Our focus is on the number 350—as in parts per million CO2. If we can't get below that, scientists say, the damage we're already seeing from global warming will continue and accelerate. But 350 is more than a number—it's a symbol of where we need to head as a planet.
We work hard to organize in a new way—everywhere at once. In October of 2009 we coordinated 5200 simultaneous rallies and demonstrations in 181 countries, what CNN called the 'most widespread day of political action in the planet's history.' In October 2010 we organized a 'global work party' all over the world, with over 7000 events in 187 countries. People put up solar panels, dig community gardens—and sent a strong message to our leaders: 'If we can get to work on solutions to the climate crisis, so can you.'
Our theory of change is simple: if an international grassroots movement holds our leaders accountable to the latest climate science, we can start the global transformation we so desperately need.
http://www.350.org/
Here is a list of some ideas for your own climate art projects. Change or combine these projects if you want, or develop your own! We’re accepting photo submissions of art from around the world at art@350.org
Land Art: Land Art is one of the oldest art forms. It is simply, creating something beautiful out of natural materials. This is an art form that can be done anywhere on earth, because any material can be used to make art. A pile of sticks can become a bird, or a sandy beach can become a sun. The possibilities are endless. more ideas
Aerial Art: One of the signatures of the 350 movement has been the incredible creativity shown through the creation of Aerial Art. This is a great art form because its very medium shows how many people are involved. Aerial art can be done in many different ways, small or as big as you can imagine. Think about using different colors in the image, or using other materials to create part of the image. You can even make your aerial art animated! more ideas
350 Concerts: Raise the volume, lower the CO2. Music moves people, physically and emotionally, and has been a crucial part of many social movements. Invite a few local groups to play a Zero Carbon Concert. Invite speakers working on local environmental issues to talk in between songs or invite theater groups. click here to see what songs have already been made about 350
350 Mural: There are walls all over the world, separating things. By painting the wall you can make it the wall tool to bring people together, to educate and inspire them, and to make spaces more colorful and enjoyable. This is a great project that everyone can get involved in, and can communicate to people for years to come. more ideas
350 Flash Mob: Organize a “flash mob” – where crowds of coordinated people suddenly assemble in public spaces. There are endless variations, from freezing in place for 350 seconds to wearing snorkels and swimming trunks to talk about sea level rise. This is a project it is bound to surprise.more ideas
Street Art: Street art supporting 350 has started showing up all over the world. From Belarus to Switzerland to the United States, people have been sending us images of walls where they have seen painted 350s. Street art is a modern way to bring the 350 message into public eye and the public conscience. more ideas
Note: Street art is illegal in some places.
Traditional Art: Embrace local traditions to create a piece of art that reflects local traditions. Use traditional local materials, symbols, or artistic techniques and show the world what local solutions your community has. There are thousands of years of knowledge of how to live sustainably on this planet, lets hold onto and share those traditions as we move ahead. more ideas
350 Film Festival: There are so many wonderful and creative films online about climate change. Organize a mini film festival, and invite people to come watch. You can show numerous short movies from Youtube, or show a full length film. There may even be films made about the specific local issues of your region. Leave time for discussion at the end of the movie, so you can talk about how to turn your feelings into actions.
Street Theater: Create a Street Theater performance that educates people about climate change, and what they can do to help stop it. Get creative! Street Theater is a great way to entice a general audience into listening to what you want to say. Street art engages anyone who happens to walk by – which is great – we need everyone to combat the climate crisis. more ideas
Get Crafty: Crafts are a great way to show your support for 350 while simultaneously taking action. Everything we can make for ourselves is one step closer towards sustainability and local production. Use your talents, whatever they might be, to create a solution that will get us down to 350. Click here to see the beautiful results from the 350 Craftster Contest.
Bike Parade: Bicycles are one of the most joyous and simple solutions to get us down to 350. Organizing a bike parade is simple. Set a place and time, and ask people to come with their bicycles. Ask people to come in costume or to make flags or license plates for their bikes – and you’ll be sure to get noticed.more ideas
Food!: Cooking is an art, perhaps the most important one of all, and is one of the key solutions to sustainable living. Sitting together around a table is also one of the best ways to get to know new people. Have a pot-latch dinner with local food, or contact a local food co-op and organize a feast. Get creative: how can you incorporate the message of 350 into your favorite dish?
Photographic pictorialism, an international movement, a philosophy, and a style, developed toward the end of the 19th century. The introduction of the dry-plate process, in the late 1870s, and of the Kodak camera, in 1888, made taking photographs relatively easy, and photography became widely practiced. Pictorialist photographers set themselves apart from the ranks of new hobbyist photographers by demonstrating that photography was capable of far more than literal description of a subject. Through the efforts of pictorialist organizations, publications, and exhibitions, photography came to be recognized as an art form, and the idea of the print as a carefully hand-crafted, unique object equal to a painting gained acceptance.
http://www.phillipscollection.org/exhibitions/truth_beauty/index.aspx
This November 20-28, 350 EARTH will launch the world’s first ever global climate art project. In over a dozen places across the globe, citizens and artists will create massive public art installations to show how climate change is already impacting our world as well as offer visions of how we can solve the crisis. Each art installation will be large enough to be seen from space and documented by satellites generously provided by Digital Globe.
350 EARTH will be the first-ever global scale group show on the front line of climate change—our polluted cities, endangered forests, melting glaciers, and sinking coastlines. People around the world are invited to take part by attending signature events, submitting their own art, and spreading the word about the project.
350 EARTH will take place on the eve of the next United Nations climate meetings in Cancun, Mexico where delegates will work to create an international climate treaty. Our politicians have all the facts, figures, and graphs they need to solve the climate crisis. What they lack is the will. 350 EARTH will demonstrate the massive public support for bold climate action and the role that art can play in inspiring humanity to take on our greatest challenge: protecting the planet on which we live.
ABOUT - Pyramid Atlantic Art Center presents the 11th Biennial Book Arts Fair and Conference, the preeminent book arts event on the east coast. Now in its third decade, the fair will showcase a dynamic array of innovative book art, limited edition prints, fine papers, and specialty tools along with a rich program of notable speakers, demonstrations, and special exhibitions. This three day event will connect international artists, scholars, collectors, publishers, and art lovers. Serving to inform and inspire, the Book Arts Fair and Conference is a celebration of the printed form and the book as art.
Side by Side: Oberlin’s Masterworks at the Phillips combines masterworks from the collections of the Allen Memorial Art Museum and The Phillips Collection. The 25 works on loan from Oberlin date from the 16th to the 20th centuries, and include stellar works by artists of the British, Dutch, Flemish, French, German, Italian, and Spanish schools. Highlights include Hendrick ter Bruggen’s Saint Sebastian Tended by Irene (1625), one of the most important examples of northern baroque painting in the United States; Rubens’s The Finding of Erichthonius (1632–33); and The Fountain of Life, a superb 16th-century painting probably painted in Spain after a work by Jan van Eyck.
The exhibition showcases an unconventional hallmark of The Phillips Collection, the mixing of works of different periods and nationalities in changing installations to reveal new affinities between works of art. This approach reflects the views of museum founder, Duncan Phillips (1886–1966), who saw the history of art as a conversation through the ages among artists and works of art. In his collection of contemporary art, Phillips included several old masters, including Giorgione, El Greco, and Goya, and an early wish list included the names of others.
Going to the heart of Phillips’s claim, among Side by Side’s loosely themed groupings is one that brings together artists who copied paintings by their predecessors in the Louvre. The Allen’s Rubens appears with Luncheon of the Boating Party (1880–81) by Pierre-Auguste Renoir, who is known to have copied works by Rubens. In the second half of his career, after abandoning impressionism, Renoir again looked to Rubens for inspiration. Related works in this section of the exhibition are from the Phillips, by Berthe Morisot, Edgar Degas, and Ferdinand-Victor-Eugène Delacroix.
Several works from Oberlin show the world at night: Dovedale by Moonlight (c. 1784–85) by Joseph Wright of Derby, Pier Francesco Mola’s Mercury Putting Argus to Sleep (1645–55), and Giuseppe Cesari’s The Agony in the Garden (Christ on the Mount of Olives) (1597–98). The moon is the light source in the first two, while Christ’s angelic vision illuminates the third. Their silvery gleam is reflected in later paintings in the Phillips, including Arthur Dove’sMe and the Moon (1937) and George Inness’s Moonlight, Tarpon Springs (1892).
In another group of landscapes, Oberlin’s shimmering View of Venice: The Ducal Palace, Dogana and Part of San Giorgio (1841) by Joseph William Mallord Turner, joins one by his rival John Constable, represented in the Phillips by On the River Stour (1834–37). Both artists had a powerful effect on modern landscape painting. Their works hang with paintings by Claude Monet, an artist profoundly influenced by Turner. Oberlin’sGarden of the Princess, Louvre (1867) is one of Monet’s first views of Paris and represents a much earlier stage in his development than The Road to Vétheuil (1879) and Val-Saint-Nicholas, near Dieppe (Morning) (1897) owned by the Phillips. Other modern landscapes on view in Side by Side include Paul Cézanne’s Viaduct at L’ Estaque (1882) from Oberlin and add new dimensions to the rich imagery of the south of France, represented at the Phillips by paintings by Pierre Bonnard and Vincent van Gogh.
A display of self-portraits includes one of the most dramatic works on loan from Oberlin. Self-Portrait as a Soldier (1915) by Ernst Ludwig Kirchner expresses the artist’s terror in the face of war. Kirchner wears the uniform of his artillery regiment, his vacant eyes are pupil-less, and his right hand has been amputated. Nearby are the Phillips’s rough-looking Cézanne (1878–80) and Oberlin’s Michiel Sweerts, in which the artist presents himself as a gentleman (1656).
Outside the Rothko Room hang a trio of historic New York Schoolworks from Oberlin, by Adolph Gottlieb, Barnett Newman, and Mark Rothko. Gottlieb’s The Rape of Persephone and Rothko’sThe Syrian Bull, exhibited in 1943 at the Third Annual Exhibition of Modern Painters and Sculptors, were seized on by critic Edward Alden Jewell in the New York Times as examples of incomprehensible recent art. A few days later, Newman helped Gottlieb and Rothko to draft a rebuttal that set the aesthetic and cultural themes for the New York School. In gratitude, Gottlieb and Rothko gave Newman the two paintings. Side by Side: Oberlin’s Masterworks at the Phillips is organized by The Phillips Collection and the Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio.
More than sixty years have passed since the critic Robert Coates, writing in the New Yorker in 1946, first used the term “Abstract Expressionism” to describe the richly colored canvases of Hans Hofmann. Over the years the name has come to designate the paintings and sculptures of artists as different as Jackson Pollock and Barnett Newman, Willem de Kooning and Mark Rothko, Lee Krasner and David Smith.
Beginning in the 1940s, under the aegis of founding director Alfred H. Barr, Jr., works by these artists began to enter MoMA’s collection. Thanks to the sustained support of the curators, the trustees, and the artists themselves, these ambitious acquisitions continued throughout the second half of the last century and produced a collection of Abstract Expressionist art of unrivaled breadth and depth.
Drawn entirely from the Museum’s vast holdings, Abstract Expressionist New York underscores the achievements of a generation that catapulted New York
City to the center of the international art world during the 1950s, and left as its legacy some of the twentieth century’s greatest masterpieces.
Galleries on the fourth floor present Abstract Expressionist paintings, sculptures, prints, drawings, photographs, and archival materials in a display subtitled The Big Picture, marking the first time in the new Museum building’s history that a full floor has been devoted to a single theme. The exhibition continues on the floors below, where focused shows—Rock Paper Scissors on the second floor, and Ideas Not Theories on the third floor—reveal distinct facets of the movement as it developed in diverse mediums, adding to a historical overview of the era and giving a sense of its great depth and complexity. The exhibition is accompanied by a richly illustrated publication.
Related Resources EXHIBITION HIGHLIGHTS Watch a video Works donated by Biography of Attend a Concert View the Exhibition Film Conservation Features EXHIBITION HIGHLIGHTS NGA Art Talk: Kimberly A. Jones, associate curator, department of French paintings, National Gallery of Art, Washington and Maygene Daniels, chief of Gallery Archives, National Gallery of Art and Franklin Kelly, deputy director, National Gallery of Art Part 2, Part 2, Getting to Know Maud and Chester Dale Purchase the Curator NGA Art Talk: Garden Café Français Press Materials (9/11/09) Press Materials (12/17/09) |
Chester Dale's magnificent bequest to the National Gallery of Art in 1962 included a generous endowment as well as one of America's most important collections of French painting from the late 19th and early 20th centuries. This special exhibition, the first in 45 years to explore the extraordinary legacy left to the nation by this passionate collector, features some 83 of his finest French and American paintings.
Among the masterpieces on view are Jean-Baptiste-Camille Corot'sForest of Fontainebleau (1834), Auguste Renoir's A Girl with a Watering Can (1876), Mary Cassatt's Boating Party (1893/1894), Edouard Manet's Old Musician (1862), Pablo Picasso's Family of Saltimbanques(1905), and George Bellows' Blue Morning (1909). Other artists represented include Paul Cézanne, Edgar Degas, Vincent van Gogh, Henri Matisse, Amedeo Modigliani, and Claude Monet.
Dale was an astute businessman who made his fortune on Wall Street in the bond market. He thrived on forging deals and translated much of this energy and talent into his art collecting. He served on the board of the National Gallery of Art from 1943 and as president from 1955 until his death in 1962. Portraits of Dale by Salvador Dalí and Diego Rivera are included in the show, along with portraits of Dale's wife Maud (who greatly influenced his interest in art) painted by George Bellows and Fernand Léger.
Organization: Organized by the National Gallery of Art.
Sponsor: The exhibition is made possible by United Technologies Corporation.
Schedule: National Gallery of Art, January 31, 2010–January 2, 2012
Passes: Passes are not required for this exhibition.
The exhibition is on view in the National Gallery's West Building.
Ex Libris: Chester Dale
Exhibition Highlights
This exhibition is no longer on view at the National Gallery. Please follow the links below for related online resources or visit ourcurrent exhibitions schedule.
Held in conjunction with From Impressionism to Modernism: The Chester Dale Collection, this focus exhibition explores the relationships Chester (1883–1962) and Maud Dale (1876–1953) had with various contemporary artists. The Dales often asked artists to sign publications and were occasionally rewarded with memorable drawings and inscriptions as well as autographs. Chester Dale bequeathed his entire collection of more than 1,500 volumes and 1,200 auction catalogues to the National Gallery of Art, where they now reside in the library as part of his extraordinary legacy.
A selection of inscribed books from Chester Dale's collection is featured in this exhibition, supplemented by photographs from the National Gallery of Art Gallery Archives. These photographs show the Dales with artists such as Henri Matisse and Salvador Dalí, as well as depictions of how paintings by artists including Pablo Picasso were displayed in various Dale residences. In addition, the National Portrait Gallery has been kind enough to allow reproduction of Dale's portrait by one of these artists, Miguel Covarrubias.
Organization: Organized by the National Gallery of Art.
Schedule: National Gallery of Art, January 31–July 18, 2010
mark your calendars for June 19 2010 - 8-midnight!
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The Capitol Hill Arts Workshop has a community open darkroom. The Arts Workshop provides open hours for people with previous darkroom experience. People interested in participating in open darkroom must first call the workshop at (202) 547-6839 to set-up an orientation meeting with a member of the photography department.
Open Darkroom Hours for Fall and Spring 2009
Please call (202) 547-6839.
What is Available:
Complete set-up for black and white printing:
7 enlarger stations (Formats: 35mm, medium format, 4x5)
Film processing room (35mm, medium format, 4x5)
Standard processing chemicals, plus some toners provided
Classroom includes a light table, drying screens, spotting supplies, and a mat cutter
Cost:
For open darkroom, an initial registration fee of $45. $10 per hour.
Chemicals provided, participants must supply their own paper.
For more information please call (202) 547-6839
In her first abstractions, a series of non-objective charcoal drawings, O'Keeffe reduced her palette to black and white. She filled her compositions with fluid, curvilinear forms reminiscent of Art Nouveau. In 1916, responding to the elemental landscape of western Texas, O'Keeffe reintroduced color into her watercolors. By magnifying and tightly cropping her images, a framing device used by photographers, she found the means to express simultaneously the vastness of nature, the immensity of her own response to it, and a powerful sense of being one with it. Two years later, seeking recognition as a painter in the circle of modern art dealer and photographer Alfred Stieglitz, she moved to New York and took up oils again.
Unwelcome critical interpretations of her work as expressive of her sexuality and a limited market for abstraction led O'Keeffe to turn away from pure abstraction in the 1920s and 1930s. After 1923, she rarely showed her early abstractions. Indeed, between 1935 and 1941, she produced no abstractions at all. Beginning in 1929, O'Keeffe spent long stretches of time in New Mexico, finally moving there in 1949. It proved to be an inexhaustible source of subjects for her mature works. She approached these as she had her most abstract works, through her feelings, using many of the same stylistic means. As she said, "I had to create an equivalent for what I felt about what I was looking at-not copy it."Likely stung when critic Clement Greenberg trounced her in 1940 for having chosen representation over abstraction, O'Keeffe returned to it in1942, painting forms she found in the natural world that corresponded to abstract forms in her imagination. With the market more receptive to abstract art, she began to exhibit her abstractions again. By the late 1950s and 1960s she was working almost exclusively in an abstract style, in mural-sized aerial views of clouds and a minimalist, geometric series of patio door paintings. The fields of color of her radical late works set a precedent for a younger generation of abstract artists in the 1960s.
Included in the exhibition are more than 100 paintings, drawings, and watercolors by O'Keeffe, dating from 1915 to the late 1970s, and 12 photographic portraits of her by her husband, Alfred Stieglitz.
In conjunction with Georgia O'Keeffe: Abstraction, co-organized by The Phillips Collection, Washington, D.C., the Whitney Museum of American Art, New York, and the Georgia O'Keeffe Museum, Santa Fe
