public art sponsoring environmental and social...
TRANSCRIPT
PUBLIC ART sponsoring environmental and social agency Emily Williamson // Urban Nature City Design: Case Studies for the Philadelphia Water Department
“It is something to be able to paint a particular picture, or to carve a statue and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look…To affect the quality of the day, that is the highest of the arts.” – Thoreau in 1854, Walden p. 61
ABSTRACTThis project investigates how public art has the ability to sponsor environmental awareness, build community participation, and empower citizens to enact change. By pairing the five issues of waste, climate change, human agency, water, and ecosystem with case studies that reveal their processes and challenge the participant to alter how one sees and engages with urban nature, the research aims to communicate to the PWD and the City of Philadelphia how creativity and imagination are valuable catalysts for social and environmental change in the city. Though supplementary artists and projects have been provided for each category, the following case studies will be examined in more detail: Neighborland, Candy Chang [community engagement], Flow City, Ukeles [waste], And While London Burns, James Marriott/Platform [climate change], and Flow: Can You See the River?, Mary Miss [water] and Broadway 1,000 Steps, Mary Miss [ecosystem]. While these case studies will encompass the body of the work, each case study will be contextualized within the larger historic framework of public art.
HUMAN AGENCY
WASTE
CLIMATE CHANGE
FLOW (CAN YOU SEE THE RIVER?)] Mary Missflowcanyouseetheriver.org
AND WHILE LONDON BURNS Platformandwhilelondonburns.com
FLOW Mierle Laderman Ukelesgreenmuseum.org/c/aen/Issues/ukeles
WATER
ECOSYSTEM
WATER RULES-LIFE Betsy Damenkeepersofthewaters.org
STILL WATERS Platformplatformlondon.org/2012/05/01/twenty-years-ago-today-still-waters-day-1/
TALKING TRASH, Jeanne van Heeswijkjeanneworks.net/#/projects/talking_trash
CULTURE BEYOND OIL Platformliberatetate.wordpress.com/2011/12/02
THE FARM Bonnie Sherk www.alivinglibrary.org
CONNECT THE DOTS Mary Missmarymiss.com/products_images/pdf/project107.pdf
WASTE LAND Vic Munizwastelandmovie.com
BROADWAY 1,000 STEPS Mary Missbroadway1000steps.com
NEIGHBORLAND Candy Changneighborland.com
C WORDS Platformwww.arnolfini.org.uk/whatson/exhibitions/details/416
INSIDE OUT PROJECT JRhttp://www.jr-art.net/projects/inside-out-project-group-actions
FREEHOUSE Jeanne van Heeswijkjeanneworks.net/#/projects/freehouse
[1960s] performative
environmental art began appearing
[1969] Ian McHarg’s bookDesign With Nature; pioneered concept of ecological planning
[1970s]Artists,Christo and
Jeanne Claude, began creating temporary art
installations
[1962] Rachel Carson’s book
Silent Springreleased; challenged
use of DDT
[1967] NEA’s Art in public
places program began
[1974] NEA stressed the art
needed to relate to localized site
[1972]Clean Water Act
[1963] Clean Air Act as
Research Program began
[1968-78] Ant Farm, ‘underground’
collaborative art and architecture group formed
[1972]United Nations
Conference on the Human
Environment
[1983]community
participation became more
important to the artists
[1969] Land Art Movement began with Richard
Long, Robert Smithson, among others
[1970s]Environmental Art
Movement gains rapid speed in the United
States and Europe
[2004]Michael
Shellenberger and Ted Nordhaus wrote
influential book Death of Environmentalism
[1970s]Oil Crisis
[1968] Henri Lefebvre‘s book The
Right to the City
[1950s] The Situationists and Guy
DeBord’s ‘Naked City’
[1970s-Present]Feminist Art Movement
1960 1970 1980 1990 2000 2010
[1983-1996]FLOW Mierle Laderman Ukeles
[2006-present]AND WHILE LONDON BURNS Platform
[2011-2012]NEIGHBORLAND Candy Chang
[2012-2013]BROADWAY 1,000 STEPS Mary Miss/CaLL
[1982]NEA encouraged
collaborations among artists, designers, and other transdisciplinary
teams
[2006]Al Gore’s film Inconvenient
Truth released , education about global warming
[2011]FLOW [CAN YOU SEE THE RIVER?] Mary Miss/CaLL
[1980s]Ronald Reagan appointed
James Watt, an anti-environmentalist to office,
environmentalists portrayed as being out of touch with
mainstream values
1950
[1995]social activism, leftist politics,
collaborative methodology became more important to
citizens
WASTE FLOW Mierle Laderman Ukeles
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View of Barge Slip, Tipping Floor and Glass Bridge [Ukeles, Flow City, 201]
ABOUT UKELESMierle Laderman Ukeles is an artist based out of New York City whose work is grounded in feminism, environmental awareness, and service-learning. Early in her career [1969], she wrote a Manifesto entitled, “Maintenance Art”, that encouraged women to apply the knowledge and skills they used in the home to artwork and the public realm. This proclamation manifested vividly in her earlier works such as “Touch Sanitation” and soon afterwards she became (and still is) an artist in residence at the New York Department of Sanitation. Working with James Corner’s Filed Operations, Ukeles most recent project investigates the transformations of Fresh Kills Landfill into a public Park (Stein, 209).
PROJECT SUMMARYUkele’s project, “Flow”, is the first “public art environment” that functions as part of an operating waste-management facility (Ukeles, 14). To enable the residents to experience what she called “the violent theatre of dumping”, new zoning regulations were passed so that visitors could move through the exhibit’s 3 main components: city-block long Passage Ramp running parallel to the ramp used by the garbage trucks, a Glass Bridge where one can look out over the city or watch the trash being dumped into the barges, and a Media Flow Wall linking the visitor to the workers, other waste disposal sites, and making visible the various processes for managing the waste (Stein, 209).
LOCATIONNew York City Department of Sanitation
TIME FRAME1983-1996
COLLABORATORSArtist in Residence - Mierle Laderman UkelesNew York Department of Sanitation
FUNDINGNational Endowment for the Arts
CRITIQUEPerhaps the least successful of the five case studies, this project is the most confined to the site itself. Even though Ukeles ended the experiential tour through the sanitation department with a ‘Media Wall’ that digitally connected the participant to the other realms of waste, it seems cosmetic and doesn’t provide the resident with the tools to re-enter the city and invoke change. In addition, there lies an opportunity to engage more stakeholders in the project itself and its future trajectories than just the sanitation department and residents. This being said, ‘Flow’ paved the way for many future environmental art projects that encouraged public participation and collaboration with the municipality.
[1960s] performative environmental art began appearing
[1962] Rachel Carson’s book
Silent Springreleased; challenged
use of DDT
[1967] NEA’s Art in public
places program began
[1972]United Nations
Conference on the Human
Environment
[1970s-Present]Feminist Art Movement
[1969] Ukeles manifesto for maintenance art
MANIFESTO FOR MAINTENANCE ART Mierle Laderman Ukeles
A. Part One: Personal“I am an artist. I am a woman. I am a wife. I am a mother. (Random order).
I do a hell of a lot of washing, cleaning, cooking, re-newing, supporting, preserving, etc. Also, up to now separately I “do” Art.
Now I will simply do these maintenance everyday things, and flush them up to consciousness, exhibit them, as Art.....
1960 1970 1980 1990 2000 2010
[1983-1996]FLOW Mierle Laderman Ukeles
1950
http://www.arcgallery.org/exhibition_archives.aspx?-Year=2008&month=3, Accessed December 13, 2012.
http://www.feldmangallery.com/media/pdfs/Ukeles_MANIFESTO.pdf, Accessed December 13, 2012.http://planforthepublic.com/2012/10/08/si-lent-spring/, Accessed December 13, 2012.
Artist Rendering Of “Flow City”[http://avant-guardians.com/ukeles/images/1uke.jpg]
This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions
248-Foot-Long Passage Ramp[courses.psu.edu/arch/arch316_clg15/lec22/36%20flow%20city.jpg]
View West From The Glass Bridge Toward 350-Foot-Long Tipping Floor[Ukeles, Flow City, 203]
View Of New York City[londonoa.com/2012/02/15/going-to-new-york-new-york-new-york]
GLASS BRIDGE
This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions
Trucks Off-Loading Garbage Into River Barges, Glass Bridge In Background[Ukeles, Flow City, 204]
“I call it FLOW city because it embodies a multiplicity of flows: from the endless flow of waste material through the common and heroic work of transferring it from land to water and back to land, to the flow of the Hudson River, to the physical flow of the visitors themselves.” -Mierle Laderman Ukeles
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Computer Model of Slope Stability at the Fresh Kills Landfill[Ukeles, Flow City, 208]
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The Working Face of a Garbage Cell[Ukeles, Flow City, 207]
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This content downloaded by the authorized user from 192.168.82.203 on Thu, 29 Nov 2012 10:32:44 AMAll use subject to JSTOR Terms and Conditions
Media Wall[www.primamateria.org/seminars/public_art/flow_city]
Optional Communication Between Visitors and Sanitation Workers
AND WHILE LONDON BURNS AN OPERATIC AUDIO TOUR ACROSS THE CITY
+1° +2° +3° +4° +5° +6° +7°
CLIMATE CHANGE AND WHILE LONDON BURNS Platform
Futuristic Image of London[andwhilelondonburns.com]
ABOUT PLATFORMPlatform is an “artistic-led” collective that combines art, activism, education and research into a single organization. While their current campaign focuses on the social, economic, and environmental impacts of the oil industry, since their founding in 1983, they have explored how to make visible a vast array of social and ecological issues including race in “Shake!”, water in “Still Waters”, and climate change in “And While London Burns” (platformlondon.org).
PROJECT SUMMARY“And While London Burns” is a downloadable futuristic “operatic audio tour” of the city. Using methods of psychogeography, the tour leads the participant through the financial district of the city. Instead of providing street names as markers however, the audio guide uses the “carbon” web”, a network of oil companies and supporting industries, to guide one through the seemingly disturbed urban landscape. In addition to the guide, the protagonist, an unsettled trader, speaks to you about the history of the oil industry in London, how its connected to the global market, and how it has detrimentally affected his own life. The audio contains 3 acts: Fire, Dust, and Water. Though the first act incorporates the Great Fire of London of 1666, the dialogue emphasizes the future and how the Thames will eventually flood the city as a result of climate change. The tour becomes more and more frantic as the narrator weaves through the city in the second Act but becomes more calming and hopeful in the final act as the participant climbs the stairs of the Great Fire of London’s monument to escape the flooding. The purpose of this tour is to provide the participant with a very personal, politicized and ecological view of the city it will alter his/her current relationship to the city, increase awareness about the detrimental effects of the oil industry, and to challenge the participant to modify his/her behavior (andwhilelondonburns.com).
LOCATIONLondon
TIME FRAME 2006-present
COLLABORATORSProduced by Platform, Written by John Jordan and James Mariott
FUNDINGGrants and Donations to Platform
CRITIQUE‘While London Burns’ is intriguing in its ability to enable the participant to very personally experience and interpret the ‘Carbon Web’ through a tour of the city. Instead forcing a single, objective view of the oil industries, the authors provide an open forum for the participant to come to his/her own conclusions that might change depending upon his/her mood, the time of day, or season. Although the original tour was supplemented with educational activities, lectures, and guided walks, it is now only sustained by those who unearth it online. To make this tour more accessible to the public, it would be interesting to provide headsets on the street so passersby could participate at a whim. And, to encourage one to participate more than once, it would be beneficial if the tour could be consistently updated to keep up with the current carbon rhythms of the city.
[1963] Clean Air Act as
Research Program began
[1968-78] Ant Farm, ‘underground’
collaborative art and architecture group formed
[1970s]Oil Crisis
[1968] Henri Lefebvre‘s book The
Right to the City
[1950s] The Situationists and Guy
DeBord’s ‘Naked City’
[1982]NEA encouraged
collaborations among artists, designers, and other
transdisciplinary teams
[2006]Al Gore’s film Inconvenient
Truth released , education about global warming
[1995]social activism, leftist politics,
collaborative methodology became more important to
citizens
[2010]BP oil spill in
the Gulf of Mexico
1960 1970 1980 1990 2000 2010
[2006-present]AND WHILE LONDON BURNS Platform
1950
http://artofmapping.blogspot.com/2010/09/debord-psychogeography.html http://www.efimeras.com/wordpress/?tag=inflablefrom Inflatocookbook, Ant Farm, Accessed December 13, 2012
http://www.rampartsofcivilization.com/?p=3194, Accessed December 13, 2012
Map From 1666 Great Fire of London[old.platformlondon.org/portfolio/images/gogmagog2-480.jpg]
ACT 2 DUST
ACT 3 WATER
Act I The first act introduces both the main character, a trader whose partner, Lucy, left him to live “off the grid” and the guide who tells you where to turn and when. Instead by guid-ing by street signs, she helps you navigate through London’s carbon web, a network of oil companies and supporting industries.
Act IIThe second act, dust, “fine toxic excrement”, oil as “black blood of our society” begins frantically as the narrator attempts to figure out how he fits in this web of carbon.
Act IIIThe last Act ends with hope as one climbs the great fire of London’s monument and above the rising sea level. The final chorus echoes, “we could build a new city, not on oil and gas but on the wind and the sun”.
ACT 1FIRE
Bathed in fire, flood, love and turmoil And While London Burns is a compelling collision of thriller, opera and guided walk. Starring recent Olivier Award nominee Douglas Hodge, this soundtrack for the era of climate change is set amongst the skyscrapers of the most powerful financial district on Earth, London’s Square Mile. An opera for one, it takes the listener, equipped with an mp3 player on a walking audio adventure through the streets and alleyways of our city. Composer Isa Suarez’s stirring score evokes London’s fiery past, oil drenched present and a dark unknowable future through the eyes of a tormented financial worker obsessed by the collapse of civilisations. Produced by award winning arts organisation, PLATFORM and written by John Jordan and James Marriott And While London Burns is a requiem for a warming world.
AND WHILE LONDON BURNS AN OPERATIC AUDIO TOUR ACROSS
THE CITY, AVAILAIBLE FREE AT:
www.andwhilelondonburns.com
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AND WHILE LONDON BURNS AN OPERATIC AUDIO TOUR ACROSS THE CITY
+1° +2° +3° +4° +5° +6° +7°
Futuristic Image of London[andwhilelondonburns.com]
Protagonist in Audio Tour of ‘And While London Burns’[andwhilelondonburns.com]
3 Acts of ‘And While London Burns’[andwhilelondonburns.com]
FIRE
DUST
WATER
HUMAN AGENCY NEIGHBORLAND Candy ChangABOUT CHANGCandy Chang is a public art installation artist. She received her Bachelors of Fine Arts and Masters of Urban Planning from Colombia University. and is now a Tulane Urban Innovation Fellow at the City Center in New Orleans. In addition to this fellowship, Chang is a TED Senior Fellow, a World Economic Forum Young Global Leader, and was named “Live Your Best Life” Local Hero by Oprah Magazine. The aim of her artwork is to empower residents to contribute to positive change of the public spaces in which they live and to create a platform for exchange (candychang.com/about).
PROJECT SUMMARYThe Project Neighborland stemmed out of Chang’s, “I wish I was...” Project in which she designed fill-in-the-blank labels with the words, “I wish I was..” on them. These were distributed to community members and only a few days later, the filled-in labels began appearing on vacant lots and blighted buildings. To expand upon this notion of making ideas for change visible, Chang created ‘Neighborland’, an online platform for voicing community opinions, sharing local knowledge, and transforming the physical environment. In addition to the online platform, she also made sure community voices could be visible in the public spaces themselves and so developed educational tools, events, and methods of marking on a variety of surfaces throughout the city (www.tulane.edu > candy chang).
LOCATIONNew Orleans and Virtual
TIME FRAME 2011-present
COLLABORATORSCandy ChangResidents of New Orleans and Any Location
FUNDINGUrban Innovation Fellowship administered through TulaneSponsored by the Rockefeller Foundation Additional support from Tulane City Center
CRITIQUENeighborland provides a two-way platform in which residents may participate either in the public space itself or by expressing their opinions about other project ideas and sharing their own ideas online. Truly a bottom-up approach, these labels gives an anonymous voice to not only the user of the space, but also the spaces themselves. While this mode of working is positive on many levels, the concern is how one then compiles this vast array of comments, synthesizes the ideas, and decides which projects should move forward and how. Though the residents catalyze this process, it seems important to equally engage other actors such as the municipality, designers, and institutions.
Candy Chang[www.candychang.com]
[1968-78] Ant Farm, ‘underground’ collaborative art and architecture group formed
[1983]community participation became more important to the artists
[1968] Henri Lefebvre‘s book The
Right to the City
[1950s] The Situationists and Guy
DeBord’s ‘Naked City’
1960 1970 1980 1990 2000 2010
[2011-2012]NEIGHBORLAND Candy Chang
[1982]NEA encouraged
collaborations among artists, designers, and other transdisciplinary
teams
1950
[1995]social activism, leftist politics,
collaborative methodology became more important to
citizens
[1990s]Graffiti artist, political activist and painter begins his career.
Stephen Goldsmith, director of Artspace, sculptor
image from City Creek Park, Salt Lake City
http://www.bookdepository.com/Writings-on-Cities-Henri-Lefeb-vre/9780631191889, Accessed December 13, 2012.
www.candychang.com, Accessed December 14, 2012. www.bansky.com, Accessed December 14, 2012.
“I wish I was...” and “I want in my neighborhood” name tags[http://candychang.com/neighborland/]
Community Members with Name Tags[http://candychang.com/neighborland/]
Welcome to NeighborlandIt’s free to connect with your neighbors and share ideas for your city...
1. Sign up with email 2. Choose your Neighborhood location 3. Share what you would like to see happen in your neighborhood, share an idea from another city and support your neighbors’ initiatives.
Screenshots from [http://candychang.com/neighborland/]
“A robust public life includes accessible ways for residents to reach out and self-organize.”-Candy Chang
Image from candychang.com > neighborland
WATER FLOW [Can You See The River?] Mary Miss/CaLLABOUT MISS and CaLLMary Miss is an artist that lives and works in New York City. She is most well known for her public works that engage the community and raise awareness about the environment. Working closely with the municipality, landscape architects, designers, engineers, and scientists, her projects are collaborative in execution and in vision. Though the project itself might be temporary, the goal is to generate long-term social, cultural, and environmental sustainability. Most recently, she helped create the transdisciplinary organization, City as Living Laboratory, whose 3-fold vision is “to make sustainability tangible and visible for citizens, communities, and institutions, to educate the public about environmental, social, and economic sustainability, and to address crises in our cities such as environmental degradation, neighborhood blight, crumbling infrastructure, and natural disasters. (http://cityaslivinglab.org).
PROJECT SUMMARYFlow [Can You See The River] is the first of 4 participatory public art projects called Living Laboratory that combine art and environmentalism to raise public awareness about sustainability. Sited along 6 miles of the White River from the IMA’s property to the downtown White River State Park, the project consists of a pavilion exhibition to introduce the project, 100 markers (1/2 mirrors and 1/2 red, oversized map pins) that situate the participant in the landscape, 6-3’ diameter dots on the IMA to exhibit the 6 water systems necessary to sustain the building, red bands along the trees to show the 100-year flood levels, and virtual tools for learning more about the city’s watershed.
LOCATIONIndianapolis Museum of Art
TIME FRAME 2008-present [opened to the public in 2011]
COLLABORATORSCommissioned By The Indianapolis Museum of ArtEcoArts ConnectionsAdditional 20 Leading Indianapolis Arts, Science, Environment, And Municipal Organizations And Agencies
FUNDINGIMA, National Endowment for the Arts, National Oceanographic and Atmospheric Administration, and others
CRITIQUEThis project contains engages the public on many levels - from the educational walk itself containing a variety of opportunities to engage with the landscape, to virtual tools that alter how residents understand the flow of water from their own doorstep. Where this project falls short however, is in its lack of visibility in downtown Indianapolis. Perhaps ‘Flow’ would be more successful if educational programming could be incorporated into the business and cultural districts in the urban center and if the river could be revealed through the urban infrastructural systems just as much as it is through the natural systems along the river’s edge.
“Track a Raindrop” Virtual Program[http://flowcanyouseetheriver.org]
[1969] Ian McHarg’s bookDesign With Nature; pioneered concept of ecological planning
[1962] Rachel Carson’s book
Silent Springreleased; challenged
use of DDT
[1967] NEA’s Art in public
places program began
[1972]Clean Water Act
[1983]community
participation became more
important to the artists
[1969] Land Art Movement began with Richard
Long, Robert Smithson, among others
[1970s-Present]Feminist Art Movement
1960 1970 1980 1990 2000 2010
[1982]NEA encouraged
collaborations among artists, designers, and other transdisciplinary
teams
[2011]FLOW [CAN YOU SEE THE RIVER?] Mary Miss/CaLL
1950
[1995]social activism, leftist politics,
collaborative methodology became more important to
citizens
http://en.wikipedia.org/wiki/File:Spiral-jetty-from-rozel-point.png, Accessed December 13, 2012.
https://twitter.com/MyCleanWaterActAccessed December 13, 2012. http://stream.aljazeera.com/story/clicktivism-destroying-meaningful-social-activ-ism-0022095, December 13, 2012.
PROJECT COMPONENTSPavilion, 100 markers, IMA exhibit, “Track a Raindrop”, Additional Apps, Educational Programming, and festivals
ZONE 1 Indianapolis Museum of ArtZONE 2 Butler UniversityZONE 3 Marian University and Riverside Golf CourseZONE 4 Taggart Riverside Park, Coffin Golf Course, South Grove Golf CourseZONE 5 IUPUIZONE 6 White River State Park, Indianapolis Zoo, and Downtown
Eagle Creek Park
Fort Harrison State Park
Indianapolis Metropolitan
Airport
IUPUI
Indianapolis International
Airport
Crown Hill Cemetery
The Children’s Museum 30th St
Pendleton Pike
Fall
Cree
k Pk
wy
Binf
ord
Blvd
Fall Creek Rd
Alli
sonv
ille
Rd
Massac
husetts
Ave
21st St
16th St16th St
10th St
Michigan St
10th St
Michigan St
Oliver Ave
South St
Rockville Rd
Hig
h Sc
hoo
l Rd
Har
din
g S
t
Tib
bs
Ave
Mer
idia
n St
Eas
t St
Blu
ff R
d
Co
untr
y C
lub
Rd
Em
erso
n A
ve
Rit
ter
Ave
Key
sto
ne A
ve
Rur
al S
t
Sher
man
Dr
Hag
ue A
ve
Co
lleg
e A
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Suns
et A
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Mo
non
Trai
lM
ono
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ail
Eas
t R
iver
sid
e D
r
Har
din
g S
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Co
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pri
ngs
Rd
Mer
idia
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Cap
ito
l St
Cla
rend
on
Rd
Mer
idia
n St
Pen
nsyl
vani
a St
Del
ewar
e St
Eas
t St
Illin
ois
St
Cap
ito
l Ave
Wes
t St
Co
lleg
e A
ve
Mer
idia
n St
Spri
ng M
ill R
d
Kes
sler
Blv
d
Geo
rget
ow
n R
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Mo
ller
Rd
Rac
eway
Rd
Dan
dy
Trai
l
Washington St
Washington St
Indiana Ave
Kentucky A
ve
Raymond St
New York St
Ohio St
Market St
Prospect St
Hanna Ave
Morris St
Plainfield Ave
Brookville Rd
Southeastern Ave
Madison A
ve
Washington St
30th St
Lafayette Rd
Lafayette Rd
Michig
an Rd
Michig
an Rd
38th St38th St
46th St
52nd St
49th St
42nd St
Hampton Dr
38th St
46th St
56th St56th St
62nd St62nd St
64th St
71st St71st St
Wilson Rd
82nd St
86th St86th St
96th St96th St
Kessler Blvd
Marian University
Eagle Creek Airport
White River State Park
South Grove Golf Course
Taggart Riverside
Park
Coffin Golf Course
Riverside Golf Course
Indianapolis Zoo
Lilly Recreation Park
465
Garfield Park
Indianapolis Museum of Art
Butler University
Indianapolis Motor
Speedway
Indiana State Fairgrounds
George Washington
Park
Key
sto
ne A
ve
We
stfi
eld
Blv
d
Can
al To
wpath
465
74
74
70
70
65
70
465
69
65
54th St
Rain Garden
Ruth Lilly Visitors Pavilion
Orchard
Allée
Amphitheater
Central Canal
Towpath
100 Acres:The Virginia B. Fairbanks Art &
Nature Park
Crown Hill Cemetary
Christian Theological Seminary
Crown Hill Cemetary
Woodstock Country Club
Lake Terrace
Border Garden
Four Seasons Garden
Garden for Everyone
Mall
Newfield
Garage
Lilly House
Indianapolis Museum of Art
Cen
tral
Can
al
Michig
an Road
Martin Luther King, Jr Ave
38th Street 38th Street
42nd Street
41st Street
Bernard Avenue
40th Street
Clarendon Street
Byram
Avenue
Rockw
ood Avenue
Cornelius Avenue
39th Street
39th Street
Harvard Place
39th Street
Northern Street
Waller Bridge
OVER 100 SITESThere are more than 100 markers scattered throughout the IMA’s grounds and over the course of a six-mile stretch from Butler University to the White River State Park. The markers can be found in the following zones labeled on the map.
Visit flowcanyouseetheriver.org for details about each FLOW site.
ZONE 1 Indianapolis Museum of Art and 100 Acres: The Virginia B. Fairbanks Art & Nature Park Sites 1– 46
ZONE 2 Butler University Sites 47–49
ZONE 3 Marian EcoLab Sites 50–68
ZONE 4 Riverside Park Sites 69–87
ZONE 5 IUPUI Arbor Sites 88–96
ZONE 6 White River State Park Sites 97–108
IMA MAP ZONE 1 Sites 1–46
FLOW INDIANAPOLIS MAP IMA MAP465
465
74
70
65
6570
465
74
69 FLOW SITES
1 site
2 sites
3+ sites
KEYINDIANAPOLIS AREA
17
18
19
20
15 14
13
46
34
56
7
91110
12
16
21
23
22
33
234
125
32
31
26
24
27
30
29
28
35
44
3637
3941 40
3845
43
42
HOW TO EXPERIENCE FLOW• Pick up a map here at the IMA or use the FLOW website to find the mirror markers and oversized red map pins that are located on the museum grounds, in 100 Acres, and along the White River and canal towpath from Butler University to the White River State Park downtown.
• Ateachsite,themirrormarkerswilldirectyourgazeto nearby red map pins that point out key aspects of the water system such as wetlands, floodplains, combined sewer outfalls and more. Standing in front of the mirror marker, shift your gaze until the red mark on the mirror lines up with the red pin in the landscape. You will see the water element, its name, and your own reflection in the scene.
• Dialuptheguide-by-cellphonenumberfoundonyour mirror marker to hear a detailed description for each of the water elements.
FLOW: CAN YOU SEE THE RIVER?
ZONE 1 Sites 1–46
ZON
E 5
Site
s 88–
96
ZONE 2 Sites 47–49
ZONE 3 Sites 50–68
ZONE 6 Sites 97–108
ZONE 4 Sites 69–87
Eagle Creek Park
Fort Harrison State Park
Indianapolis Metropolitan
Airport
IUPUI
Indianapolis International
Airport
Crown Hill Cemetery
The Children’s Museum 30th St
Pendleton Pike
Fall
Cre
ek P
kwy
Binford Blvd
Fall Creek Rd
Alli
sonvi
lle R
d
Massa
chus
etts A
ve
21st St
16th St16th St
10th St
Michigan St
10th St
Michigan St
Oliver Ave
South St
Rockville Rd
Hig
h S
cho
ol R
d
Hard
ing
St
Tib
bs
Ave
Me
rid
ian
St
East
St
Blu
ff R
d
Co
un
try C
lub
Rd
Em
ers
on
Ave
Rit
ter
Ave
Ke
yst
on
e A
ve
Ru
ral S
t
Sh
erm
an
Dr
Hag
ue
Ave
Co
lleg
e A
ve
Su
nse
t A
ve
Mo
no
n T
rail
Mo
no
n T
rail
East
Riv
ers
ide
Dr
Hard
ing
St
Co
ld S
pri
ng
s R
d
Me
rid
ian
St
Cap
ito
l S
t
Cla
ren
do
n R
d
Me
rid
ian
St
Pe
nn
sylv
an
ia S
t
De
lew
are
St
East
St
Illin
ois
St
Cap
ito
l A
veW
est
St
Co
lleg
e A
ve
Me
rid
ian
St
Sp
rin
g M
ill R
d
Ke
ssle
r B
lvd
Ge
org
eto
wn
Rd
Mo
ller
Rd
Race
way R
d
Dan
dy T
rail
Washington St
Washington St
Indiana Ave
Kentu
cky A
ve
Raymond St
New York St
Ohio St
Market St
Prospect St
Hanna Ave
Morris St
Plainfield Ave
Brookville Rd
Southeastern Ave
Mad
ison A
ve
Washington St
30th St
Lafayette Rd
Lafayette Rd
Mich
igan
Rd
Mich
igan
Rd
38th St38th St
46th St
52nd St
49th St
42nd St
Hampton Dr
38th St
46th St
56th St56th St
62nd St62nd St
64th St
71st St71st St
Wilson Rd
82nd St
86th St86th St
96th St96th St
Kessler Blvd
Marian University
Eagle Creek Airport
White River State Park
South Grove Golf Course
Taggart Riverside
Park
Coffin Golf Course
Riverside Golf Course
Indianapolis Zoo
Lilly Recreation Park
465
Garfield Park
Indianapolis Museum of Art
Butler University
Indianapolis Motor
Speedway
Indiana State Fairgrounds
George Washington
Park
Keyst
one
Ave
We
stfi
eld
Blv
d
Can
al T
owpath
465
74
74
70
70
65
70
465
69
65
54th St
Rain Garden
Ruth Lilly Visitors Pavilion
Orchard
Allée
Amphitheater
Central Canal
Towpath
100 Acres:The Virginia B. Fairbanks Art &
Nature Park
Crown Hill Cemetary
Christian Theological Seminary
Crown Hill Cemetary
Woodstock Country Club
Lake Terrace
Border Garden
Four Seasons Garden
Garden for Everyone
Mall
Newfield
Garage
Lilly House
Indianapolis Museum of Art
Centr
al C
an
al
Mich
igan R
oad
Ma
rtin Lu
ther K
ing
, Jr Ave
38th Street 38th Street
42nd Street
41st Street
Bernard Avenue
40th Street
Cla
ren
do
n S
tree
t
Byra
m A
ve
nu
e
Ro
ckw
oo
d A
ve
nu
e
Co
rne
lius A
ve
nu
e
39th Street
39th Street
Harvard Place
39th Street
Northern Street
Waller Bridge
OVER 100 SITESThere are more than 100 markers scattered throughout the IMA’s grounds and over the course of a six-mile stretch from Butler University to the White River State Park. The markers can be found in the following zones labeled on the map.
Visit flowcanyouseetheriver.org for details about each FLOW site.
ZONE 1 Indianapolis Museum of Art and 100 Acres: The Virginia B. Fairbanks Art & Nature Park Sites 1– 46
ZONE 2 Butler University Sites 47–49
ZONE 3 Marian EcoLab Sites 50–68
ZONE 4 Riverside Park Sites 69–87
ZONE 5 IUPUI Arbor Sites 88–96
ZONE 6 White River State Park Sites 97–108
IMA MAP ZONE 1 Sites 1–46
FLOW INDIANAPOLIS MAP IMA MAP465
465
74
70
65
6570
465
74
69 FLOW SITES
1 site
2 sites
3+ sites
KEYINDIANAPOLIS AREA
17
18
19
20
15 14
13
46
34
56
7
91110
12
16
21
23
22
33
234
125
32
31
26
24
27
30
29
28
35
44
3637
3941 40
3845
43
42
HOW TO EXPERIENCE FLOW• Pick up a map here at the IMA or use the FLOW website to find the mirror markers and oversized red map pins that are located on the museum grounds, in 100 Acres, and along the White River and canal towpath from Butler University to the White River State Park downtown.
• Ateachsite,themirrormarkerswilldirectyourgazeto nearby red map pins that point out key aspects of the water system such as wetlands, floodplains, combined sewer outfalls and more. Standing in front of the mirror marker, shift your gaze until the red mark on the mirror lines up with the red pin in the landscape. You will see the water element, its name, and your own reflection in the scene.
• Dialuptheguide-by-cellphonenumberfoundonyour mirror marker to hear a detailed description for each of the water elements.
FLOW: CAN YOU SEE THE RIVER?
ZONE 1 Sites 1–46
ZON
E 5
Sites
8
8–96
ZONE 2 Sites 47–49
ZONE 3 Sites 50–68
ZONE 6 Sites 97–108
ZONE 4 Sites 69–87
IMA MAPZONE 1 Sites 1-46
Map of 6 Zones and larger map of Zone 1[‘FLOW’ brochure]
Entrance Pavilion Contains An Exhibition That Introduces The Project[http://www.imamuseum.org/100acres/artists/marymiss]
“All property is riverfront property. The river starts at your door.”-Mary Miss
Mary Miss distributed 100 markers across the landscape. While half of these are oversized red map markers, the other half are mirrors attached to posts with information and a red dot that the participant aligns with the corresponding the red map marker. These markers might point out wetlands, floodplains, combined sewer outfalls, pollution, or zones of historical significance. In addition to these markers, one may also “dial-up” to receive additional commentary about the site such as the best place to watch river turtles (www.imamuseum.org).
Mirror/Red Dot Images[http://www.imamuseum.org/100acres/artists/marymiss]
3’ diameter red dots on the building of the IMA that symbolize the 6 water systems necessary to sustain the building[http://www.imamuseum.org/100acres/artists/marymiss]
6 Water Systems Needed to Sustain the Building....
“With this project, Indianapolis is setting a precedent for how city government, cultural institutions, and artists can work together to make issues like climate change and sustainability more tangible to its residents.”-Mary Miss
18 Red Bands Round Trees That Show The 100 Year Flood Levels[http://www.imamuseum.org/100acres/artists/marymiss]
100 Year Flood Levels
Choose Your Location, pick the storm intensity and ‘Make it rain’!
Tap the cloud to increase the storm intensity and watch the rain move from your location to the river.
Click on the black question mark icon to see what pollutants your raindrop has picked up along the way.
TRACK A RAINDROP and share your own photos
Screen Captures from ‘Track a Raindrop’ Virtual Program[http://www.imamuseum.org/100acres/artists/marymiss]
ECOSYSTEM BROADWAY, 1,000 STEPS Mary Miss/CaLLPROJECT SUMMARYThe project, Broadway, 1,000 Steps is an initiative to develop Broadway Street as a new green infrastructure corridor for the city that is made “tangible and actionable” to every citizen. 20 different hubs along Broadway, chosen based on their concentrations of infrastructural, cultural, ecological, and social features, will serve as a testing ground collaboration among research scientists, municipal policy makers, and local community groups. With the help of over 400 student participant groups, the areas are currently being systematically investigated, mapped, and evaluated with direct community engagement. Before arraying the project along the entire length of Broadway, Miss/CaLL chose 237th street to execute a “Test Pilot Project” to show the community how these systems would begin making visible the infrastructure of the city at eye level. Elements of this test site include the following: green vertical poles, convex mirrors with text and diagrams, pavement markings, visual quantifications, walkable maps, guides by cell phone, short text descriptions, smart phone applications, and events ([http://www.broadway1000steps]com).
LOCATIONBroadway Street, New York City
TIME FRAME Opens in 2013
COLLABORATORSNASA Goddard Institute for Space ScienceCenter for Research on Environmental decisions at the Earth Institute of Columbia UniversityInstitute for Sustainable Cities at CUNYWallerstein Collaborative for Environmental Education at NYUThe Wildlife Conservation SocietyAcademic Partnership of over 400 students [design, architecture, communications and ecology]Montefiore Park Neighborhood AssociationCommunity Board NineCity College Department of Urban Design
FUNDINGPrivate and Public Support; largely from National Science Foundation Grant for Exploratory Research (EAGER) award for Informal Science Education (ISE)
CRITIQUEWhile Broadway, 1,000 Steps hasn’t yet officially opened to the public, it appears to address much of the critique voiced in the other projects. It creates a highly visible, interactive green infrastructure along a highly traveled, historic corridor and simultaneously provides comprehensive educational and outreach programs to incite future interest from a range of actors. In this way, the project creates immediate, visible impact to the residents and slowly accrues long-term ecological, economic, and social sustainability.
Broadway, 1,OOO Steps - Ground Locator Marker[http://www.broadway1000steps]com
[1969] Ian McHarg’s bookDesign With Nature; pioneered concept of ecological planning
[1962] Rachel Carson’s book
Silent Springreleased; challenged
use of DDT
[1967] NEA’s Art in public
places program began
[1972]Clean Water Act
[1983]community
participation became more
important to the artists
[1969] Land Art Movement began with Richard
Long, Robert Smithson, among others
Sol Lewitt, participatorywall art #260
1960 1970 1980 1990 2000 2010
[1982]NEA encouraged
collaborations among artists, designers, and other transdisciplinary
teams
[2011]FLOW [CAN YOU SEE THE RIVER?]
Mary Miss
1950
[1995]social activism, leftist politics,
collaborative methodology became more important to
citizens
[2012-2013]BROADWAY 1,000 STEPS Mary Miss/CaLL
www.docstoc.com/docs/34497215/The-Plain-English-Guide-to-the-Clean-Air-Act, Accessed December 13, 2012
http://containerlist.glaserarchives.org/index.php?pg=3&c=z-sva, Accessed December 13, 2012 www.marymiss.com, Accessed December 13, 2012
ECOSYSTEM
WATER
AIR
WASTE
++
GF
GF
GF
GF
GF
Mapping hubs along Broadway:
The 275 block length of Broadway through Manhattan and the Bronx offers a highly visible, symbolic corridor in which to reveal the working ecosystem of New York City and the individual’s role within it. Concentrations of ecological, infrastructural, cultural, and social features have led to hub site selection. Detailed investigations are currently underway with the help of over 400 design, architecture, communications, and ecology student participants in the MM/CaLL Academic Partnership. Students are mapping, documenting, and conducting research through direct engagement with community constituents to discover what issues are most pressing.
8Proposed Green Infrastructure Map[http://www.broadway1000steps]
research scientistssociologists
local community groupsenvironmental artists
historians
Element: Field of Green Verticals
Field of Green Verticals
Brightly colored lime-green posts and fences will call attention to the hub as pedestrians approach, defi ning a force fi eld within which curiosity will be aroused and awareness augmented.
13
Mary Miss / City as Living Laboratory: Sustainability Made Tangible Through the Arts (MM/CaLL) provides a framework for how the arts and sustainability can be linked in innovative ways to create cities that help us redefi ne how we live our lives, use our resources, how we communicate, educate, work, and collaborate.
MM/CaLL conceives of the city as a laboratory where artists and designers collaborate with scientists, policy makers and other experts to create immediate experiential impact derived from long term research and planning initiatives.
The goal is to make sustainability personal, visceral, and tangible so that city residents are empowered to take positive action.
5
Element: Convex Mirrors
This is an example of how a mirror can be used to focus on a particular piece of street hardware. By color-coding the street hardware, and catching its refl ection it in a convex mirror, explanatory text or diagrams can be provided in an attached color-coded disc. This strategy engages the viewer by refl ecting their image in the context of the decoded built environment.
Convex Mirrors with diagrams
12
Element: Pavement Markings
Broadway Mall Markings
Large scale graphics draw on the city at full scale -- this element is coordinated with the Convex Mirrors element. Pavement markings are used to highlight features such as street hardware or plantings with color-coded outlines or multi-lingual text.
Pavement markings highlight street features
14
“Nature is everywhere and in action at all times, that the city is an urban ecosystem, that an innumerable number of small decisions over time have shaped the environment to be the one we inhabit today, and that our decisions impact the future of all of nature.”-Advisory Board of Broadway, 1,000 steps
Images of Test-Pilot Project on 137th Street[http://www.broadway1000steps]
The City of Philadelphia contains a rich history of public art and is the home of the nation’s first private non-profit organization dedicated to integrating public art and the urban realm (http://associationforpublicart.org, Accessed December 13, 2012). Though the artistic presence has been, and continues to be robust in its capacity to disseminate information, collaborate among a variety of stakeholders, and create a diverse set of education programs, the City and the PWD in particular would greatly benefit from public art projects addressing environmental issues and making visible its infrastructure (such as the case studies outlined above). To perform most effectively, these projects would need to include long-term educational and economic frameworks, even if their physical presence were to be temporary. Instead of ‘Art for Art’s sake’, these public propositions would begin with an Environmental Art agenda and end in Environmental Agency that involves not only the artists, municipality and residents, but also scientific researchers, students, economists, and community organizations.
PROGRAMS AND ORGANIZATIONSCity Of Philadelphia Mural Arts Program http://muralarts.org, Accessed December 13, 2012.
Philadelphia Art Center http://www.phillyartcenter.com, Accessed December 13, 2012.
Percent For Arts Program http://www.phila.gov/pra/percentForArt.html, Accessed December 13, 2012
City of Philadelphia Office of Arts, Culutre and Creative Economyhttp://creativephl.org/tagged/Public-Art/, Accessed December 13, 2012.
Association for Public Art [formerly the Fairmount Park Arts Association)http://associationforpublicart.org, Accessed December 13, 2012
ART SCHOOLSThe Art Institute of Philadelphia http://www.artinstitutes.edu
The University of the Artswww.uarts.edu
Pennsylvania Academy of Fine Artshttp://www.pafa.org
Moore College of Art and Designhttp://www.moore.edu
Tyler School of Arthttp://www.temple.edu
Fleisher Art Memorialwww.fleisher.org
CITY OF PHILADELPHIA a history of art in the city
REFERENCESAraeen, Rasheed. “EcoAesthetics, A Manifesto for the Twenty-First Century.” Third Text, 23, 5 (2009).
Baker, Alexander Julian, and Temple University. “The Schuylkill River Park Public Art Process: An Ethnographic Focus on a Philadelphia Urban Park’s Development.”, Dissertation Abstracts International, (2002).
Bach, Penny Balkin. “Public Art in Philadelphia.” Philadelphia: Temple University Press, (1992).
Bottoms, Stephen, Mel Evans and James Marriott. “We, the City: An Interview with Platform, London.” Performance Research: A Journal of the Performing Arts 17, 4 (2012).
Fortmeyer, Russell. “Toward a Cybernetic Site.” Architectural Record 195, 7 (2007).
Foster, Margaret. “Smell of Success: Can a New York City Artist Miss Bringing Great Beauty to a Suburban Sewage Site? [Mary Miss, Arlington, Virginia].” Landscape Architecture 94.2,22 (2004).
Freedman, Susan K., and Public Art Fund. Plop : Recent Projects of the Public Art Fund. (New York: Merrell Publishers in association with Public Art Fund, 2004).
Graham, M. A. “Art, Ecology, and Art Education: Locating Art Education in a Critical Place-Based Pedagogy.” Studies in Art Education 48, 4 (2007).
Haas, Richard, [1936-], et al. “Artists and Designers on Collaboration.” Arts Review / National Endowment for the Arts 3, 1 (1985).
David Harvey. “The Right to the City”. New Left Review. 53 (2008).
Karvonen, Andrew, and Ken Yocom. “The Civics of Urban Nature: Enacting Hybrid Landscapes”, Environment and Planning A 43.6 (2011).
Kastner, Jeffrey, and Brian Wallis. Land and Environmental Art. (London: Phaidon Press, 1998).
Lacy, Suzanne, ed. Mapping the Terrain: New Genre Public Art. (Seattle: Bay Press, 1995).
Marpillero, Sandro. “Four Projects by Mary Miss.” A + U: Architecture and Urbanism.12, 315 (1996).
Matilsky, Barbara. Fragile Ecologies : Contemporary Artists’ Interpretations and Solutions. (New York: Rizzoli International, 1992).
Miles, Malcolm. Art, Space and the City: Public Art and Urban Futures. (New York: Routledge, 1997).
Miss, Mary. “A Conversation with Mary Miss [Interview].” Log 9 (2007).
Oakes, B. Sculpting with the Environment: A Natural Dialogue. (New York: Van Nostrand Reinhold, 1995).
Phillips, P. “Maintenance Activity: Creating a Climate for Change.” In Nina Felshin (Ed.). But Is It Art: The Spirit of Art as Activism. (Seattle, WA: Bay Press, 1995).
Reid, H. G., and B. Taylor. “John Dewey’s Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism.” Ethics & the Environment 8, 1 (2003).
Sharpe, Joanne, Venda Pollack and Ronan Paddison. “Just Art for a Just City: Public Art and Social Inclusion in Urban Regeneration.” Urban Studies 5, 6 (2005).
Stein, Jean. “Flow City.” Grand Street, 57 (1996).
Thornes, John. “A Rough Guide to Environmental Art.” The Annual Review of Environment and Resources. 33 (2008).
Tompkins, Joanne. “Site-Specific Theatre and Political Engagement across Space and Time: The Psychogeographic Mapping of British Petroleum in Platform’s And While London Burns.” Theatre Journal, 63, 2. (2011).
Ukeles, Mierle Laderman. A Journey: Earth/City/Flow. Art Journal. 51/2 (1992).
Waste Land [Videorecording]. Dir. Walker, Lucy drt, João Jardim, Karen Harley, et al. by New Video, 2011.
WEBSITESwww.artdaily.org/index.asp?int_new=39304&int_modo=1#.ULdnq6WRrdk. Accessed December 5, 2012.
www.Flowcanyouseetheriver.org. Accessed November 20, 2012.
www.indianapolis recorder.com/aroundtown/article_6953f2dc-e551-11e0-a8cd-001cc4c002e0.html. Accessed November 20, 2012.
www.ibj.com/ima-plans-installation-along-white-river/PARAMS/artcile/21150. Accessed November 20, 2012.
www.tulane.edu/news/newwave/033111_candychang.cfm. Accessed November 27, 2012.
www.imamuseum.org/exhibition/flow-can-you-see-river. Accessed November 27, 2012.
www.broadway1000steps.com. Accessed December 6, 2012.
www.artinamericamagazine.com/news-opinion/news/2011-09-23/marymiss-fairbanks-art-and-nature-park/. Accessed December 5, 2012.
www.candychang.com/neighborland/, Accessed December 6, 2012.
www.candychang.com/about/. Accessed December 6, 2012.