Click here to find out more about Irene Gennaro's Ex Votive Series
 
 

Laurie's artist statement: Joan Logghe and I were paired for an art/poetry exhibition several years ago, and she visited the gallery that represents my photography in Santa Fe, New Mexico where she viewed this artwork Mother & Child that inspired her poem.  

Mother & Child is a "lenticular" photograph; when you pass by, what we normally see suddenly shifts or changes into what normally can't see - residue of pesticides. The .gif file that appears here is a simulation of the original work which is 21" X 17". 

Mother & Child was prompted by information that came on my radar about breast milk being one of the most contaminated foods, as most of us have pesticides that have been banned years ago and those now in use in our bodies. It adds to the narrative of those mother and child images from the High Renaissance. 

This image is part of a larger body of work titled Glowing Evidence; these are visualizations specifically for Silent Spring. I have been invited to speak about these images in many venues including The Eco-Farm Conference held in Pacific Grove, California, The Environmental Writers Honoring Rachel Carson in Maine, and various universities and museums.  

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Click here to read "Beautiful Terror: Pesticides All Around Us?" -- Tabitha Alterman's interview with Laurie Turner in Mother Earth News
 
 

The two images pictured above are part of UpNorth, an ongoing series by Barry Smylie. Click here to be redirected to UpNorth, which appears on Barry's website.

Barry's artist statement: I’m working on a series.  My vision departs from the usual Canadian view of the solitary unoccupied land, except for the artist painting it.  I see it populated, even with sketch artists.  I mean, I see it as I see it or at least how think it is.

 This is my most recent work, and it is occupying my mind the most. This ongoing series, which appears as an HTML gallery on my website, starts with an image that is linked to a larger image and sometimes a series of details.  Perhaps there are two more pieces which, if I can bring it off will state that the preserved public lands (national, provincial and state parks) belong to everyone. 

 
 
Ann Privateer is a poet, painter, photographer, and retired teacher from Cleveland, Ohio, who resides in northern California and spends part of the year in Paris, France, where she tries to keep up with her grand daughter, Lilas.  Ann's poems have appeared in Ink, Sweat, and Tears a UK Blog, Sacramento News and Review, Manzanita, Mamazine, Poetry Now, Ophidian, Tapestries, Suisun Valley Review, The Sacramento Anthology: One Hundred Poems,and Tiger's Eye to name a few. 


Ann's artist statement: Living in northern California provides a great opportunity to visit relatively unspoiled wetlands, rivers and streams, the mountains and the coast. Through photography, I'm able to keep a small piece of the view with me. The three pond photos were taken in the foothills in 2009, the rest are recent photos taken at the Yolo Bypass close to home off I-80.

 
 

Click here to read The New York Times review of the show.
 
 
Much of the power of Rachel Carson’s Silent Spring has the urgency toward preservation of a powerful yet fragile world of life forms, their “song” that could, without attention, justice, and ethical response descend to a horrifying silence.  

The lithograph here entitled “Sound Print of a Nightingale over a Heartbeat Sound Print on Ancient Calligraphy” is one of several that explore variations of nightingale sound prints over human heart sound prints and other indexical marks. This consideration of bird song relates to the earliest descriptions of poetry up through Romantic poetry one might associate with John Keats’ “Ode to a Nightingale.” Primarily a poet working in avant-garde practices such as “writing through texts” and writing in a series, Deborah Meadows has seven books and four chapbooks published with various well-regarded publishers of experimental literature.

Deborah Meadows is highly aware of traditions of calligraphy, and how vitality of the calligraphic line is older than painting, that, in some calligraphic traditions such as Japan’s, writing preceded and created painting using the same brush, yet she seeks to bend the comparison to include markings that press toward the illegible as well. 
 
 
I live at an intentional "sustainable" co-housing community called Ecovillage, at Ithaca, NY. Rachel Carson Way, is the road my village has chosen to lead to all our dwellings, it is the beginning of our slow commons.

My photograph The Other Road presents two roads, the smooth "highway," where you can see the tail end of a car speeding by, and a graveled dirt road with a "living roof" bus stop off to the side. The photo is from my point of view, where I am about to wait for public transportation. The road where I am standing, "Rachel Carson Way," has been my path for the past 10 years, where my family and I have chosen to travel. Ecovillage is not for everyone, it is not a utopia, there are many paths to environmental justice, this is just one way. There is still much to be done here at Ecovillage, Ithaca to make it a more socially equitable village, and "The Other Road" does not lead to a dead end, but to many informed optimistic beginnings.

-- Todd Ayoung

 
 
The First Billboard by Janet Culbertson
34" x 48" (1987)

Janet Culbertson was born in Greensburg, Pennsylvania, moved to Pittsburgh to attend Carnegie Mellon University, where she graduated with a BFA. She moved to New York City and received an MA from New York University, which enabled her to earn a living teaching college art at Pace University and Pratt Art Institute while continuing to paint.

Her first New York City exhibit was called Elegy to Nature. Since then, she has been painting and drawing the many diverse aspects of the landscape. She is fascinated by our complex love yet exploitation of nature.

During the 1970s she had four one-woman shows in New York City at the Lerner-Heller Gallery; received a C.A.P.S. New York State graphics award and exhibited in a number of group and museum shows; proposed and worked on the HERESIES Ecology Issue #13, along with a group of other concerned women. (Her article on Ecotage, which is dedicated to Rachel Carson, appears in this issue.

In the 1980s she began an ongoing series of "Billboard Paintings" about the vanishing wilderness. During the past years she has working on a series entitled "Industrial Park" -- about the industrialization of the world. These paintings are composed of iridescent pigments and collage debris which mirror industrial waste.

Her “Mythmaker” series of 20 works was shown and acquired by the National Museum of Women in the Arts. Her artworks have been exhibited at the Museo de los Ninos (San Jose, Costa Rica) and the Telfair Museum (Savannah, GA).  Recently she was a recipient of a Pollock/Krasner grant, and in January 2012 exhibited works at the Accola/Griefen Gallery in NYC. The Women’s Art Journal featured her environmental profile (Spring 2011 issue). 
 
 
Beach by Daniel Blochwitz
33 1/4 x 45 1/4 inches overall. Digital c-prints.


Daniel Blochwitz says, "Growing up in East Germany, I noticed quite early the destructive side of the then-prevalent belief that industrial progress is the pathway to the liberation of humankind from exploitation and inequality. I had my 'Rachel Carson moment' when I observed former fresh water springs in my childhood neighborhood being filled in with industrial waste. With an awakened 'green" consciousness, tensions over such issues led me on a collision course with the official view, but the fall of the Wall in 1989 saved me from harsher repercussions. 

"Although in the West I found a much greater tolerance towards the expression of dissenting opinions and political beliefs, issues of environmental protection are still mostly trumped by industrial production -- in the name of profits and unhinged consumerism."


Daniel Blochwitz began studying photography in the United States, and he currently lives and works in Zürich, Switzerland. 
 
 
without maps or manifest by Christopher Reiger
Watercolor, gouache, sumi ink and marker
on Arches paper. 32 x 27 inches. 2009. 

Animal imagery dominates my paintings, drawings, and photographs, but the work can not be described as traditional wildlife art.  Instead, I think of the pictures as the observations of a naturalist working at the intersection of fact and fancy.

without maps or manifest is at once a cautionary and celebratory image, an nod to our species' environmental missteps and excesses but also an ode to the human capacity for wonder and invention.  Rachel Carson's clarion call for environmental responsibility introduced many people to the ethical obligations we have as "wise apes" in this interdependent world, in some respects providing us with a better environmental map, if you will.  Fifty years later, we're still impacting the world in deleterious ways, but our environmental awareness continues to mature and evolve.

Contemporary artists with a vested interest in ecology and conservation must wrestle with a difficult question.  How can our artworks, objects traded in a luxury market, exist in accord with a hopeful ideology?  More specifically, how can we earn a living and connect our art to progressive efforts we champion?  In the fall of 2008, I decided to contribute a significant percentage of every art sale to non-profit organizations that are working to redress environmental and social ails. By generating money for important causes through the sale of my artwork, I can act in proxy; the long hours in the studio can be connected to the spirit of the art and to the greater community. This charitable sales model is a concrete metaphor for the emotional and intellectual sustenance provided by the artwork itself.