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The Earth is the ground upon which we all stand, together in our differences.  It is an ever-shifting, politicized landscape of borders, exclusions and omissions, as well as shared terrain under pressing physical assault. This multigenerational and multicultural group of artists explore the reality of a shared planet that is humanity’s most divided territory and damaged common ground.

Curated by Suvan Geer and Sandra Mueller

October 3 - November 14, 2020

Kim Abeles

Mariona Barkus

Sharon Barnes

Pilar Castillo

Danielle Eubank

Samantha Fields

Eloisa Guanlao

Ann Isolde

Sant Khalsa

Meg Madison

Kaoru Mansour

Maryrose C. Mendoza

Sandra Mueller

Naida Osline

Pamela J. Peters

Sheila Pinkel

Sinan Leong Revell

She Votes/ Bonnie J. Smith

Stitch in Time/ Suvan Geer

Linda Vallejo

Gail Werner

 
 
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Kim Abeles

The hundred+ sky photographs for Shared Skies were collected through my journeys, from artists who participated while traveling, and international acquaintances through social media. Each sky is identified with the location and the name of the person who took the photograph and represent all seven continents plus the Arctic. For participating, each photographer was given an archival print that included their sky with twelve others.

 

As people look toward the sky each morning, through the day or each night, the “shared skies” speak to our connections. In a global sense, we can imagine an interrelatedness through a seamless sky and observe the effects of our environmental choices. From the Salt Flats of Bolivia to Grand Forks in the United States, and Maasai Mara, Kenya to Pine Ridge, Oglala Sioux Tribe, our skies portray the connected parts of our place on this earth.

Kim Abeles is an artist whose artworks explore biography, geography, feminism, and the environment. Her work speaks to society, science literacy, and civic engagement, creating projects with science and natural history museums, health departments, air pollution control agencies, National Park Service, and non-profits. In 1987, she innovated a method to create images from the smog in the air, and Smog Collectors brought her work to national and international attention. In 2019, she worked with Garage Museum of Contemporary Art in Moscow to create smog portraits of world leaders with quotes from climate summits. The National Endowment for the Arts funded two recent projects: a residency at the Institute of Forest Genetics where she focused on Resilience; and, Valises for Camp Ground: Arts, Corrections, and Fire Management in the Santa Monica Mountains in collaboration with Camp 13, a group of female prison inmates who fight wildfires. She has received fellowships from the Guggenheim Memorial Foundation, J. Paul Getty Trust Fund for the Visual Arts, California Community Foundation and Pollack-Krasner Foundation. Her work is in forty public collections including MOCA, LACMA, Berkeley Art Museum, Brooklyn Museum, and National Geospatial Intelligence Agency. Her process documents are archived at the Center for Art + Environment.

Legend of Shared Skies, 2012-2014

Archival ultrachrome prints of international skies

Identified by location and photographer

56" x 16”

$1200

Legend of Shared Skies, 2012-2014

Archival ultrachrome prints of international skies

Identified by location and photographer

56" x 16”

$1200

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Mariona Barkus

Earth is currently littered with more than a quarter million metric ton of highly radioactive waste. Over 90,000 metric tons are in the United States, stored at 121 sites in 35 states. “Monument For A Nuclear Dump” was inspired by Yucca Mountain Nuclear Waste Repository’s search for a system of surface markers to warn of its planned lethal underground cache for hundreds of thousands of years. A “toilet paper roll” encapsulating 32 years of newspaper clippings mimics the folly of this entombment while documenting ubiquitous nuclear waste proliferation. When I created this print in 1995, only the United States was planning an underground nuclear waste repository. Today, countries around the world subscribe to the “best practice” of isolating nuclear waste in deep geological repositories, which will be permanently sealed. But this “best practice” assumes a rather static geology instead of the living, breathing, shifting common ground that is our earth. 

Mariona Barkus has shown her work in solo and group exhibitions throughout the United States as well as internationally. Barkus’ work is in the collections of the Art Institute of Chicago, Center for the Study of Political Graphics, Getty Research Institute, UCLA, Franklin Furnace Collection at the Museum of Modern Art, Whitney Museum of American Art, Yale University Art Museum, Long Beach Museum, National Museum of Women in the Arts, Carnegie-Mellon University, UC Berkeley, Houston Contemporary Art Museum, and Eastern Washington University among others. Her work has been reviewed in numerous catalogues and periodicals including The Los Angeles Times and Artweek. Some of the books featuring her work are Crossing Over: Feminism and Art of Social Concern by Arlene Raven; Other Visions, Other Voices by Paul Von Blum with a foreword by Lucy Lippard; Artists’ Books: A Critical Anthology and Sourcebook by The Visual Studies Workshop; From Site to Vision: the Woman’s Building in Contemporary Culture, edited by Sondra Hale and Terry Wolverton, and most recently, American Artists Against War 1935—2010 by David McCarthy, University of California Press.

Monument for A Nuclear Dump Installation

Archival digital print & nuclear waste newspaper clippings

20” x 14" print; 9.25” x 662' roll

$500 print only

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