After a year and a half of research, making, and organizing, Mississippi: An Anthropocene River wrapped up this November with the week-long “River Campus” in New Orleans. I was working with Ryan Griffis and Nicholas Brown on Field Station 2/Anthropocene Drift; our public program took place September 25-29. At the River Campus convocation in New Orleans, Nick, Ryan, and I offered some reflections on our program that included audio clips from some of our tours and described what we believe to be the political potentials opened up by really grappling with settler colonialism. These reflections have been combined with elements of the framing text we delivered at the opening of our seminar as Blackhark Park is Indigenous Land (Beyond Acknowledgment) over on our Medium page.
National TLC Service publications, brochures, and banners are on display as part of the reading room for Hot Spots: Radioactivity and the Landscape at the Krannert Art Museum, running from October 17, 2019 – March 21, 2020. The exhibition, originally curated by Joan Linder and Jennie Lamensdorf for the University at Buffalo, features work by Naomi Bebo, Jeremy Bolen, Michael Brill and Safdar Abidi, Edward Burtynsky, Erich Berger and Mari Keto, Ludovico Centis, Elizabeth Demaray, Nina Elder, Isao Hashimoto, Adele Henderson, Abbey Hepner, Eve Andrée Laramée, Cynthia Madansky and Angelika Brudniak, Amie Siegel, Robert del Tredici, Claudia X. Valdes, and Will Wilson.
I was fortunate to receive several invitations this spring and summer to contribute reviews and position papers to several interesting arts-academic web publications. The relatively short form and swift turnaround time is a welcome change from my usual pace of writing and making, where individual projects usually require at least year. Taken together, they do a pretty good job capturing my current preoccupation and commitments: that the climate emergency is now at the heart of everything and that it cannot be addressed without grappling deeply with violent epistemologies of colonial and white supremacist thought.
The catalogue to the competition and exhibition “Monument to Cold War Victory,” conceived by Yevgeniy Fiks and Stamatina Gregory, was released September 30 from The Cooper Union. Distributed through SPD, the catalog documents all winning entries, including the National TLC Service’s National Cold War Monuments and Environmental Heritage Trail, and features essays by Yevgeniy Fiks and Stamatina Gregory, Boris Groys, Nina Khrushcheva, and Joes Segal. Other artists include Yuri Avvakumov, Aziz + Cucher, Kim Beck, Constantin Boym, Camel Collective (Anthony Graves and Carla-Herrera Prats), Sasha Chavchavadze, Christoph Draeger, Deyson Golbert, Francis Hunger, Szabolcs KissPál, Angelo Plessas, Lisi Raskin, Dread Scott, Dolsy & Kant Smith, Société Réaliste, and Michael Wang.
Fiks, Yevgeniy and Stamatina Gregory, eds. Monument to Cold War Victory. New York: The Cooper Union, 2018: 100-103.
The National TLC Service is participating in a group exhibition about the now-closed Rocky Flats nuclear weapons facility just outside of Denver. Curated by Jeff Gipe, Facing Rocky Flats features works by local, national, and international artists and documentary photographers. The exhibition runs in the Canyon Gallery at the Boulder Public Library April 7-June 20, 2018 and travels to the Denver Public Library August 26-October 31, 2018. Jeff Gipe is preparing a book project that will also feature work from the exhibition.
The National TLC Service was also the subject of a published art history graduate thesis by Joseph Stussi, of the University of New Mexico. Entitled “Living with Our Toxic Legacy,” it appeared in the journal Hemispheres: Visual Cultures of the Americas, vol. 11, no. 1 (2018): 54-76.