Maya Lin’s Confluence Project: The Amazing Land Bridge

This is Maya Lin walking up Land Bridge from the Columbia River to Fort Vancouver.
Also shown is a model to give you the full effect of this bold concept, the artist Lillian Pitt and the architect John Paul Jones.

Confluence Project is the largest work of Land Art ever created. It extends 450 miles along the Columbia River and includes seven different sites. The initial impulse was part of the commemoration of Lewis and Clark’s journey in 1804, but it is a commemoration of loss, a celebration of rebirth, a restoration of the land, and as the new brochure declares ” (it is)places reclaimed, transformed, re-imagined.”

Maya Lin and the Confluence Project are collaborating with many different people in order to make these sites happen, but particularly with Native Americans .
They invited her to be a part of the project after seeing the film on her Vietnam Memorial. They felt that she could commemorate the loss of their cultures since Lewis and Clark.

But the project also marks the loss of birds, and other species, as well as plants and flowers by recording Lewis and Clark’s journals and making reference to their current status. ( see Bird Blind entry next)

The first site dedicated was Cape Disappointment at the Confluence of the Columbia River and the Pacific Ocean. I have written about it in Sculpture magazine, along with an exhibition at the Henry Art Gallery at the University of Washington in Seattle of Maya Lin’s sculpture.

Last weekend the Land Bridge was dedicated. John Paul Jones who also completed the National Museum of the American Indian in Washington DC was responsible for making it into a reality, starting from an extraordinary concept, developed with Maya Lin, of an implied circular form.

The site of the Land Bridge is on Fort Vancouver, a military site established in 1848 when the US basically made the Hudson Bay Company leave. The Hudson Bay Company had established itself on this site on the shores of the Columbia River in 1824, twenty years after Lewis and Clark passed by. The site had already been cleared with controlled burning by native tribes in order to grow plants like Camas that they used in their daily lives for eating, making baskets, medicine and many other purposes. It was a place where inland tribes came down to the river to trade with the river Indians. It was called the “place of the turtle”. The connection between the inland and the river has now been reestablished with the Land Bridge.

It is called Land Bridge because it includes native grasses and plants. John Paul Jones called it “pulling the prairie over the road”, and indeed that is what it does. It spans a wide highway, then drops down to an historic apple orchard with the first apple tree planted in Washington State in 1825. Then there is an underpass under the railroad and you arrive at the river.
The Bridge is a beautiful sweep that meanders like the original Indian Trail, even as it suggests part of an implied circle. Maya Lin and John Paul Jones collaborated on the original concept when the whole project seemed almost impossible.
The bridge is marked by a Welcoming Gate made of cedar and basalt

with a glass sculpture that captures the light and makes reference to the role of women in the Columbia River cultures. Three seating areas are marked, “land” “water” “people”, with Indian words for those concepts cut into the vista point. Lillian Pitt who is photographed above near her seating “baskets” created benches with stainless steel backs that have designs evoking petroglyps and pictographs from the Columbia River.

Frank’s Landing

This is Willie Frank at Frank’s Landing. Messages from Frank’s Landing by Charles Wilkinson tells his story. Willy Frank was first arrested for fishing on his own Nisqually land when he was 14 years old. He led the fight in the Northwest to gain Indian fishing rights. He was arrested many many times but ultimately the tribes were victorious in the Boldt Decision of 1974, which supported the tribes right to fish according to their treaty rights that dated back to the Isaac Stephens Point No Point Treaties of 1855. More than that, the Indians got a fifty percent allocation. The radical decision affected “21 tribes, several hundred tribal fishers and thousands of non Indian commercial fishers, hundres of thousands of sports fishers and dozens of rivers.” (Wilkinson 56).

Willie Frank is also an environmentalist. He is profoundly connected to the land and the river and the fish. As Charles Wilkinson puts it ” the Indian world view (is)an equality with the natural world, an actual belonging to the same community is in the blood stream of Indian people. “

Today his sons fish on the Nisqually River starting from the Landing that he gained by allotment in 1885. Right up the road are shopping malls and big boxes. On the other side of the river is Fort Lewis Military Reservation which of course also used to be Nisqually land. But Willie Frank has a good relationship with the military ( I hope it endures) and they keep a lot of Fort Lewis undeveloped and allow Indians to gather traditional roots and berries on the land.
He and his family continue to fish. The net fishing they do dates back for centuries. While I was there, his sons and their assistants caught about 100 King Salmon in two hours. The Kings are running right now. Of course times have changed, now they use motor boats and plastic nets, instead of canoes and cotton nets, but the age old tradition of fishing for salmon is still providing the center of their lives and culture

Tobin James Frank refused to sell his fish for Two dollars a pound ( !) Can you believe that someone offered that little. I told the dealer it was 25 dollars a pound at my local grocery store, but he said there were some steps in the middle. I’ll say. So I am showing the empty scale that was rejected. Tobin James Frank offered us a fish for 10. but we insisted on paying 20. It was about 8 pounds of fresh salmon. He cleaned it for us and threw the guts back in the river where they belong, as Willie said. We enjoyed it all week and froze half. Yum.

Global Warming and the Art World

Well, I have been thinking I need to get onto this subject. It is SOOO much in the news right now.
So what do we have to show for the new trend.
Really, it is the same artists, the same strategies, the same work, with a new trendy title. There seem to be about three basic approaches: illustrate it, correct it, or educate us about it.
I am not denigrating a single artist who tries to address the environmental calamity that this world is becoming!
What is sad is that there is so little effect from this type of art. It is the suburban part of the art world in some ways. Artists who are concerned about the environment get funded to make something out in nature, about nature, or for nature. Some of these works are terrifically interesting. One of my favorites is Lynne Hull who is based in Colorado. She does research and makes humble pieces in the land about habitat loss. For the exhibition Weather Report Art and Climate Change she made highway signs
“Wildlife Warning Global Warming /Got Water?” This is not one of her most subtle works. She says that she creates “trans species art and sculpture for wildlife”-that is the part I like. She makes, for example, “raptor roosts” for hawks so they won’t nest on electric poles and get killed.

Weather Report is a perfect example of repackaging the same artists with a new brand and for good luck throw in the more recent trendy artists. It was curated by uber famous engaged curator/critic Lucy Lippard, who lives OFF THE GRID -it doesn’t get better than that does it- in New Mexico. So it had a big advantage over anything in dirty old New York City (but I read that New Yorkers have a much lower carbon footprint than most people and don’t forget Lucy has to drive and fly a lot to go anywhere).
No one comes close to the work of Helen Mayer Harrison and Newton Harrison, (that’s there work in the picture about the “endangered meadows of Europe from the late 1990s), who have been working for decades to address and reverse environmental damage. Helen as a sociologist and Newton as a sculptor network with all sorts of different kinds of people, scientists, politicians, community groups. Networking is the model that works in my opinion.
Weather Report was all about artists talking with scientists and getting together on what to say in a visual way. It was a good idea. But of course it was in BOULDER COLORADO. Lala land of consiousness, liberal, hipness. And how much carbon was burned getting all of those artists over to Boulder to install their ideas.
But I do have to say that the virtue of a lot of these pieces was their simplicity (disclaimer I didn’t see the show, only the catalog). Like Brian Collier’s “Why is the pika worried about climate change” That is a tiny alpine animal that is going extinct because of climate change, He created a pika alarm triggered by motion and postcards with photographs of the pika.

So where does all of this lead us? Artists are mostly environmentally aware in a liberal sort of way, that is, like political liberals, they hate to think of pollution destroying the world climate, but they drive everywhere in their cars, use lots of electronic equipment and ink jet printers, etc.

That’s why I think Natalie Jeremijenko is the real thing for right now. In a sample entry from her blog titled “how Stuff is made” she comments on an article that links violence in the Congo to Sony Play Stations because the heat conducting material in Play stations Coltan drives demand for it and is mainly from the Congo. This is the type of connections we need.
As I sit at my mercury containing computer, burning a lot of electricity, I am contributing to global warming every minute. Jeremijenko has a clinic where she tells people what to DO, how to ACT, to make a difference in the problem of environmental deterioration. Connecting to ACTION is the key.

SO quit flushing the toilet all the time, save those paper towels for re use, don’t get carry out, and try to use the car less. All easy to do. But just last night I accepted a styrofoam containerwith the rest of my Mexican Chimichanga
in spite of all my principles. By January they will be illegal in Seattle though, so the government has actually done something helpful.

Eco Art Back to the Future

Rebecca Bray and Britta Rile have a provocative piece written up in the special ecology issue of Art News
Called Drink PeeDrinkPeeDrinkPee 2008 ( the title doesn’t quite fit the smartness of the work)
it uses urine and light to illuminate what happens to that stuff you flush down the toilet.
In their art work it grows algae in a fishbowl.
Urine is full of phosporous and nitrogen, an excellent fertilizer for the earth, but bad for the marine world.
The artists have produced kits for $15. that allows people to make plant fertilizer from urine.

So why back to the future?
Because on the same day that I read about this art work, which I commend, I also read Paul Kane’s Wanderings of an Artist Among the North American Indians, in his discussion of the Chinook Indians practices in the 1840s, before we took away all their land in 1855. ” Chinook olives.. are prepared as follows – About a bushel of acorns are placed in a hole dug for the purpose …covered over with a thin layer of grass on the top of which is laid about half a foot of earth. Every member of the family henceforth regards this hole as the special place of deposit for his urine. . In this hole the acorns are allowed to remain four or five months before they are considered fit for use. However disgusting such an odoriferous preparation would be to people in civilized life, the producet is regarded by them as the greatest of all delicacies.” 128

So urine as a fertilizer is nothing new.
Urine contains all those birth control pill hormones, all those millions of dollars of drugs everyone is taking, and it is all being passed right into the fish in the sea. In the Northwest we get salmon with strange sexual characteristics from the hormones that we are giving them.

One of my big obsessions is garbage and sewage and water and how we just dump everything out of sight. I like this art work because it is making visible a process that we don’t even think about.

Olympics Beijing

The opening show was spectacular, even if the little girl we saw was not the one who sang. What else is new. So the Chinese are no different from Americans – worship perfect beauty and cute in little girls over all else of course.
What I want to know is if anyone can tell me if the Chinese actually skipped most of the twentieth century in that show. Did they skip the modern period, the communist period, all of it???
I was blown away that NBC commentators could actually give us references to Chinese PHILOSOPHY. Of course it was all fed to them and they had to really stretch, but they did do it!

The historic periods were stunningly presented, biggest in the world LED screen with 2008 drummers ( shown here – is this a bit Leni Riefenstahl anyone- do we get any chills about power and control here?) , tai chi masters ( how about that for moving energy) , movable type people, rowers ( for the silk road), and empresses. Then they jumped to the 1970s on NBC, with lots of people in green outfits and some glib conversation about freedom ( that is after the cultural revolution) , and threw in a kite, a globe with dancers, etc. and of course the final torch
Technologically it was amazing.
By contrast the US car ads were SO twentieth century!

Our Flesh of Flames Theodore A. Harris captions by Amiri Baraka

Our Flesh of Flames is a must buy, must read, must get on it book. You can buy this book from Anvil Arts Press
The collages are full of specific references to racism, and the corruptions of capitalism. Harris has drawn on events that we all know about, and presented them in a way that tells us just where they came from and where we need to be to change things.
He doesn’t pull any punches on what is wrong
Vetoed Dreams 1995 has an upside down capitol dome and a young black boy with a gag on his mouth. It is simple and clear what he is saying. Young black men have no opportunity to be part of the American “land of the free.” Black people are not surprised by Abu Ghraib. It is no different than what has been going on in the US for hundreds of years, in prisons, in slavery, in Jim Crow, in the Klan, and not just in the South by any means.
Eric Smith
is the first named person with a collage in the book. I have a link to his story, which is a horrifying, but all to familiar story of police brutality, ignorance, prejudice. Eric Smith was deaf and when he tried to communicate by signing, he was beaten to death. The collage has a picture of Wanda Hogue his mother holding a sign, Remember Eric smith, Stop Police Brutality. In the background is a travelers check from the Bank of America with a smug portrait of a white banker and an upside capitol building. The system killed Eric Smith.
We Wear Our Flesh like Flames 1999, the title work of the book, has a fire in the background and two African women in the foreground carrying large containers on their heads. The flames are the city burning.
Betrayal
Makes a reference to cotton pickers in the foreground and has a reproduction of Leonardo’s Last Supper, with a haloed Christ at the center. The distance from Christian love and the oppression of impoverished cotton workers is vast.
Meditations for Betty Shabazz, 1998
Shabazz was Malcolm X’s widow. The complex image has a grieving Shabazz in the foreground, with references to Mumia abu Jamail’s unfair imprisonment, a piece of a statue of liberty and other details. The intersection of crucifixion and the American Express is again included.
So the themes are the sham of the American myths of freedom and opportunity in the face of the slaughter of black people. There are also homages to poets like Sonia sanchez and Lamont B. Stptoe, Poets against the War, and perhaps most poignent, the Long Dream, the face of a young black man behind bars behind a wall of concrete that is splitting up.

LERT Living Engaged Radical Theater!

Last night we saw three short plays performed for free in a courtyard of an apartment building.
“Eight To One,” was the first production by LERT, Living Engaged Radical Theater
It was inspired by the Winter Soldiers Iraq Veterans Against the War event in Seattle on May 31.
Artistic director of LERT Andrew Perez, and a group of young actors from Seattle University and Cornish, as well as a few other actors that responded to the call, put on three plays that addressed the effects of war on soldiers after they return home. It included real incidents from the Iraq war, the difficulties of achieving intimacy, the insanity of caring about others in the midst of the mindless killing in Iraq, the craziness of life’s random acts of violence, and much more.
Hidden Wounds, Hidden Costs, involved the unwillingness of young returned soldiers to talk about their experiences, the high suicide rate and the echoes of suicide among Vietnam soldiers.
Beverage Oasis was about the insanity of everyday life, the disconnects between people, and the perpetration of violence that can erupt mindlessly in response to PTSD
To-morrow we reach was more of a performance piece with a series of scenes about traumatic failures of intimacy, memories of death, and the distance between those who have killed and those who have not.
It was puncutated by the cast standing in rows calling out “move, move, move, move, move”
The effect of this sequence was both echoes of war and military, as well as perhaps directed at the audience to respond to the crisis.

Hats off to these young people for responding to the current world.

I don’t have any pictures because I forgot to take a camera and they don’t have a website. Just keep your eyes open for LERT in Seattle.
“Eight to One” is the ratio of wounded:killed in Iraq, in WWII it was 2:1 in Vietnam it was 3:1

What I was happy about is that their college programs are encouraging them to speak about issues.
Quite a contrast to visual art training!

Robert Morris and Lorna Jordan Land Art in the last century

Robert Morris Johnson Tar Pit, 1979 is one of his rare earthworks. Here you see goats eating off encroaching blackberries and maples.
Morris resisting making a beautiful place that would let the ruin of the environment off the hook, but he did create a usable park for the now dense development on all sides of it.
Dirt bikers love its steep hill. It is not quite a comfortable bucolic place, it is a steepish grade with few places to sit. Still it is an opening in the land now that suburbia has choked off all the other open land in a carpet of houses in every direction.

Not far away is Lorna Jordan’s Waterworks Garden completed in 1996 . The first picture shows how it used to look. It is a serene parkscape intended to cleanse wastewater as it runs through a series of pools down a hill. Jordan created grottoes and mosaics that carry us along in a happy bucolic state of mind. Except for the fact that the pools you see are now choked with algae blooms . The surfaces are densely covered with green slime that is choking off all life. The irony is that the water appears free flowing and clear at the point that it enters the garden and by the end, instead of being cleansed, it appears to be trapped into an dense sludge. Jordan, unlike Morris, creates an arcadian environment in the midst of heavy industrial sites on all sides. Is this cosmetics for industry. Is any one near by paying attention to the detergent they use in their washing machines? You know those detergents that come in the giant plastic bottles that Americans use to constantly clean their clothes and pollute the planet simultaneously. There is no sense of a real connection to the ecosystem in America. In PC Seattle we drink shade grown iced coffee in giant plastic cups with plastic bubble tops on them to keep them from spilling. etc. And we buy organic raspberries in non recyclable plastic boxes.

I wonder if Lorna Jordan or Jones and Jones who designed the ecoscape can save Waterworks Gardens from algal bloom, or if what we really need to do is have a field trip for all the neighbors on laundry day. Perhaps Lorna will see this and think about what to do.
The last time I contacted an artist about an earthwork that had gone algal the artist replied that she actually had not even made it, that she had sold the idea to local people. Interesting. It was in all the books as one of her most famous works. She suggested I should do something about saving it.
I am not going to name her. That isn’t really what this blog is about. I am not outing fraudulent eco artists. I am thinking about the tricky ethics of eco art, it overlaps with coverup of bad people who make a mess, and colonizing poor people who don’t have parks, but it also involves a lot of artists who really do care about making the world a better place. Those artists are not the famous artists, the rich artists, or the trendy artists. They are people who get down and dirty with other people and try to move a few steps forward. And do the algal blooms change the fact that Lorna was trying to make a difference. Rather than bulldozing like a Smithson, she and Morris were restoring, Morris with the intent to say hey this is ugly anyway, Jordan with the intent of giving us a respite in an industrial wasteland of concrete plants.
More to follow on this subject, suitable for summer. What about artists and global warming?

"Black Art " An exhibition at the Seattle Art Museum

The small exhibition at the Seattle Art Museum curated by Sandra Jackson-Dumont includes about twenty artists. Among the well known artists are Jacob Lawrence, Gwen Knight, Kara Walker, Lester Johnson ( an abstract expressionist who included figures), Kerry James Marshall and Lousie Nevelson ! What? Who? Jackson- Dumont is expanding our thinking from black as ethnic to black as a color and an aesthetic choice, as well as a subject of black identity in art. My fellow critic with whom I saw the show was outraged by the inclusion of abstract work by white artists who happened to use the color black. She felt that it created a fudging, blurring, annoying confusion that was entirely unnecessary. Black art in the art world she declared is black artists making art. But I said, what about the fact that black artist don’t always want to be ethnically trapped in representing their own histories, what about white people who represent blacks. That’s fine she declared, but why black as a color, that is so generalizing the issue.
The sequence of three works by Lester Johnson, a french academician representing a black man, and Kerry James Marshall sang with resonance of different ways of viewing black people.
I think maybe my friend is right about including black as a color, that seems unnecessarily broadening. After all, this is the Jacob Lawrence and Gwen Knight Gallery, they represented the black experience, why shouldn’t the gallery include black artists only, or sympathetic white artists addressing race, why include famous white artists who had nothing to do with thinking about blacks. Don’t we get enough of that already, everywhere else.
Incidentally, this gallery is the result of vigorous local lobbying by an entity that I won’t identify. For some reason it is not under the purview of American art, but rather Sandra Jackson- Dumont who is, I believe, the only African American on the entire professional staff of the museum. She is the talented and innovative Curator of Education. She also installs work in another area of the museum for educational exhibits, but I find it troubling that this particular gallery is cut off in a corner physically and mentally from the main American art gallery. I have no doubt that the curator of American art would be happy to show Jacob Lawrence and no wonder that Jackson-Dumont is including Louise Nevelson in her “Black Art” show. All ways to avoid pre selected categories is a step toward integration in the dominantly white perspectives of the Seattle Art Museum.
I am sure SAM would disagree with that characterization. After all they have an African art gallery that includes Nick Cave and Marita Dingus, contemporary African Americans. What about that? What about the Northwest Indian art galleries that include contemporary artists. This is their innovative idea, to bring past “ethnic art” up to the present. But in the end what is left for the big glamorous contemporary galleries? Michael Darling as the curator in that arena shows the “big names.” I haven’t checked to see how diverse those big names are. Maybe that will be for another day. Meanwhile, thanks to Jackson-Dumont for playing with the boxes in our heads.

Orientalism Redux 2

Last entry on my trip to England, we made another foray into Orientalism by visiting Brighton an example in architecture that long precedes the painters in the Lure of the East (see below)
The Royal Pavilion is an extraordinary monument that lays out in its every detail the British perspectives on the rest of the world at an early date in the course of Empire.

The exterior was designed by John Nash for Prince Regent George IV in the late teens of the nineteenth century.
We all know it was intended as a pleasure palace, so of course, it had to be looking at the “exotic ” styles associated with pleasure. Outside is based on John Nash’s references to what appears to be Islamic architecture. His source was drawings by a father son team Thomas and William Daniell, who traveled all over India publishing a book in 1808 “Oriental Scenery” and in 1810 ” A Picturesque Voyage to India by the way of China.” No one had yet had access to the Taj Mahal and Fatahpur Sikri. What comes across is a complete lack of integrity to anyone at all familiar with Islamic architecture. It is crudely assembled,with all the panache of someone who knows he is a leader in his field. Nash, the expert in the restraint of Regency architecture, has here indulged his every whim, with little sense of a need for integrity. This is after all built for a Regent, later King, who simply indulged all the pleasures of life as his main occupation. This not coincidentally was at the height of the British colonizing process in India, as the British government began to see itself as the civilizer of a backward country, after several hundred years of trading with India.

The interior is Chinese inspired, that is artists in England “copied” designs based on ceramics, textiles and other decorative objects brought to England. This trade with China was based on forced trade insisted on by the British who had bombed the port of Humen in Guangzhou in 1637, and introduced opium for the first time into China in 1800. The pink cheeked women with Chinese features, and the decorative dragons and snakes throughout the interior suggest the artists and George are co opting the power of Chinese dragons, even as they are trivializing it as a grotesque three dimensional ornamental device.
Inside the Brighton Pavilion, Prince Regent George IV had lavish parties for people with nothing else to do but eat, play cards, and ride horses.He had little to do with the policies of the government in the countries upon which his palace was based.
In front of the pavilion is the poster you see above. Note the ethnicity of the bridal couple, as though today the pavilion is most appropriate for Indian couples !
It is all so clear and obvious in architecture and painting, how the “West” views the rest of the world.