Educators dressed as nocturnal animals (1988).

Trick-or-Treating Through the Years

By Ezra Tischler, Arts and PR Intern

Halloween hikers gather before heading out on a night walk (1977).

Halloween hikers gather before heading out on a night walk (1977).

The forest can be a scary place at night. Its unfamiliar sounds reach out from the darkness, telling a nocturnal tale we humans seldom hear. However, the nighttime forest is full of much more than fright. By the light of moon, the forest comes alive.  Owls screech and hoot; frogs croak; skunks, raccoons, and opossums forage through the forest floor; bats flap about in search of something to eat. A wondrously active forest is born each night.

At the Schuylkill Center we explore just how amazing, and un-scary, the nighttime forest is with one of our most popular programs ever, Halloween Hikes and Hayrides. Established nearly 30 years ago, Halloween Hikes and Hayrides is now our longest running program ever! Families walk through our candlelit forest in search of educators dressed as nocturnal animals. Each animal—a skunk, raccoon, bat, fox, opossum, frog, and owl—tells their wild night-life story to our guests.

Educators dressed as nocturnal animals (1988).

Educators dressed as nocturnal animals (1988).

I spent some time last week looking through the Schuylkill Center’s extensive photo archive searching for evidence of the first Halloween Hikes and Hayrides. Though it was difficult to pinpoint the very first Halloween Hike, I was able to find some photos and negatives from hikes dating as far back as 1977. Mike, our director, says he doesn’t remember Halloween Hikes and Hayrides under that name from his first stint at the Schuylkill Center, but it’s clear the tradition is a long one.  Halloween Hikes & Hayrides has grown a lot since its inception. One photo shows about a dozen-or-so hikers gathering before heading to the forest. Last year we took to the forest with around 300 hikers in attendance!

Carving pumpkins (1977).

Carving pumpkins (1977).

Another photo from 1977 shows children enjoying a pumpkin carving session; we won’t have pumpkin carving at this year’s event, but there will be pumpkins for painting–a favorite in recent years. One of the earliest photos of anyone in costume shows our educators dressed as friendly nocturnal animals, it’s dated 1988. I was only a newborn in 1988, but I’m excited to join this year’s Halloween Hike as a costumed educator. More than anything, I can’t wait to see our forest trails dappled in candle light. I hear that alone is worth the price of admission.

Join us on October 24th and 25th for the Halloween Hikes and Hayrides, from 6:00—10:00 pm. Aside from the magical walk through our woods, enjoy a hayride along a woodland road, a campfire and s’mores, and pumpkin painting too. For more information click here.

Ezra joins the Schuylkill Center as an intern in the Environmental Art and Public Relations Department. He is pursuing a Master of Environmental Studies degree at the University of Pennsylvania.  Ezra enjoys riding his bike along the Schuylkill River Trail, exploring his South Philly neighborhood, and playing with his Beagle, Homer.

Beyond the Surface

On May 31, 2013 The Schuylkill Center for Environmental Education presented Beyond the Surface: Environmental Art in Action – A conference of ideas and innovative thinking about the relationships between art and nature.

This unique, first time conference brought over 100 professionals from the region and beyond (as far as Maine and North Carolina) to hear from the Advisory Team about their own individual practices, and then to join them in conversations.  Below are each team members’ presentations, for those of you who wish to hear from them directly.

The afternoon sessions were  titled “Activate,” Integrate” and “Engage.” Undoubtedly, this one-day conference has sparked ideas and ways forward to attendees from the cultural and environmental communities. We look forward to continuing the conversations.

Below, are each advisory team member’s morning presentations. Each were asked to speak on the work they do, have done, and speak to the issues pertaining to ecological art.

Lillian Ball

on how she became an ecological artist, focusing on water.

http://www.lillianball.com/

Sam Bower

on things that changed his life: Andy Goldsworthy, Deborah Small, Art as part of a system.

Stacy Levy

on a new kind of art, her own work, and the importance of collaboration and approaches, how artists make nature more visible.

http://www.stacylevy.com/

Amy Lipton

http://www.youtube.com/watch?v=D9lVQlC_14w

(we  are having technical issues here, but please click on link above to watch this video)

see more about Amy Lipton’s work with ecoartspace

Eve Mosher

on participation, interruption and interaction in her work. Watch her have the audience reflect on their first encounters with nature. See her nine concepts about her practice.

http://www.evemosher.com/

Frances Whitehead

on her work in sustainability, her practice: personal, pedagogical and professional.

 

This conference was made possible by the generous support of the Pew Center for Arts And Heritage Philadelphia Exhibitions Initiative and The National Endowment for the Arts.

 

Collaboration As a Means, Not an End

By Amy Lipton, Curator and SCEE advisory panel member, 2012-2013

In my work with ecoartspace over the past 12 years focusing on ecological artists and their projects, the term collaboration has been frequently evoked. The intention behind much of this work is to restore, remediate or transform damaged landscapes and also to educate the public about specific environmental problems or challenges. Artists taking on this imperative seek to inspire modification of human behaviors that have negatively impacted the earth’s ecological systems. Their work embodies what German artist Joseph Beuys coined as “social sculpture” over 50 years ago to illustrate art’s potential to shape society and the environment.

Joseph Beuys planting 7,000 Oaks for Documenta 7 (1982)

Ecological art demands forms of collaboration that are still rare in studio art practice in 2013. Collaboration in visual art (as opposed to design and architecture as well as performance-based art) is antithetical and contradictory to the position of the lone, iconoclastic artist of modernist/20th century ideals. Art schools continue to train artists to work independently as solo agents, emphasizing preparation for the entrenched market system of gallery and museum exhibitions and the art fair circuit to produce name brands. Ecological artists work from a different mindset, one which mirrors natural systems. Collaboration is not only a worthy goal or desire, but also a necessity in order to further community-based/public/infrastructure projects and to learn from needed specialists in other disciplines including science and engineering. Often the goal of these projects is to function (this word confronts all notions of art as useless) as components in ecological systems, operating outside of art spheres altogether. In order to succeed with their projects ecological artists must take into account the needs of specific communities with all constituents of these communities – human and non-human. Collaboration (and by implication participation) is a current art world buzzword. Used in terms of relational aesthetics, social practice art, and community based art projects, the word risks losing all meaning as just another trend for the art world to absorb. However collaboration is difficult and not for all artists – nor should it be.

The collaborative process itself is intrinsic to the art making and the results of art interventions in ecological systems usually improve over time. Time itself is a key component. Meaningful dialogue and discussion towards a shared goal takes a long time. Ecological art projects can take several years of planning before implementation. Aside from the vision of the initial collaborative team and the work that went into achieving consensus, projects often require a lengthy permission process from bureaucratic government officials and agencies, business and private interests as well as community support, involvement and at best citizen participation. In recent years emerging artists have been addressing environmental issues and sustainability on a smaller, more immediate scale. This comes from a desire to create work in less time by doing more temporal public art works and bypassing the need for permits. These artists have developed ways of working that are performative and include direct engagement by the artist with the public.

A recently completed curatorial project of mine titled TRANSported has been exemplary in demonstrating this collaborative participatory process. Habitat for Artists, an evolving collective of eighteen artists (they were included in my 2009 Schuylkill Arts Center project Down to Earth: Artists Create Edible Landscapes) created a self-sustaining artists studio and shared space for discussion and engagement held for one month by the Hudson River in Battery Park City, NY. Changing on a daily basis, artists and partnering organizations worked both inside and outside of a shipping container – converted into art studio space. The container was powered by the use of solar roof panels and included a square foot roof garden. Exterior sides included a vertical green wall, rain barrel collection for water, attached hoop greenhouse for growing seedlings and a blackboard for drawing and changing communications. Over the course of 30 days the container became a hub for workshops, an ecological information and education center, after-school art space, artist in residence program – one huge interactive social sculpture.

Artists working inside the habitat
photo credit: Mario Mohan

Artists working inside the habitat (Pictured: Marion Wilson, Michael Asbill and Michele Hersh)
photo credit: Mario Mohan

The elements that went into making this collaborative project successful included:

1. The artists having a shared purpose over and beyond their individual expression.
2. A non-hierarchical decision making process with no specific leader.
3. Process over product- viewer engagement was the goal.
4. An interest in crossing disciplines and working with partners to learn.
5. A willingness to accept unpredictability and flexibility including limitations of weather and last minute changes in personnel.
6. Understanding that evolving daily changes to the space over time were a key component of the overall project.

The Habitat for Artists participants each contributed a different component, working within their unique methods and styles for the benefit of a larger shared art/ecosystem and demonstrating that collaboration is a means and not an end.

The collaborative approach to art-making that is inherent in ecological art calls into question some of the most basic premises of the contemporary art world and artists.  However, both the pressing ecological issues and the need for broad social co-operation in global society necessitate the shift to a collaborative sensibility.  Following on Beuys’ idea of social sculpture, art can point society in meaningful directions.

Amy Lipton, Curator and SCEE advisory panel member, 2012-2013

Time Frames

by Sam Bower 2013


Standing in the woods near the pond at the Schuylkill Center, we can look out and see a range of time scales. The brown and golden leaves under our feet from the Fall- the leftovers of a year’s work by the trees above us. Perhaps there’s snow still on the ground from a recent storm, itself the result of the vast cycles of evaporation off the ground and from lakes and oceans into the atmosphere and clouds and back down again. Some of the trees around us are decades, maybe hundreds of years old. Frogs and fish and insects hidden underground or inside vegetation, birds in their nests chirping and flitting about, grasses, flowers each have their lifespans and carefully timed cycles to support, prey on or evade each other – evolved over thousands, even millions of years.


Changing urban land use patterns offer opportunities for shifts in paradigm, innovation and art: (http://www.takebackthetract.com/)

When we think of culture and public art, we have an opportunity to think along similar time scales. Humans also have their cycles of productivity, lifespans and fleeting passions. These interests also evolve over time to reflect our knowledge, context and the resources at hand.

Sometimes an artwork arrives with a bang and loud trumpets and just as quickly fades into the day or week or month only to live on in memory and documentation. Like sighting a rare Blue-winged Warbler in the forest, or waking up to an overnight dusting of snow that makes the line of every tree suddenly visible, or the miracle of a drop of dew on a leaf in the Summer that reflects a world upside down, these brief events delight and remind us of the preciousness of the present moment. Some things are simply best communicated ephemerally. A song. A performance. A rain shadow.

On the medium scale, we have most plants and animals and planted crops and, alas, most human projects. We tend to think in terms of months or years or at best decades. A hundred years without regular maintenance is long for a built structure, long for most outdoor sculptures, too, even those meant to be “permanent”. It’s the lifespan of an exhibition, a person, a raven, a grove of Sassafrass (albidum) and it serves to ground us in the familiar. We can see it and know it because it’s us. Within a century, with the strategic accumulation of such medium scale projects, we can make major improvements or changes to a place and set things in motion that can last a lot longer.

It’s the larger time frame that gets the least attention and is often more difficult to wrap our heads around. The scope of generations. Climate change. Geological time. Too often, these big shifts elude us. We claim not to know. A sudden revolution or a storm or an accident can thwart the best laid plans. Ultimately, we know that a focus on the specific is often too limiting a scale for something long lived and significant.

At the Schuylkill Center, the increasing flow of voracious and unmanaged deer over and across the land, and the invasive Asian earthworms (Amythas hilgendorfi and agrestis) under it, are regional and even continental challenges. To encourage specific changes here, we would need to plan and coordinate with those working within much larger areas to be effective. To set in motion a resilient set of processes that truly begin to nudge us and the natural areas under our trust towards a future that can address a world in flux is an enormous challenge. At a time of massive species extinction and global changes in climate, we need a flexible and directed multi-timescale approach to culture and ecological stewardship.

The environmental art advisory team at the Schuylkill Center in 2012.

This is the challenge ahead for the Schuylkill Center. Most art, even ecological art is a flash in the pan, a tasty snack. They generate attractive catalogs and press releases and perhaps valuable discussion, but will the worms and watersheds really notice? We have large institutions for pickling great paintings and sculptures, but outdoor work designed to heal the earth and support our communities is a different animal. While a project can have representative images and installations at these museums (usually as part of a temporary exhibition), the real work gets done on the ground and in context.

Like in an ecosystem, we need the dew drops and temporary projects to delight and attract. We also require specific medium term artful initiatives to control erosion, channel rainwater, educate people longer term and connect current and future generations to the land. It falls to the long term, multi-generational projects, however, to provide a long term vision that considers the implications and resilience needed to cope with, say, a 2-6 degree rise in global temperatures over the next few hundred years. It seems we’d want to look at rising water levels – how would this affect the Schuylkill River? What local conditions will we need to ensure maximum biodiversity and habitat support for migrating species seeking more favorable habitats?

In nature, we can see the extraordinary interplay of finely tuned life cycles working together to support the system as a whole. As these delicately synchronized dances grow increasingly out of synch with pollution, temperature and weather changes, what we know and have studied over the past hundreds of years will require new interpretation. It will become less about restoration of past conditions and more about our capacity to surf these changes. Our notion of what art is will also need to change.

For ecological art to be effective, we will need to think along multiple time scales and beyond the individual artwork, towards a future-oriented cultural system as a whole. How can the brief delightful moments support the larger arc of history? Can we begin to layer and combine artworks to support each other, much like the shift from unicellular to multi-cellular life? I’m looking forward to the role the Schuylkill Center can play in this civilizational shift. It is a precious opportunity to contribute to our times and help develop new cultural patterns for generations to come.

©Sam Bower 2013

 

Ecological Design Thinking

by Jenny Sabin

Figure 1 – Sabin’s myThread Pavilion for NYC Nike FlyKnit Collective; featuring a responsive Whole Garment knitted structure; image courtesy of Nike Inc.

Sustainable building practices should not simply be technical endeavors. They should include the transformation of existing built fabric into sustainable models that inspire both positive socio-cultural change and innovation in design, science, art and technology. Professor and architect, Michael Hensel at a recent symposium hosted by the Department of Architecture at Cornell University titled Sustaining Sustainability, underscored this notion (see full review by Sabin in The Architectural Review Issue #1381, March 2012). The symposium featured lectures by a diverse group of researchers and practitioners spanning multiple disciplines from biology to architecture who share a common concern for what Hensel has labeled ‘sustainability fatigue’. This symposium was not centered upon exhausted issues including energy, optimization and performance, which tend to dominate most conferences on sustainability in architecture today, but was instead focused on re-thinking the entire conceptual foundation for the project, one which fundamentally examines our relationship with nature and nature’s relationship with humans. Important to this shift, is a move away from purely technical solutions to environmental sustainability and a move towards an understanding that our built and natural environments are equally becoming the contexts for thriving hybrid ecosystems. How might architecture and art respond to issues of ecology whereby buildings and environmental interventions behave more like organisms in their built environments? And further, what role do humans play in response to changing conditions within the built environment using minimal energy consumption?

My work investigates the intersections of architecture and science, and applies insights and theories from biology and mathematics to the design of material structures. I am Assistant Professor in the area of Design and Emerging Technologies at Cornell University in the Department of Architecture, co-founder of LabStudio and principal of Jenny Sabin Studio, an experimental architectural design studio based in Philadelphia. I am interested in looking to nature for design models that give rise to new ways of thinking about issues of adaptation, change and performance in architecture.

Intersections between architecture, environmental art, materials science and biology offer fruitful models for ecological design thinking where collaborative pursuits offer new approaches to how we interact with nature in the built environment and to long term sustainable solutions in each of our individual fields.

Buildings in the U.S. alone account for nearly 40% of the total national energy consumption. Therefore, the design and production of new energy efficient technologies is crucial to successfully meet goals such as the Net-Zero Energy Commercial Building Initiative (CBI) put forward by the U.S. DOE, which aims to achieve zero-energy commercial buildings by 2025. LEED (Leadership in Energy and Environmental Design) is a rating system launched by the U.S. Green Building Council for new construction and existing building renovations. The LEED green building certification program is the industry standard for accelerating global adoption of sustainable green building and development practices. While this certification program serves as a positive and productive report card for assessing a building’s impact upon its environment, it ultimately enforces a short-term ‘check box’ mentality over long term and systemic ecological design thinking. Ecological design thinking requires a radical departure from traditional research and design models in architecture, art and science with a move towards hybrid, trans-disciplinary concepts and models for collaborating. Although there have been tremendous innovations in design, material sciences, bio- and information technologies, direct interactions and collaborations between scientists, architects and artists are rare. All of this is regardless of the fact that science, engineering, art and architecture all share the need to comprehend key social, environmental and technological issues. One approach is to couple architectural designers with engineers and biologists within a research-based laboratory-studio in order to develop new ways of thinking, seeing and doing in each of our fields.

Since the official public launch in the fall of 2010 of our National Science Foundation (NSF) Emerging Frontiers in Research and Innovation (EFRI) Science in Energy and Environmental Design (SEED) project titled, Energy Minimization via Multi-Scalar Architectures: From Cell Contractility to Sensing Materials to Adaptive Building Skins, I (Co-PI) along with Andrew Lucia (Senior Personnel) have led a team of architects, graduate architecture students and researchers in the investigation of biologically-informed design through the visualization of complex data sets, digital fabrication and the production of experimental material systems for prototype speculations of adaptive building skins, designated eSkin, at the macro-building scale. The full team, led by Dr. Shu Yang (PI), is actively engaged in rigorous scientific research at the core of ecological building materials and design. Our project contributes to an area within architecture called responsive architecture while also presenting a unique avant-garde model for sustainable design via the fusion of the architectural design studio with laboratory-based scientific research.

Figure 2 – eSkin project, sponsored by NSF EFRI SEED, UPenn & Cornell; our emphasis rests heavily upon the study of natural and artificial ecology and design, especially in observing how cells interacting with pre-designed geometric patterns alter these patterns to generate new surface effects.

Responsive architecture, a term first coined by Nicholas Negroponte, is a type of architecture that has the ability to alter its form in response to changing conditions, particularly at multiple scales. Popular examples include Galleria Hall West (Seoul, South Korea), Institut Du Monde Arabe, Aegis Hypo-Surface, POLA Ginza Building Façade, and SmartWrap™. Most of these examples, however, rely heavily upon the use of mechanically driven units that communicate through a mainframe, and they have to be nested within a building façade system. A building’s envelope must consider a number of important design parameters including degrees of transparency, overall aesthetics and performance against external conditions such as sunlight levels, ventilation and solar heat-gain. SmartWrap™ by Kieran Timberlake architects, integrates currently segregated functions of a conventional wall, and combines them into one advanced composite system. In contrast to these examples, our emphasis rests heavily upon the study of natural and artificial ecology and design, especially in observing how cells interacting with pre-designed geometric patterns alter these patterns to generate new surface effects. These tools and modes of design thinking, are then applied towards the design and engineering of passively responsive materials, and sensors and imagers.

The synergistic, bottom-up approach across diverse disciplines, including cell-matrix biology, materials science & engineering, electrical & systems engineering, and architecture brings about a new paradigm to construct intelligent and sustainable building skins that engage users at an aesthetic level with minimal energy consumption. We hope that our interdisciplinary work and modes of ecological design thinking not only redefine definitions of research and design, but will also address pressing topics in each of our fields concerning key social, environmental and technological issues that ultimately impact all humans in our built environments.

©Jenny Sabin 2013

Art/ist Roles

By Eve Mosher

October 29th, Hurricane Sandy made landfall. The eye of the storm passed over New Jersey but the hurricane winds, and worse, a massive storm surge hit New York City. The storm surge, combined with high tides and sea level rise created a superstorm that sent waters rushing into the coastal areas of New York.

As images of the floods began to circulate, I got a sense of eerie familiarity. The debris line near the 14th street power station (where an explosion knocked out power for lower Manhattan for almost a week), the flooded Battery Tunnel entrance in Manhattan and the water soaked communities of Red Hook and Dumbo.

Debris in front of the ConEd substation at 14th and Ave C.(Dan Lurie / Gothamist)

Debris in front of the ConEd substation at 14th and Ave C.(Dan Lurie / Gothamist)

These images and places were where I had walked, in 2007, slowly drawing a blue chalk line along the ten foot above sea level line.

Eve Mosher’s, HighWaterLine Project on 14th street

I knew the areas well, met community members and witnessed everything along that line. I was creating a visualization based on a report written by climate scientists in 2001, which forecast more frequent severe flooding (from stronger storms) with a worst case scenario of a devastating flood once every four years by 2100.

The intention of the HighWaterLine project was to create a spectacle around which people could gather to engage in a conversation about climate change and their role in changing future scenarios.

The project has now become a rally cry for what we knew then and what the challenges we face now.

 

What is the place and power of art at the intersection of science, the environment and policy? And what power does art have on participating in the ever changing urban landscape?

Public works have the power to disrupt our daily routine and in so doing, leave an indelible impression upon us, scientific study even upholds the notion of the power of the unexpected From this place, art becomes an entry point for a memorable experience that can inform personal and community decisions. Some works create a space for a deeper experience and contemplation – Agnes Denes’ “Field of Wheat,” at once informed and motivated consideration on the culture of development and displacement. The “I Wish this Was…” project by artist Candy Chang sought to spur greater action – creating a space for creative thinking about development by and for a community.

Artists have a distinct ability to approach a problem or visualize an issue in a way that might exist outside the rubric of peer-reviewed reports, bureaucratic infrastructure and other frameworks which seek to create impediments instead of inspiration. Artists use visualization and emotion to convey information that could elsewhere read as dry and uninspired.

What are the various roles inhabited by art or artists that might allow participation in global issues?

  • Art/ist as commentator. Not merely editorializing on contemporary issues, but translating the facts into a work that creates an emotional experience. A successful project can go beyond the act of re-stating an issue by inciting questions and action.
  • Art/ist as collaborator. Working with science & scientists to create works that make complex knowledge accessible, and can be taken into the wider community. Mary Miss’ City as Living Laboratory/1,000 Stepsproject engages local communities, artists, scientists, planners and other stakeholders come together to design and develop projects to address sustainability along the Broadway corridor in NYC.
  • Art/ist as witness.  Work can create a space for community reaction, or act as a method of observing and documenting those reactions.
  • Art/ist as storyteller. Stories as a tool for communication are jarringly powerful. The personal relationship to issues and information creates an emotional connection. Acting as witness is also a method of collecting and redistributing stories.
  • Art/ist as catalyst. Creating works that spark or inspire change in thought and attitude or act as instigator for discussion play an important role in transfer of knowledge and civic engagement.
  • Art/ist as innovator. Unhindered by existing frameworks, artists can restructure and reinvent  solutions and methods of engagement through artistic acts.
  • Art/ist as community builder. An artist can provide an object or event upon which people can focus, showing their support, enthusiasm or varied passion. Xavier Cortada‘s Reclamation Project, which engages communities in the act of nurturing and planting mangrove trees in Florida is a simple act in which participants gain knowledge and a sense of acting to reverse the devastating impacts of development on their own communities.

After Hurricane Sandy, my work was used by Elizabeth Kolbert, writing in The New Yorker, as setting the stage for comprehension of the great challenges that lay ahead for the city of New York in addressing future floods. It was also used by Bill Weir, on ABC Nightline News to create a local visual tie to global climate change impacts as documented by the Extreme Ice Survey time lapse documentation of glacial retreat.

For me, this is indicative of the great role that art can play of focusing attention and translating complex situations into powerful, visual statements.

©Eve Mosher 2013

Effective Art

By Lillian Ball

There is an innovative category of artist that confirms the many ways art can do more than mirror the state of our culture, or current events. These artists are committed to working in ways that actually change how the world works in addition to the ways we might perceive the world.

The diverse art projects I am fascinated with cover a wide range of disciplines. Social practice or public interaction is often a vital component. These international artists are doing more than merely talking about “relational aesthetics”. Ecological systems are inherently relational with great potential for embedded aesthetics. Financial and economic crises, sustainability and green infrastructure, bioremediation and native habitat restoration: all can be subjects of this reflective approach.

Some projects are activist in form, but others may just be creatively subversive – employing whatever tactics go beyond getting the point across, all the way to actually making a difference. Artistic personalities can be resourceful in unique ways because artists are taught to think outside the box. Adversity trains them to be capable of negotiating transformative paths. This work is not necessarily political, but often involves alternative structures, cross-disciplinary methods, and the applied sciences. Public officials may be supportive, or in opposition, but the work certainly provokes a response.

Several international artists present solutions to environmental and land use challenges in a variety of formats. Project manifestations range from studio art, to performance, to depictions of permanent public installations. The artwork itself is visual, poetic, and ambiguous, not didactic in nature. We can be inspired, and intelligently seduced into action, without being bombarded by post-apocalyptic visions.

Links below are examples of projects that hinge on the artist’s individual commitment to public interaction:

Fernando Garcia Dory organizes Shepherds events that maintain farming culture and prevent development in the mountains of his native Spain.

 

 

Reverend Billy/Church of Stop Shopping deposited “murdered mountain mud” at 20 Chase Manhattan branches informing customers about the bank’s mountaintop removal financing.

 

 

 

Betsy Damon creates interventions with Tibetan communities to save sacred water sources.

Mathias Kessler & scientist Dr. Wendelin Weingartner, use software interfaces to verbally announce plant stress symptoms.

Certainly not “art for art’s sake”, Effective Art derives inspiration from outside the art discourse. This work stretches what art is capable of doing, beyond green-washing contemporary culture or complaints about art’s marginalization. As Gustave Speth, a founder of the Natural Resources Defense Council and former Dean at Yale School of Environmental Studies says “we need all the help we can get”. This work of these artists examines successful tactics that use art as a critical weapon in the fight against environmental destruction.

©Lillian Ball 2013

Getting Millennials to Care More about the Environment

By Whitney Works, Intern for SCEE’s Environmental Art Department

Working with the Environmental Art Department of the Schuylkill Center has piqued my interest in a few things. While I recognize my own conservation habits, I can’t help but wonder about my colleagues and other Millennials (those aged 18-29). Those outside of the environmental science or nonprofit sphere; how do they view the environment and its pressing issues?

Surprisingly, the Journal of Personality and Social Psychology published a study earlier this year finding that Millennials were more civically and politically disengaged and less concerned about helping the larger community than GenX and Baby Boomers were at the same ages.

So, what?

Millennials are now the largest group of Americans outnumbering Baby Boomers (nearly 90 million strong) by an estimated 20 million. Their presence can no longer be overlooked. It’s estimated that they will have the most buying power by 2017 and for the next 40 years after that.

Not only do nonprofits have to make their missions and projects more engaging to Millennials, but they also need to get them excited about social change.

That’s just it. How exactly do you encourage Millennials to care more about the environment? Beyond growing their own gardens, composting, recycling, and using sustainable materials.

Participant Media just launched a new channel YouTube channel, TakePart TV. The channel “serves as a digital home for clever, eye-opening and optimistic content around big issues that face our planet for Millennials ranging from teens to thirtysomethings”. Clips like the Waterpocalypse Now video, from the Brain Food Daily series takes a humorous, more crass approach, but one has to wonder if these types of media really move audiences to action.

Ecoarttech, a unique organization “combining primitive with emergent technologies, to investigate the overlapping terrain between ‘nature’, built environments, mobility, and electronic spaces” may be on to something. Their current project Indeterminate Hikes+ is a mobile media app that “transforms everyday landscapes into sites of bio-cultural diversity and wild happenings”. Users map out a hike in a natural or urban setting and along the way are asked to perform small tasks, learning to appreciate the surrounding environment and notice the unique sits often overlooked.

Having the unique advantage of combining both visual art with environmental education, what can the Schuylkill Center take away from these two examples in order to engage Philadelphia young professionals about relevant environmental issues, such as stormwater run-off?

I’m on a self-made mission to find out.

Stay tuned for more blog posts from the Advisory Board, and more on the Millennial view on Environmental Art.

Hear from Our Team!

By Jenny Laden

Now it’s time to hear from our team !  Here they are, discussing our planning project, the art program’s goals, and what makes The Schuylkill Center unique. Our Advisory team is collectively committed to progressive collaboration in art and science, and after our time together have a sincere fondness for the site and the program.

Moving forward, we will be sharing some thoughts and ideas from the team members themselves in the coming weeks. In the meantime, watch these smart amazing people, and join in our Walk in the Woods.
Special thanks to Mangrove Media for their gorgeous filming.

What Makes the Schuylkill Center Unique

The Goals of this project

Advisory Team Meets at Schuylkill Center

By Jenny Laden

On August 16th and 17th, SCEE hosted seven Advisory Team Members to visit our center and assist in the re-visioning of the Art Program’s direction. As part of the Pew Philadelphia Exhibition Initiative’s Planning Grant, the Team was invited to convene over the two days to discuss the Center’s opportunities, challenges and help craft a clear vision for the direction of the Art department at SCEE. Learn about the team here. Visiting us over the meeting were Deenah Loeb, SCEE board member and Art Committee chair, and Mary Salvante, founder and former Director of the Art Program.

Over the two days, the team was introduced to the Center’s land with a long walk with staff members: Mike Weilbacher, Joanne Donohue, Gail Farmer and Jenny Laden.

We walked though Penn’s Native Acres and Joanne and Mike discussed the restoration efforts at SCEE, and the contrast between the “restored”/”managed” areas and the rest of our property – delving into the details of soil composition changing as a result of non-native earthworms, invasive plant species such as stilt grass and why it prevents forest growth.

We saw erroded paths – the result of stormwater runoff from our building which runs down our hill. This errosion prevents growth, and brings unwanted debris to ponds and streams.

Gail Farmer, Education Director at SCEE, discussed the importance of environmental education, and the experience city dwellers have when they visit us here. She mentioned this book, which is an interesting perspective on why kids are reticent to fully engage in nature.

The team discussed other projects where art served to restore, remediate, revive bruised broken down space. We created a list of goals for our new work – including the notion that our projects must make visitors/participants and users Think, Feel and Do;  provide well interpreted information, offer a moving/surprising/effective experience and clearly present ideas to bring home which might alter their behavior, or the world around them.

We discussed the value of collaboration, and the importance of experimentation, the problems with the term “sustainability,” using art to educate an urban community about nature, the relationship between art and science, on various levels (personal, institutional, national, global). The team felt strongly that our work here must consider multiple time frames (short, medium and large) – so that our art projects might have a variety of ways of becoming, being and remaining (or not). Nothing replaces the time spent in a place. Our most successful artist projects (like Jennie Thwing’s brolo hill project)  thus far have come from artists who spent significant time here and arrive at a deeper understanding of the complexities that exist on our site.

At the end of a long two days, we collaborated on the following mission statement, paving a new way forward for the Environmental Art Program: 

SchuylkillArt provides opportunities to investigate, innovate and interpret the nature of place

Stay tuned for team member interviews, blogposts and more.