enviornmental art 20yr rotator

20 Years of Environmental Art at the Schuylkill Center: Opening Reception

Founded in 2000 as an opportunity for artists and audiences to explore and interpret the natural world and current ecological issues, our environmental art program has brought hundreds of artists to the Schuylkill Center to present contemporary art work in the gallery and on our trails. This exhibition celebrates the art program’s history by inviting previous exhibiting artists to revisit the work they did at the Schuylkill Center, and looks to the future of environmental art with new artists exploring related themes. The opening reception will include refreshments and remarks from the artists and curator.

Tempestry Rotator

The Tempestry Project Philadelphia Collection: Opening Reception

In 2019, the Schuylkill Center coordinated 37 volunteer knitters and crocheters to create a collection of Tempestries (or temperature tapestries) for Philadelphia from 1875 to 2018. Each Tempestry shows the daily high temperatures for a given year, with January at the bottom and December at the top. The Philadelphia Tempestry collection will be on long-term display at the Schuylkill Center to educate about how climate change is impacting our region. Join us to see the full collection on view for the first time and celebrate this intersection of craft and activism.

The Tempestry Project is a global climate data visualization project through fiber arts. All Tempestries use the same yarn colors and temperature ranges, creating a recognizable and globally comparable mosaic of shifting temperatures over time. The Tempestry Project was founded by Justin Connelly, Marissa Connelly, and Emily McNeil in Anacortes, WA. To date, hundreds of Tempestries have been made by crafters around the world.  

2017 environmental artist party december

Environmental Artist Party

Are you an artist working with environmental themes? The Schuylkill Center is building a network of artists through casual gatherings, giving artists the opportunity to connect with each other and with potential collaborators in other disciplines. The evening will include light refreshments, lightning talks from artists (let us know if you want to give one!), opportunities to view our fall gallery show, and informal networking.

Please RSVP so we know how many people to expect!

You can RSVP, sign up to give a 2-minute lightning talk (if you like), and share an image of your work here.

LandLab Dream Journal

LandLab Dream Journal 

Guest post by LandLab Artist Kate Farquhar

 

Editor’s Note: LandLab is the Schuylkill Center’s environmental art residency program. Kate Farquhar was named a resident artist in 2017 and recently wrapped up her project, titled Synestates. She installed a series of three sculptures on the Schuylkill Center’s trails – come visit us to see them. This blog post is Kate’s reflection on time at the Schuylkill Center and a peek into her creative process.

 

I’m currently wrapping up my LandLab residency at the Schuylkill Center: a chapter in my relationship to a place that I will always treasure. Ten years ago I visited the Schuylkill Center when I was deciding whether or not to move to Philadelphia. Six years ago I helped with the Schuylkill Center master planning design effort led by Salt Design Studio. I’m excited to begin my next chapter and explore the woods, meadows, water bodies and trails with fresh eyes. Looking for … medicinal plants, bird calls, old friends? Time will tell. 

 

Reflecting on my LandLab residency, there remains a small corner that I’d like to share with you. To guide my work throughout the residency, I’ve filled a watercolor journal with notes and ideas. In my pursuit of habitat, infrastructure and myth, most of the mythical connections seem to live in those pages. The sculptures I built include vine trellis sculptures by the Pine Grove, floating forms in Wind Dance Pond, and pollinator habitat at the River Connector trail. While I built in solitude, I often imagined fictional rituals that could connect people to the sculptures, accessories to environmental play and novel ways to spend the day at the Schuylkill Center. Take a peek at a few pages recording the associations and fantasies that came to me throughout the process, and persist in the dream-lives of these sculptures. 

 

 

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About LandLab
LandLab is a unique artist residency program that operates on multiple platforms: artistic creation, ecological restoration and education. A joint project of the Schuylkill Center for Environmental Education and the Center for Emerging Visual Artists (CFEVA), LandLab offers resources and space on our 340-acre wooded property for visual artists to engage audiences in the processes of ecological stewardship through scientific investigation and artistic creation.

NATURAL SELECTIONS: Art in the Open: Selections from 2018 at the Schuylkill Center

By Christina Catanese

A mysterious, vine-woven figure recently appeared behind the Schuylkill Center’s Visitor Center building. Though lacking facial features or limbs per se, it feels human-ish and appears to gaze over the hill into the forest.

This sculpture, created by Brooklyn-based artist Anki King, was the first piece from our fall exhibition to be installed this summer. King harvested vines from the Schuylkill Center property while they were still growing strong in the height of the August growing season for maximum benefit to the ecosystem as well as pliability.

Over the next few weeks, nine more artists will install their work in our environmental art gallery before the show officially opens on Sept. 13. Their work spans a diverse range of practices and materials – along with this vine sculpture, there will be on display wet plate collodion photography, weavings from discarded textiles, ceramic tiles with embroidery details, drawings, polaroids, cyanotypes, printed monotypes and more.

What these works have in common is that all of the artists were 2018 participants in Art in the Open, a public art program in which selected artists create their work on Philadelphia’s Schuylkill Banks for three days. We are pleased to be offering these artists the opportunity to adapt their work to our spaces, continuing our partnership with this citywide program for the third time.

Akin to King, Sivan Ilan utilized unconventional materials in her work, challenging their typical perception as waste or undesirable materials. A master’s student in textile design at Philadelphia University, she created large woven panels made exclusively from scrap fabric found in the university’s studios.

Mia Rosenthal and Christopher Wood present different kinds of drawings which shed light on how a place participates in the drawings themselves.

Rosenthal created detailed ink drawings of items that she found on the ground on the River Trail, as well as in her neighborhood playground. These meticulous portraits of local detritus reveal something about the character of their place.

Wood, in addition to continuing his Daydrawing series (in which he has completed a new powdered graphite drawing each day since Jan. 1, 2016), experimented with ways that the environment could participate in the drawings. He left paper with graphite in various locations on the trail, sometimes weighted with different objects, and allowed the weather and place to shape the material.

Looming large in the room will be a place-specific sculpture transplanted into the gallery by Matt Greco and Chris Esposito. This team participated in Art in the Open for the third time together this year and created an aggrandized form of a bollard – those posts used to secure a ship to a dock with ropes, a ubiquitous element from the Schuylkill River’s shipping history. Blowing this often overlooked object up to a size that cannot be ignored forces reflection on how this industrial legacy may still be felt today.

These works and more draw inspiration from place in a variety of ways, and the particular location of Art in the Open, between the Schuylkill River and the deeply urban built environment of Center City Philadelphia, offers an opportunity for artists to comment on and complicate the relationship between people and nature. Transplanting these works to the Schuylkill Center site, which also borders the River Trail about 10 miles north of the Art in the Open site, gives us a chance to consider these relationships from yet another angle.

Please join us to meet the artists at the opening reception of Art in the Open: Selections from 2018 on Sept. 13 at 6 p.m. Enjoy artist talks, light refreshments in the gallery and a short walk to the outdoor installation. Art in the Open: Selections from 2018 will be on view through Oct. 27.

Christina Catanese directs the Schuylkill Center’s environmental art program, tweets @SchuylkillArt. This blog was originally published in the Montgomery News August 29.

Tim Prentice, Yellow Zinger 2-925x616

Elemental powers

By Christina Catanese, Director of Environmental Art and Liz Jelsomine, Exhibitions Coordinator

Editor’s note: The Schuylkill Center produced a wall calendar for 2017 in celebration of the environmental art program. Throughout the year, we’ll run a monthly post on our blog highlighting the art works featured in that month of the calendar.

Tim Prentice, Yellow Zinger 2-925x616“I imagine a line in space. I build it straight and true and offer it to the wind.

The wind plays with it like a cat with a length of yarn. The wind is the artist.”

Yellow Zinger, Tim Prentice

Tim Prentice’s Yellow Zinger was part of an outdoor exhibition at The Schuylkill Center in 2010 called Elemental Energy: Art Powered by Nature. 

Elemental Energy brought six artists/teams from around the country to present outdoor sculptural installations that engaged a natural element – wind, water, sun – to create a dynamic or kinetic artwork. Each piece created sound, movement, or both, using only the energy they harness from nature.  Continue reading

2017_Anthobotanical logo

Anthrobotanical: People, Plants, & Place Gallery Opening

Most people know that we rely on plants for the food we eat and the air we breathe, but the interconnections between plants and people actually go much deeper and are more nuanced. Scientists continue to discover the complexities of how plants take in and respond to information, even communicating with each other through underground networks and chemical signals.  Human systems powerfully influence plant communities, locations, and health – and they also exert a powerful influence over us.  Yet, despite the intricacies of the plant-human relationship, plants are often overlooked, even compared to other aspects of the natural world.

Our fall gallery show features artists who explore the relationships between plants and people – join us for an opening reception celebrating our newest exhibition.

Artists in this exhibition include:

Vaughn Bell

Photo courtesty of Vaugh Bell

Photo courtesty of Vaughn Bell

 

Rachel Eng

Photo courtesy of Rachel Eng

Photo courtesy of Rachel Eng

Photo courtesy of Rachel Eng

Photo courtesy of Rachel Eng

 

Ellie Irons

Photo courtesy of Ellie Irons

Photo courtesy of Ellie Irons

Photo courtesy of Ellie Irons

Photo courtesy of Ellie Irons

 

The Environmental Performance Agency (EPA)

Photo courtesy of the Environmental Performance Agency

Photo courtesy of the Environmental Performance Agency

A playground for artists, Part I

By Christina Catanese, Director of Environmental Art

Editor’s note: The Schuylkill Center produced a wall calendar for 2017 in celebration of the environmental art program. Throughout the year, we’ll run a monthly post on our blog highlighting the art works featured in that month of the calendar.

Part of the Schuylkill Center’s mission is to use our forests and fields as a living laboratory; for the art program, that means that we provide opportunities for artists to use our site as an place for experimentation in their artistic practice – which can some times look and feel a lot like play.

In fall 2010, the Schuylkill Center presented an exhibition called Ground Play in partnership with the Nexus Foundation for Today’s Art.

In Ground Play, The Schuylkill Center asked six artists (Susan Abrams, Nick Cassway, Jebney Lewis, Michael McDermott, Leah Reynolds, and Jennie Thwing) from the former co-op to respond to the history and physical space of its Second Site (Brolo Hill Farm) in a show from September 19th – November 28th, 2010.

Second Site, known historically as Brolo Hill Farm, was at one time an active farmstead, and includes an 18th-century farm house, barn, and remnants of a plowed field once used to grow feed hay for livestock. For the show Ground Play, Nexus artists considered both the agricultural and cultural conditions that might have existed on the site when the farm was active, and examined through their installations the implications of those dynamics in today’s environmental climate.

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For Light & Paper, Susan Abrams installed large plant photographs in the windows of the abandoned farmhouse at Brolo Farm.  The fourteen photographs mounted in the boarded up farmhouse windows focused on small and often overlooked aspects of the Brolo Hill Farm site and play with scale by making the images much larger than life.  The photographs were in sharp relief to the more abstract pulp-painted handmade paper works she also installed, which not only interpreted the site but also incorporated materials gathered there.  

Abrams used natural materials found at Second Site as subjects in the photographs and as ingredients in her handmade paper.  The paper works will weathered and changed over the course of the exhibition adding nature as an ongoing component to the art. She approached this singular environment by examining many of the small details, often unnoticed, yet essential to the landscape, then enlarging them to a human scale, inhabiting the house, as they do the Schuylkill Center’s site.

Leah Reynolds presented The Combustibility of Hay and Farmer’s Lung, a large work hung on the side of the old barn at Brolo Farm. The title and imagery refered to the fungus “Aspergillus furnigatus” which grows in baled hay and may cause it to spontaneously ignite (the Brolo Farm chiefly produced hay).

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In general, fungi are crucial to the recycling of nutrients within ecosystems because they break down organic matter (they form networks connected by tubular branches called hyphae).  This particular fungus may also cause a disease known as “Farmer’s Lung” when the mold spores that it produces are inhaled in an enclosed area such as a barn.  Reynolds’ piece covered the face of the Second Site barn with acrylic-coated fabric, giving the impression that it has been inundated with a large and virulent fungus.  Reynolds playfully tackled this topic with bright colors, transforming the barn into a giant art object. Editor’s note: Reynolds’ work is also on view as part of our summer 2017 exhibition, Making in Place, on view through August 12!

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Nick Cassway’s In the Woods responded to Brolo Farm with a group portrait series created by computer cut reflective vinyl.  The title refers to being dislocated, either physically or psychologically; feeling out of your element, vulnerable, over your head.  The 36 drawings are separated into 3 “acts”: the enticement, the partaking, and the repercussion.  Collectively, these images were meant to form and emotional tapestry; there is no singular narrative thread.  The pieces used the language of road signage – the shapes, stature, and materials – to literally become “warning signs” scattered throughout the landscape.  The drawings were made using computer cut black reflective vinyl (traffic engineering film) mounted on matte black painted aluminum panels and for maximum effect were intended to be seen at night via flashlight.

Editor’s note: Images from Ground Play were also featured in our wall calendar for October – stay tuned for a blog post in early October covering the other three artists in this show!

(Un)Natural Perspectives

By Christina Catanese, Director of Environmental Art

Editor’s note: The Schuylkill Center produced a wall calendar for 2017 in celebration of the environmental art program. Throughout the year, we’ll run a monthly post on our blog highlighting the art works featured in that month of the calendar.

Works were exported from the studio and given a new life outside for Out of Bounds, a show presented in collaboration with The Center for Emerging Visual Artists in 2012. From June to September that year, work was placed against the backdrop in which it was inspired by – the natural world. Some works were recreated and recontextualized, while others played with the natural elements, giving the viewer a new perspective on the familiar landscape.

Curated jointly by the Schuylkill Center’s then-Director of Environmental Art, Jenny Laden, and CFEVA’s then-Director of Career Development, Amie Potsic, Out of Bounds renewed a partnership between the organizations that continues today.

The exhibition featured seven fellows and alumni of CFEVA’s Career Development Program, a 2-year fellowship for artists.

Caleb Nussear played with mirrors, layering the visual experience of the woods.

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Susan Benarcik transformed wire hangers into large dewdrop like sculptures that hung near our Visitor Center.  

Editor’s note: artist Oki Fukunaga also utilized hangers in his sculptures as part of our summer 2017 exhibition, Making in Place, on view now!

Ana B. Hernandez’s fabric sculptures added a bold pop of color while suggesting fungal growth on decaying logs.

Brooke Hine’s white anemone-like ceramic forms enlivened tree stumps more subtly.

Mami Kato’s work was installed in our Fire Pond, and was inevitably surrounded by duckweed, a floating aquatic plant.

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Scott Pellnat’s giant boat gave the feeling of being trapped in the woods, far from any navigable waters.

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Darla Jackson’s “Birthday Party” enlivened our indoor gallery space, as a way to welcome visitors and mark the 25th anniversary celebration of the Schuylkill Center’s Wildlife Rehabilitation Clinic.

Out of Bounds allowed us to play with the boundaries of the natural & “un”natural by seeing familiar forms recontextualized to suit various environments both in & outdoors, sometimes using synthetic materials to imitate forms found in the natural environment.

Artist Profile: Jane Carver

By Christina Catanese, Director of Environmental Art

Imagine the quiet of a grove of tall pine trees, the impressions of your footsteps barely audible on a cushion of pine needles, punctuated by the occasional bird or creaking limb.  Now, imagine the soundscape also includes an ethereal voice accompanied by the haunting notes of an accordion. You’ll have the opportunity to experience precisely these sounds this summer, as artist Jane Carver performs a special one night only concert in our Pine Grove.

Carver is a Philadelphia-based artist and musician who is part of our summer exhibition, Making in Place.  She started playing classical music when she was quite young, then branched out into folk music as a teenager.  She is primarily a vocalist and an accordionist, both of which she will share in her concert in July.

For Carver, performing is a way that she can connect with others.  “I love singing with other people,” she says, “That’s my joy.”  Carver now sings with Svitanya, a women’s vocal ensemble that specializes in Eastern European folk music.  Carver describes listening to folk music as the experience of “hearing something completely unfamiliar and feeling like you’re home.”  

At the opening reception for Making in Place in May, Carver performed a few songs in our amphitheater, and this idea truly resonated with me.  Most of the lyrics were in Bulgarian and so I could not directly understand the meaning, yet as I listened to Carver along with the wind in the trees of the Schuylkill Center and the sounds of playing children, I felt it. Carver says that the fundamental point of performing is to “create a moment that everybody can be part of,” and in the moment of her performance, we were.

In addition to her site-specific performances, Carver spent the past few months taking field recordings at the Schuylkill Center and blending them with her own music to develop a sound piece designed to be experienced as visitors walk along our trails. Signs in the gallery and at the entry points to the Widener Trail detail how to listen to it on your own device as you explore the Schuylkill Center property.

Carver says that it has been valuable to her to be an artist at the Schuylkill Center, with space to explore her ideas and respond to our site.  She reflects, “The Schuylkill Center is so important because it provides various means of access to incredibly important resources.  I feel lucky to have the opportunity to be an artist within this site and hopefully share these resources with a greater public through my work.”

As our environmental art program grows and develops, we hope to offer more performance events and multidisciplinary art experiences, expanding from environmental art to environmental arts.  If you couldn’t join us for the opening reception, I hope you won’t miss seeing Carver perform this summer – it’s sure to be a special night.

Editor’s Note: Quotations from this video were drawn from an interview with Jane Carver conducted by students from St. Joseph’s University’s Beautiful Social program in collaboration with the Schuylkill Center. An excerpt from this piece was published in our summer newsletter in June 2017.