A Spirit of Place Viewpoint - MDPI
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
challenges
Viewpoint
A Spirit of Place †
Ava Carney
The Chicago Public Library, Teen Services, Chicago, IL 60605, USA; carneyava@gmail.com
† A Spirit of Place appeared in Minding Nature, Vol. 13. No. 2 (Spring 2020), a publication of the Center for
Humans and Nature (www.humansandnature.org).
Abstract: This article charts the effects of community, public space, and transdisciplinary interaction
on the author’s artistic practice. By considering some of the broader societal and ideological implica-
tions of situating artwork in a natural setting, A Spirit of Place reflects on connection points between
public art and ecological citizenship.
Keywords: sculpture; ecological art; sustainability; gardens; ecological citizenship; ceramics
When I think of ecological citizenship, the first words that come to mind are sustain-
ability, mindfulness, and empathy. I also think about change, and the kind of changes that
are needed to become an ecological citizen or an ecological society. Changing a personal
habit is difficult, but altering systems established on a global scale is intimidating enough
to make it seem impossible. In this critical environmental moment, how do we support and
motivate each other? How do we increase our capacity for empathy? How can we embrace
curiosity and innovation over acceptance and fatalism?
Throughout the year of 2019, I considered these questions in more detail during
a residency where I made sculptures in response to a public garden (Figure 1). Initially, I
would not have pictured myself making work for a natural space, but the residency, which
was held at a ceramic studio in a park, slowly shifted my focus away from traditional
Citation: Carney, A. A Spirit of Place.
venues. At the very least, artwork in a gallery or museum has the ability to make us stop
Challenges 2022, 13, 20. https://
and look, but how does our response change when art is situated in the living landscape?
doi.org/10.3390/challe13010020
In Thinking the Sculpture Garden, theorist Penny Florence explains that “art in tension with
Academic Editors: Susan L. Prescott, the natural is very different from the old binaries of wilderness-cultivation, art-nature
Ganesa R. Wegienka, Nicole Redvers or artwork-context” and offers the possibility of the “garden as something articulating
and Jake Robinson a further reaching philosophy that helps us to think about what it is to be human” [1].
Received: 24 February 2022
What Florence proposes is a turn away from “the old binaries,” in order to embrace a more
Accepted: 4 May 2022
holistic, perhaps a more empathetic, philosophy of being. As she suggests, stepping back
Published: 10 May 2022
from these familiar dualisms can start by bringing cultural activities, like art viewing or
making, out of their typical settings and into green spaces. It seems simple, but the changes
Publisher’s Note: MDPI stays neutral
in my own thinking began when I started working at a studio in a park.
with regard to jurisdictional claims in
The year-long artist residency where I was reintroduced to the park setting was
published maps and institutional affil-
initiated and overseen by the Culture, Arts and Nature Department of the Chicago Park
iations.
District. It was different from the privately funded residencies I was familiar with, mainly
because it involved the larger city bureaucracy that enveloped the park system. As a result,
I learned more about the history of Chicago and its parks. The fundamental relationship
Copyright: © 2022 by the author.
between the parks and the City of Chicago was something I had curiously overlooked
Licensee MDPI, Basel, Switzerland. before, despite the fact that I am a longtime Chicago resident and that many neighborhoods
This article is an open access article of Chicago are officially named after local parks. Notably, Chicago’s city crest reads Urbs in
distributed under the terms and Horto, or City in a Garden, emphasizing that the preservation of green space, beachfront,
conditions of the Creative Commons and riverfront has been a priority since the city’s incorporation. In a nod to the city crest,
Attribution (CC BY) license (https:// the emblem of the Chicago Park District reads Hortus in Urbe, a chiasmus that means
creativecommons.org/licenses/by/ Garden in the City. Today, the Chicago Park District is the largest municipal park system in
4.0/). the United States with over 8800 acres of green space and 600 parks [2].
Challenges 2022, 13, 20. https://doi.org/10.3390/challe13010020 https://www.mdpi.com/journal/challenges
Challenges 2022, 13, 20 2 of 6
Challenges 2022, 13, x FOR PEER REVIEW 2 of 6
Figure 1. A Genius of the Spot I, 2020, glazed ceramic, 28″ × 13″ × 10″.
Figure 1. A Genius of the Spot I, 2020, glazed ceramic, 28” × 13” × 10”.
TheAthletic
The year-long artist
Field residency
Park Ceramic where
Studio I was reintroduced
is one to the park arts
of many city-funded setting
andwascrafts
initiated and overseen by the Culture, Arts and Nature Department
studios administered by the Park District, and it was here that I began my residency of the Chicago Park in
District. It was different from the privately funded residencies I was familiar with, mainly
the summer of 2018. This park is in the northwest-side Irving Park neighborhood, close to
because it involved the larger city bureaucracy that enveloped the park system. As a
where I grew up. For me it contained all the familiar touchstones of a city park: baseball
result, I learned more about the history of Chicago and its parks. The fundamental
diamonds, tennis courts, a playground. The two buildings on the property, a ceramic studio
relationship between the parks and the City of Chicago was something I had curiously
and large recreational field house, were both built in the early 1900s. The long, single story
overlooked before, despite the fact that I am a longtime Chicago resident and that many
building that now holds the ceramic studio was converted from public showers to a china
neighborhoods of Chicago are officially named after local parks. Notably, Chicago’s city
painting studio with funds from a Works Progress Administration grant during the 1940s
crest reads Urbs in Horto, or City in a Garden, emphasizing that the preservation of green
as part of a nationwide craft revival effort. Since its conversion, the studio has kept the
space, beachfront, and riverfront has been a priority since the city’s incorporation. In a
same
nod tospirit
the ofcityequity
crest,and
the accessibility,
emblem of the hosting
Chicago hundreds of students
Park District from theincommunity
reads Hortus Urbe, a
each season and since 2018, an annual artist-in-residence.
chiasmus that means Garden in the City. Today, the Chicago Park District is the largest
The studio
municipal park in the park
system in thewas quiteStates
United different
withfromover all
8800 my previous
acres of greenworkspaces.
space and 600 It was
more attuned
parks [2]. to the park’s active outdoor atmosphere and felt more permeable to the
seasons.
TheWithAthleticclasses
Fieldhosted in the small
Park Ceramic Studio building
is one of eachmanyday,city-funded
the layoutartsof theandspace
craftsand
placement of tools, materials,
studios administered by the ParkandDistrict,
new works and itwerewas constantly
here that I in flux.my
began The people Iinmet
residency
and
the ongoing
summer of changes in the
2018. This parkstudio became
is in the new andIrving
northwest-side unpredictable influences.close
Park neighborhood, As more
to
stories
wherewereI grew shared
up. For andmemy perspective
it contained all of
thethe city evolved,
familiar touchstonesit became difficult
of a city to envision
park: baseball
how a final exhibition
diamonds, tennis courts, might come together.
a playground. The twoAlthough
buildings thereonwere many locations
the property, a ceramic in the
Park
studio and large recreational field house, were both built in the early 1900s. The long,and
District that could accommodate artworks, each had such a different atmosphere
history. I could
single story not picture
building that making
now holds newthe work beforestudio
ceramic finding andconverted
was understanding the place
from public
where
showersit would be situated.
to a china painting studio with funds from a Works Progress Administration
grantPark District
during staff as
the 1940s and I discussed
part various
of a nationwide spaces
craft revivalforeffort.
the residency’s final exhibition,
Since its conversion, the
studio
and has kept
someone the samethat
suggested spirit
theofearly
equity and accessibility,
twentieth century botanichostinggarden
hundreds of students
on Chicago’s West
fromthe
Side, the Garfield
community each
Park season and since
Conservatory, 2018,
could bean a annual
possible artist-in-residence.
site for the show. This idea
The studio
harmonized withinmany
the park wasstudio
recent quite different
experiences: from theall my previousboundary
permeable workspaces. It was art
between
more
and attuned
nature, thetoequity
the park’s activespace,
of public outdoor and atmosphere
the richness andoffelt more permeable
community. to the
The possibility
seasons.
offered soWith
muchclasses hostedI in
to discover, the small
pursued buildingAfter
it further. eachseveral
day, thevisits
layout of the
to the space
space, my andideas
placement
began of tools,
to adjust materials,
to the complexity and ofnewtheworks
gardenswere andconstantly in flux. The people
the Conservatory’s mission, I met
which
“envisions a world where people embrace and honor the importance of nature.”
Park District staff and I discussed various spaces for the residency’s final exhibition,
and someone suggested that the early twentieth century botanic garden on Chicago’s
West Side, the Garfield Park Conservatory, could be a possible site for the show. This idea
harmonized with many recent studio experiences: the permeable boundary between art
and nature, the equity of public space, and the richness of community. The possibility
Challenges 2022, 13, 20 3 of 6
offered so much to discover, I pursued it further. After several visits to the space, my ideas
began to adjust to the complexity of the gardens and the Conservatory’s mission, which
“envisions a world where people embrace and honor the importance of nature.”
Several
Severalmonths
monthslater, my
later, myexhibition,
exhibition, A Genius
A Geniusof the
of Spot, opened
the Spot, in theinJens
opened the Jensen Fern
Jens Jensen
Room of the of
Fern Room Conservatory. The title
the Conservatory. Thereferences a sentiment
title references from artist
a sentiment fromLorado Taft, whose
artist Lorado Taft,
figurative sculptures
whose figurative are displayed
sculptures are in the Conservatory’s
displayed entrance to the
in the Conservatory’s Fern Room:
entrance to the“I wish
Fern
that
Room:every
“I small
wish park
that and
everyplayground
small park might
and have its fit sculptural
playground adornment—a
might have kindly
its fit sculptural
genius of the spot, as it were. Such an image would stand in memory
adornment—a kindly genius of the spot, as it were. Such an image would stand in memory for the place and
pleasure it has given” [3]. Here, genius is used in its original Latin form, meaning
for the place and pleasure it has given” [3]. Here, genius is used in its original Latin form, “attendant
spirit.”
meaning Put“attendant
in plain terms by Put
spirit.” landscape
in plain historian
terms by John Dixon Hunt,
landscape sculptures
historian in gardens
John Dixon Hunt,
“contribute
sculptures in new
gardens of genius loci,
ideas“contribute newthe meaning
ideas or loci,
of genius spirttheofmeaning
place” [4]. This of
or spirt concise
place”yet[4].
fundamental idea not only served as an inspiration and starting point
This concise yet fundamental idea not only served as an inspiration and starting point for for the work, but
also expanded
the work, myexpanded
but also understanding of how artworks
my understanding of howcan connect
artworks directly
can connectwith a natural
directly with a
environment to become part of a greater relational network (Figure
natural environment to become part of a greater relational network (Figures 2 and 3). 2 and Figure 3).
Figure2.2.A
Figure AGenius
Geniusof
ofthe
theSpot
SpotIII,
III,2020,
2020,glazed
glazedceramic,
ceramic,23”
23″×
× 11″
11” ××11″.
11”.
Penny Florence asks, “What happens when you give equal weight to the main elements of
landscape, planting and artwork?” [1]. I had asked myself some version of the question when
I started envisioning pieces for the conservatory. The process was difficult; the incorporation
of artwork into such an abundant site presented new challenges. I wondered how the work
could exist with the landscape, which would have such a determining influence “on installed
works in ways that are rarely considered when the art is foregrounded at the expense of
everything else,” as works typically are in a museum or gallery [1]. There was the unique
presence of the many ferns, moving water, fish, turtles, changes in light and temperature, and
the brilliance of Jensen’s innovative landscape design. The garden was tranquil, mysterious,
archaic. I wanted to capture figures with a similar affect (Figures 4 and 5).
In the making, I looked to the lyrical gestures in classical statuary and traditional gar-
den ornaments—especially the cherub—as well as the enigmatic and stoic features of more
ancient figures. The work of contemporary artist Ana Maria Pacheco was also influential.
Her visceral wooden sculptures depict humans with pointed teeth, an exaggeration she
says underscores the fact that we are predators [5]. Perhaps the Genius of the Spot figures
offer a portrait of the other half: the human defanged, as garden creature—an herbivore.
Challenges 2022,13,
Challenges2022, 13,20
x FOR PEER REVIEW 44 of
of 66
Challenges 2022, 13, x FOR PEER REVIEW 5 of 6
Figure3.3.A
Figure AGenius
Geniusof
ofthe
theSpot
SpotIV,
IV,2020,
2020,glazed
glazedceramic,
ceramic,14”
14″×× 33”
33″ ××10″.
10”.
Penny Florence asks, “What happens when you give equal weight to the main
elements of landscape, planting and artwork?” [1]. I had asked myself some version of the
question when I started envisioning pieces for the conservatory. The process was difficult;
the incorporation of artwork into such an abundant site presented new challenges. I wondered
how the work could exist with the landscape, which would have such a determining influence
“on installed works in ways that are rarely considered when the art is foregrounded at the
expense of everything else,” as works typically are in a museum or gallery [1]. There was the
unique presence of the many ferns, moving water, fish, turtles, changes in light and
temperature, and the brilliance of Jensen’s innovative landscape design. The garden was
tranquil, mysterious, archaic. I wanted to capture figures with a similar affect (Figures 4 and
5).
Figure4.4.AAGenius
Figure Geniusofofthe
theSpot
SpotII,II,2020,
2020,glazed
glazedceramic,
ceramic,29”
29″×× 12”
12″ ×
× 14″.
14”.
Challenges 2022, 13, 20 5 of 6
Figure 4. A Genius of the Spot II, 2020, glazed ceramic, 29″ × 12″ × 14″.
Figure5.5.AAGenius
Figure Geniusof
ofthe
theSpot
SpotV,V,2020,
2020,glazed
glazedceramic,
ceramic,31”
31″×× 9”
9″ ×
× 10″.
10”.
By design, art for the public garden leads back to the idea of ecological citizenship
because of its ability to articulate a “further reaching philosophy” that gives us a critical
perspective on our behaviors and thought systems. A sculpture placed in a garden begins
to do the work of challenging some of the humanist dualisms that position art as separate
from life and culture as divorced from nature. It shifts our focus away from those binaries,
instead becoming a place where art, conservation, design, architecture, science, education,
leisure, and play can come together. It offers the possibility of appreciating the nuance
of difference and gives us a place where we can reclaim our roles as creators instead of
consumers. Art and nature, especially when paired, make room for a silence that gives us
some distance from the material. Maybe out of these quiet moments we will see that space
is never really empty. We need less than we think.
Funding: This research received no external funding.
Institutional Review Board Statement: Not applicable.
Informed Consent Statement: Not applicable.
Data Availability Statement: Not applicable.
Conflicts of Interest: The author declare no conflict of interest.
References
1. Florence, P. (Ed.) Introduction. In Thinking the Sculpture Garden: Art, Plant, Landscape; Routledge: New York, NY, USA, 2020;
pp. 1–12.
2. Engel, J.R. Civic Community in a Garden: Reflections on a Theology of Democratic Citizenship. Minding Nat. 2009, 2, 17–21.
3. Taft, L. The Sculptor’s Interpretation. In Catalog Guide to Garfield Park Conservatory; West Chicago Park Commissioners:
Chicago, IL, USA, 1924.Challenges 2022, 13, 20 6 of 6
4. Hunt, J.D. Sculpture Gardens and Sculpture in Gardens. In Thinking the Sculpture Garden: Art, Plant, Landscape; Florence, P., Ed.;
Routledge: Abingdon, UK, 2020; Chapter 4; p. 78.
5. Backstage at the Festival: GIAF Festival Gallery Talk with Ana Maria Pacheco YouTube.com, Uploaded by Galway Interna-
tional Arts Festival (GIAF), 19 July 2017. Available online: https://www.youtube.com/watch?v=wRX6P4iixC8 (accessed on
1 April 2020).You can also read
