Below is the video of the talk I gave last week at the School of Sustainability at Arizona State University about the Eden in Iraq Project.
A link to watch the Q&A session: https://vimeo.com/204211258
Our team member Sander Van Der Leeuw introduces the talk and leads the discussion.
Most interesting are the questions asked during the discussion and some of Sander’s responses. Most rewarding to me was the response by the audience to the scale of the project and that 5 acres per 7500 people to recycle waste was to them very reasonable. I had been worrying about the size and cost and amount of people benefiting.
Sander pointed out elegantly the benefit of a project that comes from the ground up with locals and local materials used rather than imposed from the outside.
The Arizona State University Museum of Art is interested in taking the exhibition we will present in Singapore next October. (More about this soon).
My adjunct position at the School of Sustainability was renewed indefinitely and they are happy to have our project brought under their umbrella as well.
We’ve finished the Business Plan and fund-raising efforts are beginning.
I had a Skype meeting with the Program director from UNESCO in Iraq on Monday to acquaint them with the project and to consider any future planning we might do together.
I will return to Singapore on March 6th. Essays are now completed for my book and exhibition at the University of New Mexico Fine Art Museum. Eden Turned on its Side and Iraq images are almost completed. Alan Weisman, author of The World Without US and Countdown has written a fine essay about the Garden of Eden from an environmental and social perspective and curator Dr. Shawn Michelle Smith from the Chicago Art Institute has written a great piece relating the issues in my work to the age of the Anthropocene.
The book will be ready in time for the Singapore exhibition.
There was an amazing essay by Dexter Filkins about the Mosul dam breaking and flooding Northern Iraq in last months New Yorker that was heavily on my mind. Instead a pipe froze in my house flooding it from end to end. So by day I’ve moved 45 years of art work to Albuquerque and by night kept writing. My best friend, Ciel Bergman, died just after the flood and another close friend, a next door neighbor, has had a recurrence of her cancer with not good news. So flanked by water and death in the desert here in New Mexico, the idea of Eden in Iraq has kept me going.
On Friday, August 5, 2016 at 5:30pm I will be presenting a gallery talk at the New Mexico Museum of Art, to speak about my photo series of the lowriders from 1980, which is currently part of the exhibition Con Cariño: Artists Inspired by Lowriders.
Challenged by a suggestion that lowriders were the true craftsmen of New Mexico, in 1979 photographer Meridel Rubenstein ventured to Española to meet and photograph them. Rubenstein recognized lowriders as fellow artists and says they changed her own approach to making art. Her portraits of lowriders were featured in the Museum of Art’s 1980 exhibition The Lowriders, held outdoors on the Plaza alongside a car show.
I am pleased to be a part of two Museum shows this Spring through the Fall of 2016. On May 1 the New Mexico History Museum will present Lowriders, Hoppers, and Hot Rods: Car Culture of Northern New Mexico, where several of my Lowrider prints from 1980 will be on exhibit. Photo Curator Daniel Kosharek has pulled together an extensive collection of images by Don Usner, Annie Sahlin, Jack Parsons, Sam Adams, Norman Mauskopf, Dottie Lopez, Gabriela Campos, Meridel Rubenstein and others.
On May 21, the New Mexico Museum of Art will unveil Con Cariño: Artists Inspired by Lowriders, an exhibit (through October 9, 2016) curated by Katherine Ware showing photographs and art inspired by car culture. Ahead of the exhibits, on April 15, the Museum of New Mexico Press will release a companion book featuring essays by Ware and Usner.
“These are artists who have engaged the natural world and humanity’s place in that world, over many years,” says 2016 Biennial co-curator Wendy Watriss. “Many of the artworks manifest the artists’ rigorous investigations into science and philosophy.” Featured projects address the anthropocene – climate change; industrialization and urbanization; bio-diversity; water; the use of natural and human resources; human migration; global capital, commerce and consumption; energy production; and waste.
Please visit FotoFest for more information on the exhibition and events.
I am honored to be included in the Dubai Photo Exhibition. An international exhibition that invited curators from all over the world to highlight important photographers throughout history. Natasha Egan, Executive Director, Museum of Contemporary Photography, Chicago was invited to curate on behalf of USA/CANADA. In this exhibit she presented: “The eight artists in this exhibition, each born between 1895 and 1969 in the United States or Canada, grapple with the conundrums of human experience and interaction, whether personal or societal, and use a range of photographic strategies to represent their concerns and pursue results.”
To see more info on the exhibit visit Dubai Photo Exhibition
After 5 month of 125 F temperatures and withholding of the water by Isis and Turkey to keep the Euphrates and Tigris rivers flowing, people were angry. The marshes are dried out for a 2nd time.
We were invited October 5th and 6th to make a presentation at the Emergency Conference for Restoration of the Marshes in Baghdad which was organized by our partner Nature Iraq and the Development Center for Energy and Water.
In addition to 30 angry Tribal sheiks from the south, 35 NGOS, 11 internationals, and many government officials attended including representatives from the Prime Ministers Office. One of our team members from Italy, Davide Tocchetto, joined me.
We couldn’t have continued our Tier 1 Project without our appearance and networking there. What became evident to people at the national level is that we DO have a solution for the ever increasing local sewage problems whether there is drought or not.
We were provided security by the Prime Ministers Office who also waived our visa and transportation fees, and paid our hotel and meals. (This is a huge relief as Davide and I need to return to Chibaish Dec. 28-January 10th with what little travel money is left.
Our new advocate in the Prime Ministers Office, Dr. Shubbar, was just recently in Singapore working on oil agreements for Singapore wells in Iraq! He knows the oil companies in Iraq and will act as the conduit to them for fundraising for us. He wants us to come back for a January Energy meeting. We will get visas now through his office so they should be quicker to obtain, one of my bigger concerns.
We also connected again with Azzam Alwash, CEO of Nature Iraq National Office in Sulimanyah, Kurdistan. His new Program Director, Parisian Sarah Hassan, knew nothing of the Project, and now has already lined up two potential donors in Geneva and is looking for a French Umbrella for administration.
Peer and I have given two Eden in Iraq talks at the Contemporary Islamic Art Symposia and exhibition at the National Library October 9th and 17th.. Now we have excellent materials on the influence of Islamic Design in our work. Now I am adding the syncretic influence of Mesopotamian civilization and design on Islamic design. We just finished a new paper for the Cumulus Water and Environmental Design Conference in Mumbai December3-5th. Neither of us can attend but our paper will be published.
We need another year to get our designs completed, ie after our next trip and proto-types are made. So we’re feeling cautiously optimistic that the garden may see the light of day in the next several years and that the marshes can return to health with renewed government action as a result of the conference.
original article here:
MERIDEL RUBENSTEIN The Volcano Cycle
Brian Gross Fine Art | September 12 – October 31
Poet Charles Olson advised his colleagues to think in terms of millennia, setting their local coordinates of place and history in the proper perspective. Photographer Meridel Rubenstein goes one better with her embrace of geological “deep time” embedded in Indonesian volcanoes. Part of a larger project, Eden Turned on its Side, the imposing digital photo works from The Volcano Cycle at Brian Gross unite science, religion, and art. Based in New Mexico, Rubenstein extends the work of Georgia O’Keeffe, who invoked local spiritual traditions in her images of arid landscapes. Likewise inspired by the photographs of Alfred Stieglitz, she combines the close-up with the distant, finding cosmic implications in the infinite depth of the perceptual world.
Rubenstein documents volcanoes in the “Ring of Fire,” centered on the island of Java, whose eruptions have impacted global history. Working with researchers from Singapore, she was able to visit these remote, sublime landscapes and record the life process of the earth in stark images of rocks and skeletal leaves, which she collaged and combined digitally. Most conventionally composed is her image of Kawah Ijen’s crater, which contains a lake of sulfuric and hydrochloric acids that wafts toxic mists across its blue-green surface, surrounded by barren brown walls. One is brought back to the age of eighteenth century explorers, to the origins of the sublime, yet Rubenstein’s photos are mounted on aluminum panels in a process of dye sublimation that lends them an industrial character. There’s a mirror glare that’s initially off-putting, yet traces of buffing on the surface echo the worn geological surfaces of the subjects themselves; the metallic images resemble daguerreotypes and connect us to the history of science and photography, to the sober ritual of recording natural phenomena that extends further back, to the dark mirror and alchemy.
By Jonathan Curiel Wednesday, Sep 23 2015
In the biblical tradition, the Garden of Eden is an idyll of plenty where, around 6,000 years ago, beauty and temptation surrounded Adam and Eve. Artists have employed everything from utter seriousness to comic relief in re-imagining this tableau of humanity’s beginning. On the Sistine Chapel’s ceiling, Michelangelo depicts the couple’s expulsion as an epic and violent denouement (an angel pushes them out with a sword to Adam’s neck), while Robert Crumb, the subversive comic artist who first made a name for himself in the 1960s, has more recently depicted Adam and Eve having rollicking sex amid the greenery of Eden’s open air.
Fine art photographer Meridel Rubenstein has an entirely different take on Eden. In Rubenstein’s imagination, the garden symbolizes humanity’s balance with nature, and she’s taking its pulse by visiting locations that embody the arc of earthly existence. For her three-part series, “Eden Turned On Its Side,” Rubenstein has repeatedly visited southern Iraq’s marshes, which some scholars believe form the site of the biblical Eden. Rubenstein has also journeyed to the volcanoes that have dotted Indonesia’s archipelago since before the existence of humans. “The Volcano Cycle,” now on exhibit at Brian Gross Fine Art, documents her glimpses of this primordial landscape. In many images, Rubenstein cobbles multiple scenes into a collage, then reproduces the image using a process of dye sublimation on aluminum. The technique gives each art piece a reflective sheen that matches the intense photographic perspective that Rubenstein captures with her camera.
art ltd. July/Aug 2015 features Meridel Rubenstein in the Artist Profile
Read full article here: 2015_MR_art_ltd
Please join me in San Francisco on Saturday, September 12 at Brian Gross Fine Art for my exhibition The Volcano Cycle.
On view will be ten new photoworks from The Volcano Cycle, the second part of the three-part series, Eden Turned on its Side. In The Volcano Cycle, I explore deep time through images of the smoldering volcanoes that make up Indonesia’s Ring of Fire, evoking thoughts of earth, climate change, and human co-evolution.
Reception for the Artist: Saturday, September 12, 3-5 pm
Artist Talk: 3:30 pm
Mt. Bromo from Above Encircled, 2011
dye sublimation on aluminum, edition 1/5, 32 x 45 3/4 inches framed