yellowstone—the only place where truly wild bison have lived since pre-history, to finally range free—to be bison. One day, many hope to see bison re-wilded across much of their former range.
Herd Not Seen was exhibited at the MCA Chicago in May of 2016, and museum visitors and museum guards and other staff were invited to become stewards of one of these prairie bison. The biodegradable bison were free, but in return the artist asked that they commit to growing the prairie plants and document the process of biodegradation.
Cult of Relics: Anne Covell (2015)
Cult of Relics is a reliquary housing objects derived from the natural world. Drawing inspiration from religious artifacts of the same name that were prevalent during the Romanesque era in Europe, this one-of-a-kind work calls into question what we as humans choose to venerate and preserve by imbuing these transitory forms with the same significance generally reserved for objects of religious or spiritual importance. Each unique object was collected during a three month stay in Italy in early winter, 2015. Objects were then wrapped in handmade abaca to not only preserve their form from decay, but to mirror the texture and pallor of religious artifacts from the historic era.
Handmade abaca, ink, cloth, board One-of-a-kind
Herbal First Aid: Raleigh Briggs
A guide to using plants in your environment for their medicinal properties! Cute illustrations from Giovanni Caputo and a generally fun vibe and feel! Includes healing cuts and scrapes, burns, rashes, sunburns, building a first aid kit, gut problems, aches & pains, bugs, bruises, bleeding, parasites, and a list of further reading resources!
Second Moon: Katie Paterson
'Second Moon' tracked the cyclical journey of a small fragment of the moon as it circles the Earth, via air freight courier, on a man made commercial orbit. 'Second Moon' launched from the British Science Festival in Newcastle upon Tyne on 8 September, on a year long journey from September 2013 to August 2014, that saw it moving in an anti clockwise direction across the UK, China, Australia and the USA. Orbiting at approximately twice the speed of our Moon, over one year Second Moon will orbited the Earth 30 times. 'Second Moon' was visualized through an App that tracked the lunar meteorite in relation to the user’s location, the Moon’s location and the orbits of the other planets in our solar system.
Ethnobotanical Station: Futurefarmers (2012)
A mobile module that draws upon the diverse lineage of knowledge to study the complex relations between plants and humans. It brings in the question our faith in modern quantitative science as compared to the long tradition of qualitative indigenous knowledge through an inventory of distinctive tools, exemplary specimen and mappings that explore new ways to relate to the plant life around us. A combination of mythology and science fiction combined with qualitative science is used to create an experimental framework that regenerates traditional knowledge. Hands-on workshops and visual display are the vehicle for research and sharing new configurations of knowledge. Just like the intricate mechanisms for seed dispersal, E.B. moves freely to collect and disperse knowledge freely.
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Fossil Necklace: Katie Paterson
A necklace comprised of 170 carved, rounded fossils, spanning geological time.
‘Fossil Necklace is a string of worlds, with each bead modestly representing a major event in the evolution of life through a vast expanse of geological time. From the mono-cellular origins of life on earth to the shifting of the continents, the extinction of the Cretaceous period triggered by a falling meteorite, to the first flowering of flowers, it charts the development of our species and affirms our intimate connection to the evolution of those alongside us. Each fossil has been individually selected from all corners of the globe, and then carved into spherical beads in a secondary process of excavation.’ Guy Haywood, Kettle’s Yard.
Natural Order: Anne Covell (2012)
Natural Order: A Game of Pairs is a play on the childhood game of memory. However, instead of matching like pairs, the goal of this game is to learn to associate and partner symbiotic relationships as they are found in nature. Players learn not only about mutual partnerships, but also about commensal, and parasitic ones in order to better understand the complexity, diversity, and often brutal severity of relationships that bring order to the natural world. Thirty cards with hand-drawn illustrations, learning guide, and case letterpress printed from photo polymer plates on French's chipboard.
Letterpress printed from hand drawn images on French's chipboard. 30 cards with learning guide and 4-flap enclosure. Edition of 50
from “Fear of Flowers” by Jason Viola
7000 Oaks: Joseph Beuys (1982-1987)
One of his projects, perhaps the grandest in scope, was 7000 Oaks. Begun in 1982, this ambitious project became a five-year effort in which he and others planted 7,000 trees of various types throughout the city of Kassel in Germany, each with an accompanying basalt stele as a marker. The solid stone form beside the ever-changing tree symbolically represents a basic concept in Beuys' philosophy, that these two natural and yet oppositional qualities are complementary and coexist harmoniously. Local community councils, associations, and citizens' initiatives determined where the trees would be planted. The organization of this project resulted in a series of conversations among participants concerning a wide range of issues, from its impact on city planning to its meaning for future generations. Completed in 1987 by his son, Wenzel, on the first anniversary of his father's death, 7000 Oaks truly epitomizes Beuys' ideas about art and its ability to effect change in society.
(text source)
Grandmother Earth: Linda Weintraub (2016)
“’Mother Earth’, the age-old metaphor for our planet, is woefully out of date. It casts humans as perpetually dependent children who rely upon the Earth as their loving provider and protector. The child/mother metaphor is unsuited to the current era – first, because our planet is so fraught with environmental crises that the Earth may not be capable of supporting current forms of life in the future; second, because it excuses humans from assuming responsibility for maintaining the Earth’s well-being. Shifting metaphors to ‘Grandmother Earth’ evokes the planet’s current fragility. It is only if we become her care-givers and care-takers that the vastness of her practical knowledge and ancient wisdom will be preserved.”
Doggie Hamlet: Ann Carlson (early sketch, 2015)
Filmed at the farm of Diane Cox Conceived and choreographed by Ann Carlson
Dog Handler: Diane Cox Dogs: Wull and Monk Human performers: Diane Frank, Ryan Tacata Bagpipe player: Les McKay
Mesoamerica Resiste: Beehive Design Collective
(click here to see full illustration in detail with narration)
This double-sided, folding poster illustrates stories of resistance, resilience, and solidarity from Mexico to Colombia. A map drawn in old colonial style depicts the modern invasion of megaprojects planned for the region… and opens to reveal the view from below, where communities are organizing locally and across borders to defend land and traditions, protect cultural and ecological diversity, and build alternative economies.
The New York Earth Room: Walter de Maria (1977)
An interior earth sculpture. 250 cubic yards of earth (197 cubic meters) 3,600 square feet of floor space (335 square meters) 22 inch depth of material (56 centimeters) Total weight of sculpture: 280,000 lbs. (127,300 kilos) The New York Earth Room, 1977, is the third Earth Room sculpture executed by the artist, the first being in Munich, Germany in 1968. The second was installed at the Hessisches Landesmuseum in Darmstadt, Germany in 1974. The first two works no longer exist. The New York Earth Room has been on long-term view to the public since 1980. This work was commissioned and is maintained by Dia Art Foundation.
Embracing Animal: Kathy High (2004-06)
What is our animal nature? Embracing Animal is a multi-media/ inter-species ersatz scientific installation of exchanges between people and animals.
In Embracing Animal, three transgenic lab rats, model HLA-B27, were given special housing and made available to the public’s view. Transgenic rats are microinjected with human DNA, allowing them to share our human genes. Transgenic rats are referred to as powerful ‘tools’ for the study of human health as they are, in many ways, physiologically close to humans. High was particularly interested in the rats that were used in autoimmune disease research for illnesses close to her own. But she treated her rats holistically, and as her sisters.
In an ersatz laboratory, a penthouse living quarters for the rats sits next to four large “tube-scopes,” 40” high glass sculptures for viewing films of human and non-human animal “becomings” - or animal/people transformations – becoming werewolves, vampires, exploring the shifting space between humans, monsters and beasts. The rat housing resembled a small city, with one section a tower for climbing, and one section a park. Daily a "lab technician" came to feed and check on the rats, perform the duties of care-taking.
This was a lab environment for observation, an experimental playground for people to feel the tension of exchanges, transitions, and trans-play. How do we identify and transform? What is our animal nature? This installation honored our kinship with our transgenic animal partners.