"There is a dutiful, yet delightful dimension to Siegel’s work. A great task produces a very simple thing. Yet this may be the only clear and dependable equation. Other connections and conclusions are variable and elusive. Generically characterized as big, spare forms of recycled newspapers, plastic bottles, aluminum cans, shredded rubber, or other jetsam, there is a serious content to this seemingly unaffected work. Remarkable and robust physical evidence and material accumulations convey a tension of imminent vulnerability and gradual dissolution. There is a puzzling experience of dissonant beauty in these ungainly objects made of disposable, if not unsightly materials. Often mimicking natural forms and processes, the conspicuously artificial work “fits” its environment in a plain, natural manner." – Patricia C. Phillips, art historian and critic, Sculpture Magazine, 2003 

Phillips, P. (2015). “Artistic Practices and Ecoaesthetics in Post-sustainable Worlds”. In C. Crouch, N. Kaye, & J. Crouch (Eds.), An introduction to sustainability and aesthetics: The arts and design for the environment (pp. 55-68). Boca Raton, Florida: Brown Walker Press.

The concept of Plastic Words and the book The Tyranny of Modular Language by Uwe Pörksen, published in 1995, was brought up this weekend, and our member Perdita Phillips, in Australia, shared her paper below regarding the word sustainability. This concept is the focus on her contribution to the ecoartspace Earthkeepers Handbook, soon to be released.

"The concept of sustainability, its discourse and societal application has been subject to pointed critique, including claims that the term has become an empty rhetorical vessel, is liable to greenwashing or that critical reflection is required on the political and philosophical underpinnings of sustainability and sustainable development (Holden 2010; Phillips 2007). Part of the critical framing around an aesthetics of sustainability has already been explored by artists and thinkers such as Maja and Reuben Fowkes (2012) and Sacha Kagan (2011). Sustainability’s broad nature mirrors the complexity of environmentalism and allows for many different aesthetic approaches. It asks of us to decrease our consumption and also to take a transdisciplinary perspective (Kagan, 2010). However a significant trend in twenty-first century relations with the natural world has been a ‘darkening’ in the tone of debate and mobilisation of apocalyptic metaphors. Climate denial by some in society is mirrored by an underlying zeitgeist of despair and guilt in areas of the environmental movement (Anderson, 2010). I have argued elsewhere that this has left us open to ‘zombie environmentalism’ (Phillips, 2012b). Is it possible to stir from this apparent stalemate to a state of flourishing, by moving on from disaster? Morton (2012) argues for a re-examination of sadness and Soper (2008) reconfigures austerity into alternative hedonism. TJ Demos (2013) discusses the significance of a political ecology to artists working towards new formulations of eco-aesthetics. A key strategy for arts practice is to relinquish “the privileged position of its autonomous and exceptionalist positioning” at the same time as maintaining a ‘countervisuality’, or ability to see things and see them differently (Mizroeff, 2013). In my own work I see eco-aesthetics as a broad set of tendencies that will take us into new futures. Elsewhere I have outlined eight sensibilities in artworks that are more adaptive at dealing with uncertainty and imperfection, risk and opportunity (Phillips, 2012a). Working through Lauren Berlant’s ideas of cruel optimism (Berlant, 2011) as a way of escaping this sense of environmental procrastination, I’ve been considering how an artwork can both embody and encourage resilience in an unruly world, something that is still positive at the same time as it ‘stays with the trouble’ (Haraway, 2013). In a recent project about Little Penguins in Sydney I’ve been grappling with applying some sense of anticipatory readiness or “a cultivated, patient, sensory attentiveness to nonhuman forces” (Bennett, 2010, p. xiv). Through this practice-based example, this paper invites an aesthetics of action in the face of the inevitable uncertainties inherent in an ecological worldview."

Read full paper, here

MEMBER SPOTLIGHT

October 17, 2022

This week we recognize   Pam Longobardi, and her twenty plus year practice focused on plastic pollution.

"I engage citizens in active processes of cleaning ascare:  action as antidote to experience the transformative connective shift that occurs. Plastic is the geologic marker of the Anthropocene, Capitalocene, or most poignantly, Eremocene, the ‘Age of Loneliness’(E.O.Wilson). Plastic production, dissemination and zombie afterlife contributes to Earth’s present 6th Mass Extinction. In addition to gallery/museum installations, I do site-work, involving forms of distance messaging such as mirror communication, Semaphore, and S.O.S. messages shot by drone, as performative pieces, projecting messages of attention. This, along with my studio-based painting practice involving phenomenology and chemistry, makes up the whole of my work."    click images for more info

"Plastic objects are the cultural archeology of our time. These objects I see as a portrait of global late-capitalist consumer society, mirroring our desires, wishes, hubris and ingenuity.  These are objects with unintended consequences that become transformed as they leave the quotidian world and collide with nature to be transformed, transported and regurgitated out of the shifting oceans. The ocean is communicating with us through the materials of our own making. The plastic elements initially seem attractive and innocuous, like toys, some with an eerie familiarity and some totally alien. At first, the plastic seems innocent and fun, but it is not. It is dangerous. We are remaking the world in plastic."

"In keeping with the movement of drift of these material artifacts, I prefer using them in a transitiveform as installation. All of the work can be dismantled, reconfigured but nearly impossibly recycled. The objects are presented as specimens on steel pins or wired together to form larger structures. I am interested in the collision between nature and global consumer culture. Ocean plastic is a material that can unleash unpredictable dynamics. As a product of culture that exhibits visibly the attempts of nature to reabsorb and regurgitate this invader, ocean plastic has profound stories to tell."

In 2013, Longobardi created a site-specific installation for a special project of the Venice cultural association Ministero di Beni Culturali (MiBAC), and the Ministry of Culture of Rome, for the 55th Venice Biennale on the Island of San Francesco del Deserto in the Venetian Lagoon; a work made from plastic water bottles, crystals and a mirrored satellite dish that signaled an apology to St. Francis across the lagoon to the island of Burano (below).

Pam Longobardi  lives and works in Atlanta as Regents’ Professor and Distinguished Professor of Art at Georgia State University. Her Drifters Project, which began in 2006 after encountering mountainous piles of plastic on remote Hawaiian beaches, is ongoing,following the world ocean currents. With the Drifters Project, she collects, documents and transforms oceanic plastic into installations, public art and photography. The work provides a visual statement about the engine of global consumption, the vast amounts of plastic objects’ impact on the world’s most remote places and its’ creatures, framed within a conversation about globalism and conservation. She has exhibited across the US and in Greece, Monaco, Germany, Finland, Slovakia, China, Japan, Italy, Spain, Belgium, Costa Rica and Poland. Longobardi participated in the 2013 GYRE expedition to remote coastal areas of Alaska and created project-specific large-scale works for exhibition at the Anchorage Museum February 2014 that traveled nationwide to five US museums. She was featured in a National Geographic film on the GYRE expedition and her Drifters Project was featured in National Geographic magazine. Longbardi is Oceanic Society’s Artist-In-Nature.

Featured Images (top to bottom): ©Pam Longobardi, Drifters Objects; ForensicLab, Ocean Gleaning, solo exhibition at Baker Museum, Florida, 2022; Baker Museum, back room, Laocoon Threnodfy Bounty Pilfered, 2022; Reflecting Web of the Anthropocene (An Apology to Saint Francis), 2013, Venice, Italy; below, portrait of the artist.

MEMBER SPOTLIGHT

October 10, 2022

This week we recognize    Debra Swack, and her media and sound work focused on the interstice of humans and non-humans.

Swack’s work is a catalyst for change, innovation, and collaboration in helping to solve world problems. For example: ‘Bloom’ addresses plant consciousness; ‘Cloud Mapping Project’ addresses climate change, surveillance, artificial intelligence, machine learning and creativity (can machines create?); and ‘Animal Patterning Project’ addresses the history of genetically manipulating animals, environmental displacement through urbanization, and the rise of infectious diseases due to deforestation such as COVID. click on images for more information

Bloom (above) utilizes the research of evolutionary biology to present digital simulations of the sounds that plants communicate bio-acoustically through vibrations. The work was featured in the New York Academy of Science's fall 2017 magazine about scientific innovations for the next 100 years. It was also presented in Sound, Images and Data for Leonardo Electronic Almanac (MIT Press) at NYU, and for EvoS (Evolutionary Studies at SUNY Binghamton).

Cloud Mapping Project (below) addresses surveillance, artificial intelligence, machine learning and creativity (can machines create?). The Project was presented at the Pera Museum in Istanbul, the American Academy of Rome (where she was a visiting artist along with William Kentridge, Joan Tower, and Vincent Katz), and Banff Centre in Canada. At Banff, the work was the subject of a Fulbright eye-tracking workshop and an exhibition of related works under a Leighton Colony Residency. In 2019, Cloud Mapping Project was the subject of an interview by science journalist Clarissa Wright for NatureVolve.

Animal Patterning Project (below), is an ephemeral dance performance about our complex relationship with other-animals and simulates their return by projecting their likeness onto the urban environment they once inhabited. It includes the historical practice of taxidermy, our unique ability to genetically manipulate their bodies and skins for our own purposes, and the dilemma of displaced indigenous other-animals that urban development creates. The project was selected in 2021 for the online presentation and book Becoming Feral. It is a 2021 recipient of a City Arts grant from the NYC Dept of Cultural Affairs and New York Foundation of the Arts.

Debra Swack             is a digital and sound artist who creates transformative participatory experiences about the most critical issues of our time. She received Fulbright grants from Banff Centre (2015) and Tel Aviv University (2018). Her writings have been published by MIT, and she was included in Art and Innovation at Xerox Parc (MIT, 1999). In 2019, she was selected by the New York Academy of Science, Pratt Institute and Guerrilla Science, to participate in Conveying Science Through Art, who believe that public engagement in science is critical to a well-functioning society. Called ‘an important work,’ by Margaret Morton (Ford Foundation), The mixed reality Monument Project, about heroes and the democratization of memorialization, was shortlisted by Creative Time/NEW INC at the New Museum in 2019 for an installation in Central Park. The project was a 2020 recipient of a Mellon Foundation grant and a 2018 Creative Engagement grant from the Lower Manhattan Cultural Council, and NYC Department of Cultural Affairs, in collaboration with Microsoft, the Siddhartha School, and the Rubin Foundation.

Featured Images (top to bottom): ©Debra Swack, Birdsongs, Sonic Fragments Sound art Festival, Princeton University, 2008; Bloom, 2017, featured at New York Academy of Sciences; Cloud Mapping, 2014, video edition of 10, featured in Fragile Rainbow at Williamsburg Art & Historical Center, May 2022; Animal Patterning, 2015, commissioned by Pratt Institute & the West Harlem Art Fund; below, portrait of the artist.

Rudiments, oil on panel, 18 x 24 inches, and sculpture: clay, gouache, wire stand

Adoration, Observation and Visual Ecology: Ashley Eliza Williams Wishes to Speak with the Growth in the Forest

Interview by: Olivia Ann Carye Hallstein

Ashley Eliza Williams is practicing through careful study, observation, and sentience, the ability to communicate with the building blocks of the natural world. She is at one with the lichens, mosses, lithophytes, and most solid rocks of the forest. Her visions are filled with future ecologies based on the tales and dreams of both the oldest forebearers and the most adaptable around us. I had the pleasure of asking her questions to her practice…

Resonant, oil on panel, 40 x 30 inches

Dear Ashley, in your process of seeking sentience in the natural world, what have you found so far and what has most surprised you?  

Although a rock in the forest isn’t “alive” by any scientific metric, it hosts an ecosystem of beings with relational and sensory capacities: lichens, mosses, insects, small mammals, bacteria, algae, and other lithophytes. These beings sense the world and interact with each other in wildly different ways. In a certain sense, when you contemplate a rock, you are in dialogue with an entire community of sentient beings. This feels magical and incredible to me, but it is very real.  

Index Fossil, oil on panel, 20 x 20 inches, and sculpture: wire stand, gouache

I believe you, perhaps we are not listening closely enough. In the visual depictions of your findings, you often choose a chart format for your compositions. What has led you to explore this representational form and what role does color choice have in what you are representing?  

I’ve always loved field notebooks and scientific charts. I think they are beautiful and I’m fascinated by the kinds of information scientists have chosen to record throughout the ages.  Why is one piece of information more important than another? What do these choices say about an individual scientist, the cultures that we are a part of, and our anthropocentric worldviews? Being an artist gives me an excuse to play with and think about these questions.  

Since 2014, I’ve been using color charts to try to abstract or distill experiences in nature and my attempts at interspecies communication. My latest project is an attempt to communicate with a lichen. I’ve been visiting the same patch of lichen every day. Each day, I create a color strip that reflects my experience with the lichen. I’ve visited the lichen in the evening, in the morning, in the middle of the night, when I’m feeling hopeful, and when I’m depressed. Each time I interact, I mix a very specific color to describe that interaction. The colors are a record of my many (and mostly failed) communication attempts.  

Convergence Studies 2, oil on canvas, 20 x 20 inches

Beyond your process, how much of your work is scientific explorations, spiritual findings, and fantasy? 

It’s a mix of real and imagined. My partner is a scientist, and my projects often involve working closely with scientists in the field. But I also love imagining potential future beings and ecologies. I believe that there is a link between the human imagination and biodiversity. Artists who care about ecology need to be wild dreamers and we need wild landscapes to be able to dream. I think it’s important to imagine what a healthier future ecology might look like. What animals, plants, and ecosystems will exist in the future if we don’t drive everything to extinction? Most of the images I paint and sculpt are imaginary or highly abstracted. But they are built on a foundation of obsessive observation, research, a love of wild places, and my deep respect for and curiosity about all living beings, especially those that are quiet and easily overlooked.  

Nucleus, oil on panel, 18 x 24 inches, and sculpture: clay, wire stand, cut paper, gouache, coral

Thank you, Ashley. And good luck with your incredible interspecies goals. We have a lot to learn from this earth. 

MEMBER SPOTLIGHT

October 3, 2022

This week we recognize Eliza Evans  Eliza Evans, and her work focused on climate and resource extraction.

Evans' current and ongoing project, All the Way to Hell (above), which began in 2020,is an activist art model for disrupting fossil fuel development on private land in the U.S.The monumental work, currently with over 7,000 participants, converts hundreds of individual gestures into a new form of environmental resistance at the intersection of property law, fossil fuel business practice, and bureaucracy. The project transfers rights from single mineral properties to hundreds of people to impeded fossil fuel development. Evans will attempt to file the first deeds in Oklahoma this month. (click images for more information)

Time Machine (2019-ongoing, above) is a durational and interactive work in which the artist spent 8-hours inside a mass-produced greenhouse. The outside and inside temperature difference served as a kind of climate change scenario generator. As the temperature rose during the day it was amplified inside the greenhouse with attendant stress on her body. The following day the artist invited visitors inside the Time Machine to experience a possible future.

The Compact (above) is three seven-foot tall cast concrete figures that enlist Cycladic, Greek, and 3D-scanned female forms to examine the compression of individual agency over millennia and our more contemporary assent to the myriad ways we are surveilled, measured, and archived. The figure is made from clearly defined parts loosely held by two threaded rods and patches of mortar. The rebar matrixes that reinforce the concrete reference the inscription of gridded systems on our bodies and our actions.

Pause (2018, above) is three 10-foot squares plots surrounded by an 8 to 9-foot tall fence made of t-posts and tinted monofilament. The installation is an unambiguous artwork inscribed in the forest that by its shape and materials alludes to science, gardening, cultivation, and management. There is no gate or passageway into the plots. The viewer is excluded from the plot’s interior but for a 12-18-inch gap between the forest floor and the bottom of the fencing. The viewer is left to consider what is protected and why. Inside the plots, the forest will be for the most part unmolested by both deer and humans for the duration of the work.

Below is a well core sample and quitclaim mineral deed representing Evan's All the Way to Hell project in a gallery setting.

Eliza Evans  experiments with sculpture, print, video, and digital media to identify disconnections and absurdities in social, economic, and ecological systems. Her work has been exhibited at the Bronx Museum (2021), Missoula Art Museum (2021), Austin Peay State University, Clarksville TN (2021), Thomas Erben Gallery, New York, NY (2020), Alexey von Schlippe Gallery, University of Connecticut (2020), Chautauqua Institution, Chautauqua, NY (2019), Edward Hopper House Museum, Nyack, NY (2019), and BRIC, Brooklyn (2017), and has appeared in the New York Times, Art in America, Hyperallergic, The Brooklyn Rail, and Dissent Magazine. A law review article on her work is forthcoming in the Cardozo Arts and Entertainment Law Journal. Residencies include the LMCC Art Center (2022), the Art Law Program (2021), National Center for Ecological Analysis and Synthesis, UC Santa Barbara (2020), and Bronx Museum AIM. She is currently a member of NEW INC, the New Museum’s cultural incubator. Evans was born in a Rust Belt steel town and raised in rural Appalachia. She currently splits her time between Tennessee and New York.

Featured Images (top to bottom): ©Eliza Evans, All the Way to Hell, 2020-ongoing; Time Machine, 2019-ongoing; The Compact, 2019, concrete, steel; Pause, 2018, posts, monofilament; All the Way to Hell, 2020-ongoing; below is portrait of the artist.

The ecoartspace October 2022 e-Newsletter for non-members is here

MEMBER SPOTLIGHT

September 26, 2022

This week we recognize   Toby Zallman Toby Zallman, and her work focused on plastic pollution.

Trained as a painter in the 1970s, Zallman transitioned to sculpture in the 1990s, and began to examine the role of technology in our lives in 2004. She stated in an interview, “It was a period where I transitioned from looking inward to becoming conscious of what was happening outside of me, in the landscape.” She learned about the burning of e-waste in China and the resulting air pollution, and subsequently became concerned about safe drinking water. By 2014, the artist was shocked and captivated by the relentless proliferation and neglect of plastic pollution and decided to make her materials the message.

Zallman's Molluscs (above), one of eighteen total, is made from plastic drinking cups that the artist had in her studio for years and decided to use, together forming the series Small Works Group. The sealife simulation is also a combination of stones and cloth, all upcycled and assembled as a memorial portrait.

The artists has also made sculpture using plastic bags wrapped around wire in the shape of ocean corals. Her work Mongo consists of a broad range of food packaging (below).

"My art transforms toxic refuse into evocative objects of abstract seduction, that bring a sense of beauty to environmentally devastating situations and arouse cognitive dissonance in viewers. Since 2005, I have made sculptures and drawings which respond to the by products of our society’s rampant consumerism. My aim is for the work to incite both a sense of pleasure and a disturbing awareness of the degradation of our oceans, land and bodies. This engaging visual experience will support change in viewers' behaviors. My involvement with the group, Organizing for Plastic Alternatives, has both channelled some energy towards finding practical solutions to these problems, as well as increased awareness of my own problematic behaviors."

Plastic production is expected to triple by 2050. By then, our oceans will contain more weight in plastic than fish. In 2018 China refused to accept non-recyclable waste from other countries, and it’s cheaper for manufacturers to make virgin plastic than recycle. In America, we still have eighteen states that have preemptive laws stopping plastic bag regulations. As John Oliver states in his recent special on plastics in March 2021, “the real behavior change needs to come from manufacturers, the Extended Producer Responsibility (EPR). They need to create the infrastructure to recycle the products they make.” EPR laws are being proposed now, and it cannot happen soon enough for Toby Zallman.

Toby Zallman        is a Chicago artist whose art practice focuses on sculpture and drawing. In 2004, after becoming aware of how damaging our plastic and e-waste is to the environment, she changed her materials to both incorporate recycled/re-purposed materials in her sculpture as well as a source of visual inspiration for both the sculptures and drawings. She has used computer detritus, plastic bags, plastic bottles and solid plastic trash to create unique art works that shed light on the environmental devastation cause by our culture of consumerism. Zallman shows both locally and nationally. Zallman has been the recipient of several Illinois Arts Council grants, including one in 2021 for her exhibition “Our Plastic Trash,” and an Individual Artist Program Grant, City of Chicago’s Department of Cultural Affairs and Special Events (DCASE) and a 2022 Puffin Foundation grant for her project, "reefscollape." She has had artist residencies at the MacDowell Colony, Yaddo and Ragdale. Zallman received her BFA from Tyler School of Art in Philadelphia. tobyzallman.com

Featured Images (top to bottom): ©Toby Zallman, reefscollapse, 2018-2022, site-responsive installation made with discarded plastic packaging; (sculpture), large format color print on muslin with pastel and plastic (backdrop), approximately 12 x 8 x 6 feet (sculpture) 9 x 18 feet (backdrop); Mollusc 10, 2020, plastic, 2.75 x 1.375 x 2 inches; Mongo, 2021, plastic refuse, 13.5 x 19.5 x 19.5 inches; Water Bottles, 2007, mixed mediums on plastic water bottles, 33 x 51 x 36 inches; Whorl, 2016, acrylic, laser print, graphite, pastel, plastic bags on muslin, 43 x 62 inches; Portrait of the artist (below), by Tom Van Eynde.

MEMBER SPOTLIGHT

September 19, 2022

This week we recognize    Bremner Benedict  Bremner Benedict, and her Hidden Waters Series.

Benedict’s projects center on the role that landscape plays in the human experience. Her focus is on unrecognized, under-valued yet important elements of the natural world. Her earlier projects, range from the role of landscape in creating memory - Distant Places; to electrical towers interruption of the American Western landscape - Gridlines; to a child’s imaginary play in natural history dioramas - Field Trip, Re-Imagining Eden. Benedict’s recent work, Hidden Waters, combines art and science to envision the impacts of climate change and overuse on endangered arid-land springs in the American West.

"Since prehistoric times springs have been key to humanity’s survival. Unfortunately arid and semi-arid land springs, ciénegas, and their aquifers in North America are endangered and disappearing at a rate that continues to increase as the water crisis in the West prevails across lands that are the driest they have been in 1,200 years. Being an artist who is passionate about the water crisis in the West, I am drawn to their story as unseen yet essential details whose importance is misunderstood."

"Living on the Colorado Plateau I was struck by the contrast between spring-fed oases and their parched surroundings. I noticed how a landscape of drought and aquifer overuse can drain color out of the environment. The toned colors of Maynard Dixon’s Western landscape paintings provided my inspiration to use color to imply the vulnerability and precarious future of dryland springs. This series is an intersection of art and ecology where I interpret scientific data visually and viscerally to humanize its complexity, while at the same time addressing a wider view of climate change and its impacts on dryland springs by making them feel accessible and personal in order to encourage their stewardship."

"Currently there is a lack of public information on the importance of these waters and the need for their protection; conservation is inconsistent at best. Springs continue to hold vital clues to the health and longevity of the underground aquifers we depend on and the loss of these significant ecosystems will continue to threaten our ability to live in dry places. If we want any chance to combat the climate crisis, then the importance of documenting these ecological sites before they are gone, and capitalizing on these opportunities to raise awareness, cannot be understated." 

Bremner Benedict's     photographs have been featured at Fidelity Art Boston; Center for Photography, Tucson, Arizona; Florida Museum of Photographic Arts; New Mexico Museum of Art; Decordova Museum of Art and Sculpture, Massachusetts; Harvard's Fogg Museum, Boston; and George Eastman Museum, Rochester, New York. Solo exhibitions include Florida Museum of Photographic Arts; Griffin Museum of Photography at Stoneham, Winchester, Massachusetts; Texas Woman’s University, Denton; and Philadelphia Print Center. Her Hidden Waters archive resides at the Museum of Art & Environment, Reno Nevada. Recent awards include Juror’s Award, Karen Haas Juror, Conversations with the Land, Center for Creative Photography, 2021; Massachusetts Cultural Council Finalist, 2021; Juror’s Honorable Mention, 2021; Art and Science 2, A. Smith Gallery, 2021; Critical Mass Top 200, 2019; the FENCE, New England, 2019; Legacy Award, Griffin Museum of Photography; two Puffin Foundation Grants; Museum of Northern Arizona artist residency; and solo exhibitions at Texas Women’s University, and Philadelphia Print Center. Benedict is a member of Blue Earth Alliance. Photographer Mark Klett chose her work Quitobaquito Springs for inclusion in his up-coming book, Wild Visions. bremner-benedict.com

Featured Images (top to bottom): ©Bremner Benedict,Hidden Water Series; portrait of the artist below.

Fundraiser & Pop-Up Exhibition

Miriam Sagan’s Poetry Yard, Santa Fe

Ana MacArthur, Ahni Rocheleau, Chrissie Orr, Frances Whitehead, Toni Gentilli, Hilary Lorenz

FUNDRAISER EVENT September 30, 4:30-630pm

POP-UP EXHIBITION October 1 & 2, 11-5pm (free)

RSVP info@ecoartspace.org

ecoartspace invites you to experience site-works by six ecoartspace artists for our three day pop-up exhibition at member Miriam Sagan's private poetry yard in Santa Fe. We will be serving drinks and appetizers, and there will be seating to listen to the artists talk about their work.

Suggested donation is $50-$100 per person

Donations will go toward the printing of two ecoartspace publications; a second edition of our annual exhibition book for 2021, Embodied Forest; and our upcoming 2022, Earthkeepers Handbook.

RSVP for fundraiser by September 28

Can't make it? Not in New Mexico, please consider making a donation here

RSVP for fundraiser by September 28

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