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X-WR-CALNAME:Barry Lopez Foundation for Art & Environment
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X-WR-CALDESC:Events for Barry Lopez Foundation for Art & Environment
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DTSTART;TZID=America/Denver:20260501T080000
DTEND;TZID=America/Denver:20290505T170000
DTSTAMP:20260514T031554
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UID:1204-1777622400-1872694800@barrylopezfoundation.org
SUMMARY:Spiraling: Photographs of the Great Salt Lake by David Maisel
DESCRIPTION:In January 2023\, climate scientists from Utah’s Brigham Young University warned that the Great Salt Lake could disappear within the next five years. David Maisel has been working in the vicinity of the lake for more than 35 years\, originally drawn there by the Kennecott Copper Mine and Robert Smithson’s Spiral Jetty; this exhibition is his latest chapter in tracing an environmental crisis unfolding before our eyes in real time. Few lakes rival Utah’s Great Salt Lake in size and significance — it is the largest saline lake in the United States and the eighth largest in the world. However\, drought conditions caused by climate change and industrial development have caused the lake to decrease in size by more than two-thirds in the past forty years. The surface area of the Lake has declined from 3\,330 square miles in 1980 to a record-low 950 square miles in 2021. A terminal lake\, meaning it has no natural outlets\, over time it has become a repository of arsenic\, dioxins\, mercury\, PCBs\, and other toxins from the mining industry as well as from agricultural runoff. As more of the lakebed becomes exposed due to the lake’s depletion\, the surrounding atmosphere has become increasingly poisoned by toxic airborne dust emanating from the playa. This threat directly impacts the 1.2 million residents of Salt Lake City and more than a million others living in the greater metropolitan area\, as well as some ten million migratory birds that rely on the Great Salt Lake. \nAcross the four decades of my photographic practice\, I have pursued themes surrounding the development and destruction of the environment\, particularly in the American West. Through my aerial photography documenting sites of industry\, urbanization\, military land use\, clearcutting of forests\, water reclamation projects\, and natural resource extraction\, I have chronicled the consequences of our transformation of the earth. As we move further into the twenty-first century\, my work has come to address issues related to climate change and the shape of our future.My horizonless images are made from a steeply banking aircraft\, using a handheld medium format camera\, the resulting pictures encompassing documentary and aesthetic perspectives in equal measure. With this multi-chaptered work\, I’m seeking to expand and redefine our understanding of the landscape and landscape art to include the defiled\, the ruined\, the chaotic\, and the toxic realms of our own making. —David Maisel \nFor information on hosting Spiraling\, please contact exhibitions@barrylopezfoundation.org 
URL:https://barrylopezfoundation.org/exhibition/spiraling-photographs-of-the-great-salt-lake-by-david-maisel/
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DTSTART;TZID=America/Denver:20260503T080000
DTEND;TZID=America/Denver:20260828T170000
DTSTAMP:20260514T031554
CREATED:20240828T195924Z
LAST-MODIFIED:20260509T212001Z
UID:1081-1777795200-1787936400@barrylopezfoundation.org
SUMMARY:Ten Thousand Birds: Avian Life in the Anthropocene
DESCRIPTION:It’s a hard time to be a bird. Over the past fifty years\, almost three billion birds—nearly one-third of the total population—have disappeared from North America. Climate change\, habitat loss\, collisions with buildings\, pesticides\, and other human-caused threats have contributed to a startling increase in extinction rates and undermined the stability of our ecosystems. Ten Thousand Birds was provoked by a mass die-off of migrating songbirds between Texas and Nebraska in the fall of 2020. Heading from Alaska and Canada to their winter habitats in Central and South America\, a cold snap forced thousands of emaciated songbirds from the sky. Yards and parks and fields were scattered with their brightly hued bodies\, many reduced to little more than bone and feather.  \nRather than a lament\, however\, Ten Thousand Birds creates the sensation of stepping into an aviary. The exhibition takes its name from a chamber orchestra by composer John Luther Adams based on the diurnal cycle of birdsongs from morning to night and back again\, underscoring the relationship between music and nature. In photographs\, prints\, sculpture\, and tapestry\, the exhibition’s ten other artists explore migration\, habitat loss\, extinction\, and how birds navigate their way through the night sky. Participating artists include Rachel Berwick\, Barbara Bosworth\, Jason DeMarte\, Walton Ford\, Kirsten Furlong\, Paula McCartney\, Carolyn Monastra\, Fred Tomaselli\, Terri Weifenbach\, and Katherine Wolkoff. An installation created by Dr. Martha Desmond\, Regents Professor of Fish\, Wildlife and Conservation Ecology at New Mexico State University\, and her students will explore the emerging practice of “disaster ecology” and its role in understanding how the future appears from a bird’s eye view.  \nWe are surrounded by birds\, day and night. Hearing their songs\, we reflexively look upward\, hoping to catch a glimpse as they trace graceful patterns above us. Ten Thousand Birds reminds us of the fragility and tenacity of their existence – weighing as little as a few ounces yet traveling thousands of miles a year – and of the joy that fills the skies in defiance of a fragmenting world.  \nFor a complete checklist and information on hosting Ten Thousand Birds\, please contact exhibitions@barrylopezfoundation.org  \n 
URL:https://barrylopezfoundation.org/exhibition/upcoming-ten-thousand-birds/
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DTSTART;VALUE=DATE:20260504
DTEND;VALUE=DATE:20260902
DTSTAMP:20260514T031554
CREATED:20210223T204227Z
LAST-MODIFIED:20260513T191027Z
UID:128-1777852800-1788307199@barrylopezfoundation.org
SUMMARY:Janet Biggs: Imagination and Desire in a Northern Landscape
DESCRIPTION:The Barry Lopez Foundation for Art & Environment introduces its exhibition program with an installation of three videos by Janet Biggs—Warning Shot\, 2016\, Brightness All Around\, 2011\, and Fade to White\, 2010. Traveling to the high Arctic with a group of artists and scientists aboard the Noorderlict\, a two-masted schooner build in 1910\, Biggs’ compositions are a clarion call for a heroic landscape that will be completely transformed within our lifetimes. As the subject of centuries of exploration by Europe and the New World\, the Arctic was once seen as indifferent to human enterprise\, so vast and inhospitable as to be immune to any imposition. But the mining and fossil fuel industries established a firm hold in the twentieth century\, and climate change is now projected to leave Arctic summers ice-free in as few as a dozen years.  \nWarning Shot – the visual ‘mission statement’ of the Barry Lopez Foundation for Art & Environment – is an alarm and an elegy. Filmed on Svalbard\, a Norwegian archipelago halfway between Europe and the North Pole\, it memorializes a simple performative act in a vast landscape with no witnesses. Silhouetted against the surrounding mountains\, a solitary figure enters the frame and fires a flare toward the horizon. Her gesture is elegant\, somber\, and heartbreaking\, lamenting what will be lost but also refusing to surrender hope\, even under the most desperate of circumstances.  \nBrightness All Around was also filmed on Svalbard\, at the Sveagruva coal mine. Quickly unseating our expectations about the Arctic as a pristine wilderness\, it follows Linda Norberg\, a female coal miner\, as she begins her day by descending miles beneath the frozen surface. Besieged by deafening machinery and relying on a headlamp for illumination\, she works in freezing temperatures and suffocating darkness. Serving as a counterpoint to the mechanical commotion of the mine is a vocal performance by New York music guru Bill Coleman\, whose presence feels as menacing as Norberg’s surroundings. Singing lyrics taken from near-death experiences\, Coleman becomes a witness to our struggle to survive under the most challenging circumstances. His performance is every bit a shock to the system as the Sveagruva mine\, a jarring imposition that shatters the mythology of an uninhabited Arctic\, reminding us that even thousands of miles away\, our footprint sits heavily upon the land. \nFade to White examines our impetus to explore and claim remote territory. Following Audun Tholfsen\, a member of the Noorderlict’s crew\, as he paddles a solo kayak toward a featureless horizon\, the video is laden with implicit danger. Biggs’ own will and endurance were tested during the voyage\, and the tension in Fade to White captures the struggle to maintain balance and purpose in a landscape so vast it challenges not only one’s physical survival but their sense of individuality and identity. Fade to White also undoes the myth of the solitary white male explorer. Biggs explains\, “The desire to hold onto the notion of the ‘great white north’ as a blank space awaiting our interpretation only reinforces the idea of the colonial polar hero. The ‘virgin’ north has now been mapped\, surveyed\, and mined\, but increased knowledge has not replaced endless fantasies of discovery.” Tholfsen’s excursion is balanced with footage of countertenor John Kelly\, whose androgyny and mournful voice parallel the vanishing Arctic landscape and our waning dominance over the land. \nFor information on hosting Imagination and Desire in a Northern Landscape\, please contact exhibitions@barrylopezfoundation.org
URL:https://barrylopezfoundation.org/exhibition/janet-biggs-warning-shot-and-brightness-all-around/
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DTSTART;VALUE=DATE:20260505
DTEND;VALUE=DATE:20261201
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CREATED:20220602T152912Z
LAST-MODIFIED:20260513T162300Z
UID:664-1777939200-1796083199@barrylopezfoundation.org
SUMMARY:From Here to the Horizon: Photographs in Honor of Barry Lopez
DESCRIPTION:For over five decades\, Barry Lopez explored the landscape through prose that offered a vivid and passionate account of our relationship with the natural world. His careful and conscientious descriptions of place were an inspiration for many artists\, who discovered a sympathetic connection with his intimate understanding of the world around us. In recognition of Lopez’s lasting influence\, fifty photographers donated a collection of prints in his honor\, selected in relation to entries in Home Ground: Language for an American Landscape\, a “reader’s dictionary” of regional landscape terms compiled by Lopez and co-editor\, Debra Gwartney. In this volume\, forty-five American writers — William deBuys\, Gretel Ehrlich\, Barbara Kingsolver\, William Kittredge\, Carolyn Servid\, Kim Stafford\, and Arthur Sze among them — explored our relationship with place and the value of local knowledge. They considered terms both familiar and evocative\, such as alluvial fan\, basin and range\, blue hole\, floodplain\, mesa\, lahar\, swale\, and sawtooth. In turn\, the photographers in the collection sought resonances between these phrases and their own work – from badland and sandhills to old-growth forest and slot canyon – to evoke both specific locations and the distinctive character of American topography.  \nPhotographers in the exhibition include Robert Adams\, Virginia Beahan\, Barbara Bosworth\, Lois Conner\, Linda Connor\, Peter de Lory\, Terry Evans\, Frank Gohlke\, Emmet Gowin\, David T. Hanson\, Alex Harris\, Ron Jude\, Mark Klett\, Laura McPhee\, Mary Peck\, Edward Ranney\, Mark Ruwedel\, Joel Sternfeld\, Bob Thall\, and Geoff Winningham\, among thirty others. From the quotidian to the mythic\, their images trace the profile of the landscapes we call home and the ones that fill our imaginations. While American photography has spent much of its recent history exploring the “Man-altered landscape\,” it never abandoned the pleasure to be found in the elegance and lyricism of the land itself. Together\, these photographers have created a catalog of American places\, from New England to the Great Lakes to the mountains and deserts of the West\, offering vistas that are welcoming and inspiring\, reassuring and sometimes ominous. \nIn Home Ground\, Lopez sought to revitalize a language of place in order to re-connect us to our communities\, our nation\, and ourselves. From Here to the Horizon: Photographs in Honor of Barry Lopez shares much the same goal\, celebrating the pleasures to be found in the land and seeking to renew our connection to the places that inspire our memories\, hopes and desires. \nFrom Here to the Horizon opened at the Sheldon Museum of Art\, University of Nebraska – Lincoln in January 2023 and will travel to three venues through spring 2027. The exhibition is accompanied by a fully illustrated catalog with essays by Debra Gwartney\, Toby Jurovics\, and Robert Macfarlane\, distributed by Trinity University Press.
URL:https://barrylopezfoundation.org/exhibition/from-here-to-the-horizon-photographs-in-honor-of-barry-lopez/
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