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
Women’s International Study Center Panel Discussion: How Women Artists Shape the Arts and Contribute to Social Change
On August 6, 2015, Meridel was invited to join a panel of artists, Harmony Hammond and Rose B. Simpson, to discuss with moderator Kymberly Pinder and keynote speaker Susan Fisher Sterling, Director of the National Museum of Women in the Arts on the topic of How Women Artists Shape the Arts and Contribute to Social Change.
This special lecture and moderated discussion explored the evolution of women artists over recent decades and their contributions to social change.
Presented by the Women’s International Study Center with the support of the New Mexico Committee of the National Museum of Women in the Arts.
For more details on the event and to see the videos please visit:
Event and Speakers Introduction: 04:26–5:55
Meridel talk: 1:24:06–1:33:07
Meridel Q&A: 1:40:12–1:42.34
In the Spring 2015 El Palacio magazine’s article titled, The Arts of Nuclear (Dis)enchantment by Lois P. Rudnick included Meridel Rubenstein’s multimedia work about Robert Oppenheimer and Los Alamos, Archimedes’ Chamber and the Oppenheimer’s Chair
Read the article here:
by Richard Tobin
original article here:
Meridel Rubenstein: Eden Turned On Its Side
And Cain went out… And dwelt in Nod, the land east of Eden.
David Richard Gallery
544 South Guadalupe Street, Santa Fe
Meridel Rubenstein makes inspired use of Adam and Eve as a visual conceit in Eden Turned on its Side, a large three-part photo installation about “intersections of nature and culture in relation to ecological and social imbalance” (gallery statement). Part two, Eden in Iraq, anchors part one’s earlier tree studies (Photosynthesis), from the 1990s, and the grim, gorgeous imagery of part three, The Volcano Cycle, from 2012. What unifies all three projects in Eden Turned on its Side is the artist’s concern with “ecological processes across time that either reinforce or destroy the notion of Eden” (gallery statement).
The Garden of Eden is a timeless literary theme, the archetypal “locus amoenus,” a lovely place of sensory delight—especially visual—a woodland, pasture, orchard, an enclosed park: Paradise. The actual context for the Eden in Iraq series is the Mesopotamian marshlands of southern Iraq, believed by some scholars to be the biblical site of the Garden of Eden. Eden in Iraq features two photographic prints that draw upon the Eden theme: Adam and Eve in La Cienega, USA and Adam and Eve in S. Iraq Marshes (The Al-Asadi family in the Garden of Eden). In each print, a man and woman stand on opposite sides of a tree in the center, forming three vertical bands against a broad horizontal backdrop—a northern New Mexican orchard in the first print, a marsh in the Iraqi image. Both prints deploy the Adam and Eve motif from European (especially Northern Renaissance) art depicting the biblical pair flanking the Tree of Knowledge (see van Eycks, Dürer). The composite motif of Adam, Eve, and Tree is a visual metonymy for the Genesis account of mankind’s precipitous fall from grace and expulsion from Paradise. In a kind of shorthand of the Eden narrative, this iconic motif was often reduced to just Adam and Eve, as seen, for example, on opposite end panels of triptych altarpieces that, when closed, joined the pair in a diptych.
Please join me for the second presentation in a multi-part series of exhibits that focuses on intersections of nature and culture in relationship to ecological and social imbalance. The show continues through June 21, 2015. Deepest thanks to all of you who came to the opening!
David Richard Gallery
544 S Guadalupe St, Santa Fe, NM 87501
This is the second presentation in a multi-part series of exhibits that focuses on intersections of nature and culture in relationship to ecological and social imbalance.