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Elizabeth Ogilvie is a Scottish environmental artist who focuses on
the psychological, physical and poetic dimensions of ice and water.
Out of Ice was Ogilvie's gigantic immersive art piece, a
site-specific work designed for the vast Ambika P3, a London
gallery and former construction hall. Her work is deeply concerned
with nature, global warming, the age of the Anthropocene and deep
time, employing a fusion of art, architecture and science. This
publication explores one of the most significant artists of her
generation in Scotland: it includes essays focusing on a critical
interrogation of Ogilvie's work but also poetry, journal extracts
and the artist's own writing. A series of stunning images will
document Ogilvie's field research and experimental work, the Out of
Ice installation process, and the artist's community engagement.
Ogilvie was the recipient of a Creative Scotland/National Lottery
Award, as well as an Arts Council of England grant and a Saltire
Award for Art in Architecture. She is the founder/director of
Scottish-based cultural trust Lateral Lab, and she has exhibited in
numerous galleries worldwide, including in Korea, Germany, Iceland
and Japan.
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Mark: Sonya Kelliher-Combs
Julie Decker, Janet Catherine Berlo; Text written by Laura Fry
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R1,406
Discovery Miles 14 060
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Ships in 12 - 17 working days
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Sonya Kelliher-Combs offers a chronicle of the ongoing struggle for
self-definition and identity in the Alaskan context. Her
combination of shared iconography with intensely personal imagery
demonstrates the generative power that each vocabulary has over the
other. Similarly, her use of synthetic, organic, traditional and
modern materials moves beyond oppositions between Western/Native
culture, self/other and man/nature, to examine their
interrelationships and interdependence while also questioning
accepted notions of beauty. Kelliher-Combs' process dialogues the
relationship of her work to skin, the surface by which an
individual is mediated in culture. Sonya Kelliher-Combs was raised
in the Northwest Alaska community of Nome. Her Bachelor of Fine
Arts degree is from the University of Alaska Fairbanks and Master
of Fine Arts is from Arizona State University. Through her mixed
media painting and sculpture, Kelliher-Combs offers a chronicle of
the ongoing struggle for self-definition and identity in the
Alaskan context. Her combination of shared iconography with
intensely personal imagery demonstrates the generative power that
each vocabulary has over the other. Similarly, her use of
synthetic, organic, traditional and modern materials moves beyond
oppositions between Western/Native culture, self/other and
man/nature, to examine their interrelationships and interdependence
while also questioning accepted notions of beauty. Kelliher-Combs'
process dialogues the relationship of her work to skin, the surface
by which an individual is mediated in culture. Kelliher-Combs' work
has been shown in numerous individual and group exhibitions in
Alaska, the United States and internationally, including the
national exhibition Changing Hands 2: Art without Reservation and
SITELINES: Much Wider Than a Line. She is a recipient of the
prestigious United States Arts Fellowship, Joan Mitchell
Fellowship, Eiteljorg Fellowship for Native American Fine Art, and
a Rasmuson Fellowship. Her work is included in the collections of
the IAIA Museum of Contemporary Native Art, Anchorage Museum,
Alaska State Museum, University of Alaska Museum of the North,
Eiteljorg Museum, and The National Museum of the American Indian.
Kelliher-Combs currently lives and works in Anchorage, Alaska.
Alaska is part of an international circumpolar North, which makes
the United States an Arctic nation. Alaska is a place of Indigenous
ingenuity and adaptation, a place where environmental extremes
challenge the ways of living. In its more recent history, Alaska
has been a place of resources and influx-a land known best for what
it provides. This frontier persona, with its sourdoughs and
prospectors, has not been easily shed, but Alaska today is pivotal
because it represents America's North and a complex and changing
Arctic. North: Finding Place in Alaska explores the state's various
facets through exhibitions and artifacts at the Anchorage Museum
and the words of a diverse selection of writers, curators,
historians, anthropologists, and artists. From romantic landscapes
by Rockwell Kent and Thomas Hill, to the art and spirituality of
Alaska's Native peoples represented by a bentwood feast dish and a
uniquely carved hook for catching halibut, this collection examines
connections throughout the circumpolar North. No longer as remote
as once thought, Alaska serves as a narrative for our future.
Jonathon Keats' work as an artist and thinker is compelling for our
time. Keats poses critical questions, asks us to fundamentally
reconsider our assumptions, and proposes radical methods of
response. In a time when the environment and human lifeways are
experiencing unprecedented change, thought leaders like Keats are
needed to encourage us to consider possibilities -from the absurd
to the profound. Since the turn of the millennium, Keats has
comprehensively extended his academic training in philosophy by
prolifically presenting conceptual art projects that he refers to
as "thought experiments."These include installations and
performances in museums and galleries around the globe. His
motivations are to make space for exploring ideas, offering
provocations, and confronting systems we generally take for
granted. By prototyping alternative realities -systematically
asking what if...? -these projects probe the world in which we
live, exploring the potential for societal change.
Mary Mattingly is a visual artist. She founded Swale, an edible
landscape on a barge in New York City. Docked at public piers but
following waterways common laws, Swale circumnavigates New York's
public land laws, allowing anyone to pick free fresh food. Swale
instigated and co-created the "foodway" in Concrete Plant Park, the
Bronx in 2017. The "foodway" is the first time New York City Parks
is allowing people to publicly forage in over 100 years. It's
currently considered a pilot project. Mattingly recently launched
Public Water with More Art and completed a two-part sculpture
“Pull” for the International Havana Biennial with the Museo
Nacional de Bellas Artes de la Habana and the Bronx Museum of the
Arts, two spherical ecosystems that were pulled across Habana to
Parque Central and the museum. In 2018 she received a commission
from BRIC Arts Media to build "What Happens After" which involved
dismantling a military vehicle (LMTV) that had been to Afghanistan
and deconstructing its mineral supply chain. A group of artists
including performance artists, veterans, and public space activists
re-envisioned the vehicle for BRIC. In 2016 Mattingly led a similar
project at the Museum of Modern Art. In 2014, an artist residency
on the water called WetLand launched in Philadelphia and traveled
to the Parrish Museum. It was employed by the University of
Pennsylvania’s Environmental Humanities program until 2017. Mary
Mattingly’s work has also been exhibited at Storm King, the
International Center of Photography, the Seoul Art Center, the
Brooklyn Museum, the New York Public Library, deCordova Museum and
Sculpture Park, and the Palais de Tokyo. Her work has been featured
in Aperture Magazine, Art in America, Artforum, Art News, Sculpture
Magazine, The New York Times, New York Magazine, Financial Times,
Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street
Journal, the Brooklyn Rail, and on BBC News, MSNBC, NPR, WNBC, and
on Art21. Her work has been included in books such as the
Whitechapel/MIT Press Documents of Contemporary Art series titled
“Nature” and edited by Jeffrey Kastner, Triple Canopy’s
Speculations, the Future Is... published by Artbook, and Henry
Sayre’s A World of Art, 8th edition, published by Pearson
Education Inc.
John Grade's drawings, sculptures and installations are weathered,
marked, worn and disintegrated. Made of reclaimed wood or paper,
the works are buried for termites to devour, sunk into a bay to
collect barnacles, or hung in forest trees for birds t o eat.
Grade's work represents our changing environment. An attraction to
travel and to the land shapes the work, mirroring pattern s found
in nature, such as wasp nests, erosion, honeycombs, rocks, trees
and the passage of time. Grade invites natural forces to erode and
change the work and its material, e x ploring both control and
disruption and risk and measured thought. The works beg in from an
ex - perience - a reaction to place and history or a trek into the
landscape, whether it is the old growth forests of the Pacific
Northwest or the hills of Iceland.
Alaskans were introduced to the airplane as early as 1913, when
town officials in Fairbanks invited stunt flyers James and Lilly
Martin to fly over the local baseball park on July 4. Because many
areas are only accessible by air, this enormous state is still
defined today by aviation so that aviation and Alaska have formed a
very special symbiosis that is unique both in the world of
geography and flying. This publication celebrates the 100th
anniversary of this remarkable relationship. It looks at aviation
through artifacts of flight, popular culture and other ephemera;
objects that are unique to flying in Alaska and that impressively
convey stories of the pioneering spirit, engineering and the North.
In an extraordinary fashion, they foreground the changes flying
brought to life on the ground, guiding the reader from the early
days through times of war and industrialization, to the beginning
of the second century in the air.
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