At the close of the 2008 deadline, we noticed a marked decrease in artists applying for Restoration Residencies, indicating to us that New Orleans and Gulf Coast artists were in a more stable position than they had been since Hurricanes Katrina and Rita. Inspired by the drastic upheaval in our local ecology Changing Landscapes was formed, a six-week residency based on the premise that Southern Louisiana can be seen as a microcosm of the global environment, manifesting both the challenges and possibilities inherent in human interaction with the natural world. We ask artists to describe in detail how the region will affect their work, to propose a public component to their residency and to suggest ways in which they will engage with the local community. Artists are awarded a stipend for their time and towards materials. Supported in part by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council. Funding has also been provided by the National Endowment for the Arts, a Federal Agency.
2008-2009 Changing Landscapes Artists
Andrea Myers, mixed media artist, Chicago, IL, 2008
“I was really intrigued when I first saw the information about A Studio in the Woods on the New York Foundation for the Arts website, for two main reasons, I had never spent an extended amount of time in the South as an adult and the theme of the residency, Changing Landscapes, seemed to fit perfectly with interests in my ongoing bodies of work. On top of those reasons, after looking at the ASITW website, the residency site revealed itself to be truly unique and something I really hoped I would be able to experience firsthand.
“Firsthand experiences shape this residency. The plight the land and New Orleans as a city has endured is palpable; in the city, buildings still sit half boarded up, while in the forest, trees sit uprooted, ripped from the ground. During my short time here, I was visually drawn to the polarities and parallels found between the city and the woods. Both sites resonate with a sense of decay and new growth, pushing back at one another, caught in a type of stalemate for now. Before this residency, I had only experienced the effects and aftershocks of Katrina from a mediated distance, shaped and controlled by the media. Now I believe it is imperative to visit New Orleans, especially the forest, to truly understand the impact firsthand of catastrophic natural events and witness how the land and community are attempting to move forward.
“In response to my time in the woods, walking the levee and trips into the city, my work opened up to new processes and during the residency, I felt able to take creative risks and try new ideas influenced by the varying landscapes. One of the most invaluable aspects of having a residency set away from an urban area is that once you arrive to the woods, time immediately slows itself and the days relax into a peaceful pace, allowing you as an artist to create and reflect on your own artistic terms and timing.
“More specifically, A Studio in the Woods is an amazing opportunity because it gave me a theme to think about while I was here, so I was provided a direction but the rest was up to me to define. The fact that ASITW provides funding, materials budget, housing and meals enables you to have freedom from monetary concerns while you are in residence, furthering your ability to concentrate on the most important thing, making art.
“There are so few funded residencies available in the United States, so I felt privileged to not only be in residence in an area of the country I had never truly spent time in, but also be given the financial support to make it possible for me to be in residence without worrying how I would afford to leave my work for an extended period of time.
“In terms of the body of work I made while I was in residence, I am excited that while I was here, I found new directions in my work to pursue. Often times, in your daily routine, you become stuck in what is comfortable and the same is true in the day to day of art making. By coming into a new landscape, new studio space, new materials and new routine, I was presented with a different sense of creative problem solving. While I was here, I was able to experiment with an outdoor installation, which is something new to me. Also, I was able to create prints in Tulane’s print shop, a working style I haven’t used in a while, but in the future, I think I will make more prints because of the work I did here. Going back into my ‘normal’ routine in Chicago, I will bring back with me a continuation of energies and ideas from my time here, extending the scope of the residency to not just the time in the woods, but to plenty of work and ideas to come.”
Biography
Andrea Myers is originally from Columbus, OH and she has been living in Chicago the last eight years. She received her BFA in 2002 from the School of the Art Institute of Chicago and received her MFA also from the School of the Art Institute in 2006, through the Department of Fiber and Material Studies. She has exhibited with Lisa Boyle Gallery in Chicago and has participated in exhibitions nationally, including the Evanston Art Center, the Glassel School of Art at the Museum of Fine Arts Houston, and has an upcoming solo show at Steven Zevitas Gallery in Boston. Most recently, her work was featured in the Midwestern Edition of New American Paintings, and last year, she was the Barstow Visiting Artist at Central Michigan University. This fall, she participated in an artist residency at Ox-Bow in Saugatuck, MI and currently she is enjoying her time and the warm, non-winter weather at A Studio in the Woods here in New Orleans. www.andreamyersartist.com
Anne Devine, performance artist, San Francisco, CA, 2009
“Changing Landscapes opened wide a tremendous access into my own creative process. The first nurturings of creative spark began when I read the call for proposals and felt with the comprehensive support of A Studio in the Woods, I could explore the Southern Louisiana landscape physically and conceptually. Hard Sweet Hard and the distance walk From New Orleans to Hopedale reflect the site-specific collaborative weavings of place, people, and perspective and show the great confidence and professionalism I absorbed during my residency. Thank you A Studio in the Woods! “
Biography
Anne Devine holds an MFA (Social Practice) from California College of the Arts and a BFA (photography, film and video) from Rutgers. Additionally she attended the graduate program in Environmental Studies at University of Montana. www.greenscene.org
Rafael Santos, photographer, Argentina, 2009
“Just the day before flying to New Orleans from Argentina to join A Studio in The Woods for my 6 weeks Changing Landscapes Residency, In conversation with a friend, photographer himself and lifelong traveler all over the world, he asked me if I was aware about the marvelous experience I was just to begin.
“Now that this creative and life experience is about to end, I can tell him he surely could not even imagine the extent of it.
Lower Mississippi Delta, Metropolitan New Orleans, and specially A Studio in the Woods, with its always encouraging founders, its supportive , creative and friendly staff, and its unique environment an facilities, seems like a dream for every arts practitioner commited to focus its work on social/environmental complex issues.
“Here, as an artist in residence with a strong interest in water Issues, I could explore environmental , social, and economic interconnected tensions, and the efforts of the many who think that a paradigmatic shift in people’s relationship with the Great River is needed and possible. An inspiration to develop a work in tune with the struggles ahead here, as in many other parts of the world.
“I strongly encourage every artist with the purpose to make its practice be part of the necessary changes in human/nature relationship, to be part of this privileged dream.”
Biography
I am Rafael Santos, co-founder and member(1991-2007) of Ala Plastica, an arts and environmental group based in Rio de La Plata, Argentina (near Buenos Aires). My aim is to link the art-way of thinking and working with the development of active projects in the social and environmental realm, by developing projects, research and processes that deal with social and environmental concerns. My primary focus is the Parana River estuary and Delta and the social-ecological communities that have developed over time around freshwater rivers and coastal zones, and the close collaboration with local people, other artists, scientists and environmental groups working in the same realm nationally and internationally. I have worked on native plant restoration in estuaries, bioregional planning and urban tree planting and organized a community-based survey, rescue and information teams in the wake of the disastrous 1999 Magdalena oil spill among other projects. Now I work independently on the same collaborative and interactive basis, and in search of a different projective consistence.
2009-2010 Changing Landscapes Artists
David Sullivan, new media artist, New Orleans, LA, 2009
“You would think that a couple of miles wouldn’t make a big difference. But the difference between my house in downtown New Orleans and the Studio in the Woods is vaster than the distance would imply.
“The change is palpable as soon as you step out on the wet fallen leaves, hear the uproarious orchestra of frogs, and breathe in the air as the sun sinks below the trees over the pond. And through out the time at the residency, this change soaks into you.
“This distance provided a much-needed perspective on what I was doing with my animated paintings. My project was influenced very specifically by the area around the studio along the river. The river and the refineries along it were a great visual resource, and the audio recordings of this mix of wilderness and industry provided me with a wealth of material. But the studio also provided more general inspiration into how I approach my work. Looking out over the pond, through the forest, gave me insights into how I can structure my animations. After creating 3d objects, I tend to have the viewer circle the objects. But the forest is a collection of forms and shapes with color and textures arranged in 3d space that define an environment, through which the viewer goes through and is enveloped by. I hope to bring some of this in to my new pieces. The woods for me is an example of a visually rich setting in which nothing particular happens, where you are allowed to think and make connections without being led. Leaves fall, water ripples, trees bend in the breeze. Perhaps a bird flies by. You can sit with it as long as you want, and come to your own contemplations. This is the type of experience I am hoping to bring to people who watch my animations.
“Of course the land, the wildlife and surroundings are the hi-light of the residency, but the studio would not be the same without the gentle and unassuming care of the Carmichaels. They are the perfect hosts, leaving you to do your work, and making sure you have a conducive environment to do it in. They make sure the body is comfortable, so the mind is free to focus. The evening meals in front of the fire were more then just warmth and sustenance. They were a chance to hear stories, talk about ideas, and learn about the land and its history.
“When I came to my residency at a studio in the woods, I gained access to the beautiful facility, and a support staff working hard to make my project a success. From the first meeting they were enthusiastic and supportive, offering many ideas and possibilities. Throughout my residency, they helped make connections with the local community, drummed up supplies and equipment, and even schlepped equipment through muddy fields. Without them, the project would not have been the success it was.
“I had been out to the studio in the woods many times in the past, to see artist’s projects, or to attend a couple of artist dinners. I knew already that it is a special place, and had heard from many artist’s how beneficial their time here was. It was a great pleasure to be able to experience this for myself.”
Biography
David Sullivan grew up in New Orleans. He still thinks of himself as a painter, although he mostly paints with pixels now. He has shown his prints, programs and animations in the USA, Austria, Brazil, and the Antarctic. He is a studio resident at LA Artworks, and an adjunct professor at Loyola University. He currently has work in “Hot Up Here” curated by Dan Cameron at the CAC, as well as in Ars Electronica in Linz Austria, and File 2009 in Sao Paulo, Brazil. www.swampmonster.org
Tory Tepp, installation artist and community activist, Los Angeles, CA, 2009
“Looking back on my stay at A Studio in the Woods during the Changing Landscapes Residency, I can’t help but notice a marked change in my perception of time. I speak of time both in the way one relates to the natural flow and passage the environment around us as well as an evolution of events that take place over a certain or ongoing period. The former has had an impact of the daily maneuvers of my life and the way in which I shape them in response to my surroundings, while the latter has had a more theoretical influence on my approach and execution as an art maker. Time became both non-existent and necessary in a way that only a post-Katrina New Orleans landscape could reconcile.
“Having arrived in New Orleans from Los Angeles, I was initially quite frustrated by the irregular pace of daily life and the seemingly nonchalant attitude that resonated throughout the city. But as I began to spend time in the woods during my residency, I felt myself begin to relax, a gradual exhalation, as my soul seemed to un-clench. Living within the woods, on the banks of the Mississippi River, I breathed and observed. It could have been any time during any era. The river and the woods swayed to their own rhythm and carried their own majestic sense of being. And despite being affected by the conspiracies of human beings, one could discern that they would remain long after the doom of man had been carried out. The woods, especially, breathed with an air of possibility within the perpetually cyclical hope to life, decay and rebirth.
“And so, it was within this context that I first began to slow down and take my time. There was so much more to see, to observe, if the time and the care was taken to actually study. This deliberate approach gradually affected the way in which I interacted with the social landscape as well. I began to actually relish the human interactions that got in the way of efficient and speedy business and it became heartwarming to see that the modern age hadn’t fully diminished the priorities of human beings in this place. Once I recalibrated my rate of observation, action and reaction I began to truly feel and understand the beauty of the people and of their culture within this landscape.
“This refinement, this subtle attunement of my senses and my sensibilities, which allowed me to integrate with and focus on the surrounding landscape then allowed me greater access to my own creative faculties. Though gradual, it did not take long to find myself in a different state of mind; clearer, more peaceful, less cluttered, in love with all that I saw and experienced and delighted with the intent to somehow capture all of it through my art. I felt as though I was breathing fully and deeply, clean and unpolluted air, and as my eyes cleared I felt the limits of my ideas expand ad become limitless. With this sense of relief and naivete, a beginner’s mind, I approached the direction and the context of the Spirit Ferry. I felt empowered and knew the project must continue beyond the parameters of the residency. The receptive spirit of the surrounding community intensified this sense of purpose. But it would require devotion to the project and commitment to the community over an amount of time that could not be arbitrarily determined.
“There seems to be a great deal of impatience within the art world. The expectations are high for swift results, immediate profits and instant recognition. As I began to develop relationships with people and with different communities within the New Orleans area it became clear how precious time was to the potency of any art project, especially within the realm of community-engaged practice. For any real change to be effected, relationships need to be established, relationships that are built on trust and respect and mutual understanding. This does not happen quickly if at all, especially in the case of artists from the outside coming into community to do a project. It takes time to develop these traits within a relationship and if these relationships are to hold any relevance, any power, any hope of forging some small amount of change, then time is of the utmost importance.
“With the Spirit Ferry, I realized that as long as the project had traction within a community, I had to serve the project. As long as relationships were continuing to grow and evolve and be useful or reflective in any way, the project was still working and had not yet come to its conclusion. And for me, this was a wonderful feeling; to know that I was not simply fabricating some static sculpture that I would just walk away from, leaving to an awkward, orphaned existence within a community, to know that I was merely the captain of the ship, not the river nor the wind, and that the potential of the project within the community had many exciting evolutions ahead before we reached our destination.”
Biography
Tory Tepp is an artist who lives and works in Los Angeles, occupying a studio located on the Los Angeles River. This proximity to the river has been the stimulus behind Sub-Vert; Los Angeles, an ongoing mobile gardening project developed along the river and organized by Tory. His projects focus on urban agriculture, informal economies, alternative and recycled materials and the combination of traditional studio practices with new genre public art practice and community organizing. From 1996-2002, Tory operated Satyr Studios in Atlanta, a sculptural furniture studio, while also organizing The Rites of Spring, an annual spring art festivity and exhibition. He holds a Bachelor of Fine Arts in Painting from Parsons, the New School for Design with a concentration in Non-traditional Art History and a Master of Fine Arts in Public Practice from Otis College of Art and Design. torytepp@yahoo.com
Karen Rich Beall, sculptor, Lebanon, PA, 2010
“When I first read the ASITW Call for Artists outlining the Changing Landscapes residency I was very intrigued. The residency appealed to me on many levels: To be able to make art without the distractions of daily life and my job, to be fully funded, to be alone without other artists, to be in the woods and be located in New Orleans, a culturally rich area. Since my work is based in the natural world it was an obvious bonus to have the idyllic wooded environment to study and to use as source material. I was just beginning to study lichens in my work and discovered they are indicators of environmental distress. It would be interesting to see what lichens existed in the woodlands. Having Dave Baker on staff to take me through the woods and answer my questions was an additional benefit. It seemed this residency was a perfect fit for my needs.
“During the actual residency I learned a lot about myself and how I work. I was able to make quite a few things in a short time. I think more benefits of the residency will be evident in years to come as my work grows and develops.
“The studio’s proximity to the levee and the large container ships was unexpected. I could see the ships from the kitchen window. The ship’s unique noises and looming presence were difficult for me to get used to. They made me aware of the larger world and the trafficking of commerce through the port of New Orleans.
“The Carmichael’s were the most gracious hosts and they made ASITW all the more special and unique. In fact all the staff have been tremendous. Lucianne is a gentle soul with a very insightful mind. Joe is the most amazing man, has quick wit and even darns his own socks! Together they make the experience of being in the woods all the richer.”
Biography
Karen Rich Beall was born and raised in West Palm Beach, Florida. After earning a Bachelor of Fine Arts degree in Ceramics from the University of Florida in 1986, Beall moved to New York City and worked as a studio assistant, wood restorer, and Circulation Director for Artforum Magazine while pursuing her own art work. In 1992 Beall left New York to attend graduate school at the University of Tennessee, where she received her Master of Fine Arts degree in Sculpture in 1995. Beall then moved to Atlanta where she worked as the Public Art Assistant for the Atlanta Committee for the Olympic Games. She also worked for several years at the Fulton County Arts Council as the Public Art Coordinator. In 2002, Beall and husband Michael Pittari moved to Lebanon, Pennsylvania where Pittari accepted a full-time teaching position. Beall is currently teaching Ceramics and Sculpture as an adjunct instructor of art at Lebanon Valley College. www.karenrichbeall.com
Sharifa Rhodes-Pitts, writer and installation artist, Houston, TX, 2010
“A Studio in the Woods is unique among the artist residences I’ve attended. Its carefully stewarded rural setting is an ideal place for the introspection necessary for creative work. But it’s also in New Orleans, one of the most stimulating and original of American cities. The founders and staff of A Studio in the Woods work hard to build connections between each artist’s work and the incredible resources of the New Orleans community. At other residencies I’ve been given the key to a cottage or apartment and left to make my own way; here the support of the staff has been like receiving the key to this city.
“During my residency, I’ve attempted to push the boundaries of what I know and what I am capable of. This has meant experimentation with new forms, and expanding my work as a writer with forays into papermaking and bookbinding. It was great to have a chance to take a pause from the things I am suppose to “know” about or be “an expert” on. This is the value of being in retreat. At the same time I was able to forge some important relationships with inspiring and creative individuals in New Orleans. My work on this project will continue–bringing to fruition the work accomplished so far.
“It has also been meaningful to be integrated into the life of the woods itself. I feel incredibly blessed to have been here to watch the woods transition from the bareness of winter into the current bloom of spring. The physical, natural environment has had such a strong impact, with all of the life forms here. But equally vital and influential are the passion and dedication of Lucianne and Joe and all of the staff. It feels like more than just a group of colleagues, and is an instructive lesson on the power of small groups to do important things. Alice Walker has a book whose title captures the spirit: ‘anything you love can be saved.’”
Biography
Sharifa Rhodes-Pitts is a writer whose work has appeared in Transition, The New York Times, and The Boston Globe. She has received awards from the Independent Press Association, the Rona Jaffe Foundation and the Lannan Foundation. Originally from Houston, Texas, she graduated in 2000 from Harvard University and was a Fulbright Scholar in the United Kingdom. Sharifa is writing a trilogy on African-Americans and utopia; her first book, Harlem is Nowhere, will be published in 2011 by Little, Brown & Company.
2010-2011 Changing Landscapes Artists
William Cordova, installation artist, Miami, FL, 2010
Eric Dallimore, installation artist, Denver, CO, 2010
Bernard Williams, installation artist, Chicago, IL, 2011
Suzanne Bennett, painter, Beacon, NY, 2011
