October 18 – December 1, 2019
Participating Artists: Sonja Hinrichsen , Kathleen Probst, Eileen Roscina Richardson, Tyler Jones, Gregg Deal, bARTer Collective, Tory Tepp, Ana Maria Hernando and Kenneth Robinson.
Land affects all of us. From the moment we take our first steps to the realization that the land we walk on may not actually belong to us, the place where we settle, grow, and become who we are shapes us in unexpected and often unbelievable ways.
Artists, in particular, have always been drawn to the grandeur of the land and have been able to interpret and scrutinize it with honed detail in many different forms. Some artists connect to the earth through physical touch and interaction, performing on top or within a landscape, while even more artists use traditional methods of creation to process the landscape that surrounds them. With Grounded, the Dairy Art Center focuses on three distinct approaches to artists reacting to their landscape.
Co-Curated by Louise Martorano
Over a year after the original Re/Call exhibition, ReCalling Re/Call invites a selection of artists to once again think about their connection to the land. Linked by the original exhibition and a collective interest in the natural landscape, each distinct voice in this exhibition focuses on a particular element of the natural world to expand upon or honor. From interviews about the sound of climate change to musical and poetic dedications to the land, ReCalling Re/Call invites viewers to contemplate their relationship with the environment in a time where it has become more crucial than ever.
Re/Call was a collaboration created by Mary Caulkins, Louise Martorano, and RedLine Contemporary Art Center. Re/Call was a free 3-day event at the Rocky Mountain Land Library, which combined exhibition, camping with artists, communal meals, programs, performances and participatory projects over the 2018 labor day weekend. Located in Garo, CO at the Buffalo Peaks Ranch, Re/Call programmed art installations and communal experiences to celebrate the natural environment, embraced the intersection of art and nature, and lingered between the ethereal and tangible.
Louise Martorano is the Executive Director of RedLine, a non-profit contemporary art center and residency located in Denver, Colorado. RedLine’s mission is to foster education and engagement between artists and communities to create positive social change. Under her leadership, RedLine has received the Denver Mayor’s Award for Excellence in the Arts (2014 & 2015), the Greenway Foundation’s “Partner in Change” award, acknowledged by Denver Public Schools for excellence in community engagement, and has presented and organized over 100 exhibitions over the past 10 years. She holds a B.A. from the University of Colorado, Boulder and M.H. from the University of Colorado, Denver with a focus in Contemporary Art History & Music. In 2017, Martorano was awarded a Livingston Fellowship from the Bonfils Stanton Foundation for promising nonprofit leaders who hold significant leadership roles in Colorado’s nonprofit sector. She also sits on the advisory committee for the Visiting Artist, Scholar & Design program at Rocky Mountain College of Art + Design, is the Board Treasurer for the Global Women’s Empowerment Fund, and is on the Board of Trustees for the Harmony Hammond Trust.
Eileen Roscina Richardson
Recollect, made of thousands of hand collected/pressed flowers from the Rocky Mountain region, is an expression of our collective atavistic memory. Our inherent attraction to flowers comes partially from a necessity to identify and remember locations of late-season, fresh fruit marked by early spring blossoms. Mirrors signify the universal allure of objects that shine, which would have signaled a water source in ancient times. This installation is a visual articulation of gratitude for how these primitive impulses based on survival, manifest today in recreation, solace and wonderment when connecting to land.
Eileen Roscina Richardson is a visual artist, experimental filmmaker and naturalist from Denver, Colorado. She earned a BFA in Film from Emerson College in Boston, MA and trained at the School of Botanical Art and Illustration in Denver. She has exhibited film internationally, was the 2019 Resident Artist for the National Western Stock Show, is a current resident at RedLine Contemporary Art Center, Denver and represented by Walker Fine Art, Denver.
Visit Eileen Roscina Richardson’s Website:
This work features contrasting images of industrial coal mining infrastructure in Svalbard set against the glaciated Arctic landscape. While the coal mining infrastructure has been abandoned for quite some time, the warming climate makes it likely that the infrastructure will soon be used again. Accompanying these images are sound interviews of international artists answering the question, “What does climate change sound like?” The answers provide a glimpse into different cultural viewpoints, and converge on a common theme: climate change results in the loss of cultural identity.
Tyler Jones is a climate scientist at the University of Colorado. His work focuses on the extraction and isotopic analysis of ice cores from Greenland and Antarctica. He has spent the last two summers at the East Greenland ice core camp (EGRIP), retrieving ice as old as 50,000 years before present. Tyler also has a background in filmmaking, having worked with a Boulder documentary film company for more than 10 years. His first introduction to film was was chasing tornados with Discovery Channel. He then went on to work on humanitarian and adventure film projects with Serac Adventure Films, an emmy-award winning production company. His most recent film portrays a female polar bear guide in Svalbard, including her recollection of polar heroes of her youth and how that translates to present day climate change in the Arctic.
This video and outfit on exhibit are from the original performance that occurred during Re/Call over the Labor Day weekend in 2018. The outfit on display was worn by Sage Deal and is illustrative of what is called a “jingle dress” in pow wow ceremony and has little cones that make noises when dancing. The outfit and the performance are born from the visual language and dance from the traditional pow wow ceremony, however in this version the vibrant color and music that would be sung and performed has been removed. One of the major premises for pow wow dancing is color and movement, but Deal has removed the color and made it completely monochromatic to engage the metaphor of invisibility. By using all black beadwork, ribbons, feathers and materials the movements are less perceptible to the viewer. In addition, in Deal’s performance with his daughter, Sage, they both are listening to headphones to hear the music and sounds of pow wow but also not accessible to the viewer. This process of removal is a performance-based response to the removal of indigenous communities and encapsulates the absence that is felt when community and culture is removed from the environment.
Gregg Deal (Pyramid Lake PaiuteTribe) is a provocative contemporary artist who challenges Western perceptions of Indigenous people, touching on issues of race, history and stereotypes. Through his work—paintings, murals, , filmmaking and spoken word—Deal critically examines issues and tells stories of decolonization and appropriation that affect Indian country. Deal’s activism exists in his art, as well as his participation in political movements.
Visit Gregg Deal’s Website:
For Re/Call, the collective was invited to interact with visitors by providing a prompt concerning each individual’s thoughts regarding land, climate change and property.
The bARTer collective is a collective of artists, designers, educators, thought provokers, dreamers, service workers, and citizens who host a mobile exchange space. we trade ___________ for _____________. once we fill in the blankety blanks, we adapt our systemic platform to suit each
The bARTer collective believes in reImagining the contemporary notion of exchange of currency for product or service. Our action-based inquiries originate in a belief that every human needs to be actively creative and actively involved in their community.
Our motivation is driven by citizenship and the need to vitalize and contribute to our local community. our approach is to create dynamic situations that present alternative means of exchange where active creation gives way to goods and services. we would gladly trade the mass produced for blowing kisses and hand written notes.
Visit the bARTer Collective’s Website:
Ana Maria Hernando and Kenneth Robinson
I am a multidisciplinary artist interested in empathy as a way of questioning the notion of the other, in making the invisible visible, and in the transformative, compassionate conversation of the universe.
As a child in Buenos Aires I watched my Spanish grandmothers and my mother come together to sew, crochet and embroider, sharing the everyday. The things they made from fabric and thread were expressions of their spirit. All the beauty – the hours of work, the washing and ironing – was made invisible as the tablecloths were later stained with food. I explore the unacknowledged feminine force of work as a kind of prayer that has been important to me my whole life.In my installations, I include the handwork of other women to bring light to these almost invisible acts: embroidered petals made by cloistered Carmelite nuns, and starched Peruvian petticoats, for example. It is my deeply felt intention to illuminate the thirst of the heart, and what occurs behind the veil, the pattern, or the political.
Ana Maria Hernando, from Argentina and based in Colorado, is a multidisciplinary artist interested in making the invisible visible. She considers the balance between the material and the transcendent, exploring the feminine through women’s rich histories, their daily lives and hand-worked textiles and wares.
She has a BFA from CCA in Oakland, CA, and studied at the Museum School in Boston, MA, Escuela Nacional de Bellas Artes P. Pueyrredón and has a BA from the Profesorado Eccleston in Bs As, Argentina. Solo shows include MCA Denver, Kemper Museum of Contemporary Art, Bmoca in Boulder, International Center of Bethlehem, Oklahoma and Marfa Contemporary, and CU Art Museum. She has done temporary public art for the City of Boulder, Downtown Denver, and ReCall for Redline. Ana María has made several prints with master printmaker Bud Shark of Shark’s Ink. Her work has been included in several publications. She is the recipient of the Prix Henry Clews 2020 from La Napoule Art Foundation, and will spend 2020 working on a major solo show at their Chateau in France. Undomesticated, a documentary about her work premiered in May of 2018.Center, Denver and represented by Walker Fine Art, Denver.
Kenneth Robinson is a psychotherapist in private practice in Nashville, Tennessee. His practice brings together art, psychology, and spirituality as a means to facilitate emotional integration following trauma. Employing dance and movement, body and breath awareness, and “healing theatre,” Kenneth guides others beyond the shattering consequences of trauma to a sense of wholeness and connection. He considers his work a form of performance art, and his approach is best expressed in his quote: “Freedom is not a luxury; Ecstasy is not an indulgence.” Kenneth received a Master’s degree in Counseling and Education from the University of Tennessee in Knoxville in 1977, and a Master’s in Theological Studies from the Divinity School at Vanderbilt
University in 2007. He is a member of the Board of the Nashville Psychotherapy Institute and chairs NPI’s Diversity Committee, which offers educational programs for the membership that promote diversity and multiculturalism.
He is also a poet and musician and a founding member of Chant Ram, a musical group that leads kirtan, a form of meditation and worship that allows participants to move to open-hearted awareness and self-
expression through sound.
He has performed his poetry (individually, and in collaboration with Ana María Hernando) in Boulder, Denver, Kansas City, Oklahoma City, Vancouver, and in his hometown of Nashville, Tennessee. His book of poetry, The Year of Lovemaking and Crying, was released in 1999, and a second edition was published in 2013. Salka Archipelago, a poem-painting collaboration with Ana Maria was issued in limited edition prints by master printmaker Bud Shark in August 2013.
Visit Ana Maria Hernando’s Website:
The mud bricks and archival photographs represent archival footage and recreations from the original Earthwork entitled “The Forge.” Created for Re/Call, this installation invited people to be able to convene within a landscape. The work has four entry points representing the cardinal directions. The interior of the work is lined with strata of artist and participant-created adobe bricks that capture sentiments, quotations, and responses to the land. Tepp notes that these layers of mud bricks represent the layers of people and voices that have occupied the land over the centuries.
Tory received his undergraduate BFA in painting from Parson’s, the New School for Design in New York City with a minor in non-traditional art histories. While at Parson’s, Tory studied painting under Joan Snyder. In 2009, Tory earned his MFA in public practice as part of the inaugural class of Suzanne Lacy’s Public Practice program at Otis College of Art and Design in Los Angeles. Here he developed his practice around the exploration and reestablishment of the metaphysical connections between the social and environmental ecologies that shape urban communities. After a temporary relocation to New Orleans, Tory assumed the role of the driver of a vintage armored car for Mel Chin’s Fundred Dollar Bill Project and proceeded on a 19,000 mile journey around the country representing the project as a speaker and artist. This led to the development of an itinerant art practice that kept him on the road, working from project to project in New Orleans, Milwaukee, Los Angeles, Death Valley and the High Sierra Mountains. In 2012, Tory arrived in New Smyrna Beach, Florida as the inaugural artist for the Atlantic Center for the Arts Community Artist in Residence program, which spawned multiple projects and led to relocation to central Florida. In 2013 he completed a residency in the Sierra Nevada Mountains where he collaborated with the High Sierra Wilderness rangers as part of the 50th Anniversary of the Wilderness Act. Recently, Tory was invited to participate in The Music Box Tampa Bay in collaboration with New Orleans Airlift and University of South Florida. Currently, Tory is developing The Ixchel Song Garden in Maitland, Florida, a project at the intersection of land art, urban agriculture and improvisational music making.
Visit Tori Tepp’s Website:
My work reflects on environmental concerns and addresses our (humankind’s) relationship to the natural world – as we perceive it and interact with it. We – modern society – have become increasingly disconnected from nature. We have come to see our planet as a mine to extract the resources we need to maintain our extravagant life-styles, and as a dumping station for our toxic waste products. I believe, however, to secure a “habitat” for future generations (of our own species as well as others) it is essential that we tune ourselves in with nature and re-gain greater awareness of our planet, understand it better and take better stewardship of it. In my work process I look at indigenous as well as ancient cultures, whose life philosophies perceive mankind as an integrated part of nature, rather than attempting to dominate over it.
I believe that through the means of art it is possible to point out the importance of environmental soundness – through speaking to emotion and passion for nature, and through unlocking an ancient sense of freedom and awe. I believe that admiration for nature is inherent in all of us, but tends to get subdued for a majority of our planet’s population who live busy consumer-oriented lifestyles. I believe that we as artists have the power to reach out to society and direct public attention – in an inspirational non-intrusive way – a way that might reach audiences more readily than plain results of scientific study – which can seem inaccessible or tedious.
My artworks are art/research projects. My work process starts with photo-and video mappings, sound recordings, note-taking, writing, and research about places and their historical, societal and ecological circumstances. Mythology plays a particular role, as it bears invaluable information about places and the people who live there and used to live there in earlier times. In my projects I intertwine facts, old mythologies and my personal experiences as a person and artist. I create video pieces and immersive media installations with multiple video projections, sound collages and narrative.
Other projects are ephemeral works in natural environments – that aim to accentuate natural features and emphasize the sublime beauty and the extraordinary of nature. While nature erases these pieces within a short time, they live on in their documentation and are later used in video installations or become photographic pieces. An ongoing project is Snow Drawings, participatory art events where I guide communities to create huge drawings on snow-covered landscapes by walking pattern systems with snowshoes.
With my artwork I aim to provoke thought and engage my audiences intellectually. I’m not interested in creating lasting artworks, as I believe our planet is over-saturated with man-made products. While I like to unfold my work into large immersive experiences, I prefer that it live on in its documentation only, and in the memories of my audiences.
Sonja Hinrichsen examines urban and natural environments through exploration and research. As an artist she feels the responsibility to address subject matters our society tends to neglect or deny, particularly adverse impacts to the natural world. Her work manifests in immersive video installations, video performances and interventions in nature. Her participatory project “Snow Drawings” engages communities worldwide.
Sonja graduated from the Academy of Art in Stuttgart, Germany in 1997/98, and received a Masters degree in New Genres from the San Francisco Art Institute in 2001. She has been invited to group- and solo- exhibitions worldwide, amongst others the DePaul Museum in Chicago, Kala Art Institute in Berkeley, the David
Center in Berkeley, Bedford Gallery in Walnut Creek, Chandra Cerrito Contemporary in Oakland, San Francisco Arts Commission Gallery, Krowswork Gallery in Oakland, the Somarts Culture Center in San Francisco, RedLine Gallery in Denver, the Peeler Art Center in Greencastle, IL, the Colorado Photo Art center In Denver, Manifest Gallery in Cincinnati, the Shelburne Museum in Vermont, School 33 Art center in Baltimore, Saarlaendisches Kuenstlerhaus in Germany, Organhaus in Chongqing, China, Pier 2 Art Center in Taiwan, and many more. She has won numerous artist residency awards, such as the Bemis Center in Omaha, Djerassi in California, the Santa Fe Art Institute, Ucross Foundation in WY, Jentel in WY, Women’s Studio Workshop in Rosendale, NY, VCCA in Virginia, Valparaiso in Spain, Fiskars in Finland, Saari/Kone Foundation in Finland, Taipei Artist Village in Taiwan, only to name a few.
Visit Sonja Hinrichsen’s Website:
This exploration of hard-edge abstraction substitutes dye on cotton in place of paint on canvas. Part of my narrative is the unique medium I choose to work in. The boldly engineered constructions are softened by the fabric used to create them. Each composition is a visual haiku with every shape and color playing a part. Nothing is extraneous. The sculptural environment allows space for the unexpected to happen. Ordinary edges and nooks become interesting. While working in my Facet series I am transitioning between nonrepresentational structures and abstract landscape. The common denominator is the creation of a 3D environment on a 2D surface.
Kathleen Probst’s work has been shown in solo and group exhibits in galleries and museums primarily in the Uniter States including: the Schweinfurth Art Center, the Whistler House Art Museum and Visions Art Museum. Probst has two public art installations in Boise, Idaho and also has work in the Boise Visual Chronicle collection and hte International Quilt Museum. She is a self-taught artist currently living in Eagle, Idaho.