|
A New Exhibit At Central Arts Commemorates Humankind's Destruction Of The Earth.
By Margaret Regan
IN PENNSYLVANIA'S GREEN rolling hills, they're leveling
the forest. Along the Florida coast, they're digging up sea turtle
habitat. Right here in Arizona, of course, they're blading the
desert, scraping bare a saguaro and ironwood ecosystem that's
unique on the globe.
Who? The bulldozers, of course. Rolling across America's pristine
places at an unprecedented pace, the bulldozers of the 1990s are
despoiling habitat and promoting sprawl wherever they go. The
show now on at Central Arts Collective, Encroachment: Nowhere
to Hide, makes the important point that pitched development
battles are hardly confined to our beloved Sonoran Desert. An
invitational show juried by UA art prof Moira Marti Geoffrion
and three others, it exhibits work by artists from every corner
of the land, and the picture isn't pretty. Artists all over, in
Alaska, in Idaho, in California, are torn between lamentation
and rage.
Richard Armstrong's photographs chronicle the loss of forest
and farmland in the Northeast. "Condos and Water Tower, New
Hope, Pa." was taken in Pennsylvania's fabled Bucks County,
near where I grew up, a place of old stone houses and fields so
green they're blue. The picture's long, narrow shape mimics that
lovely undulating landscape, but rising out of its autumnal mists
are hulking apartment blocks, ungainly and glaring on the horizon.
The old houses were built with stones dug up from the fields,
and their architecture celebrates their relationship with the
land. Not so these new eyesores: They might as well have been
dropped from the moon for all the thought that's gone into their
context.
Florida artist Kathleen Williams concentrates on the pitiable
condition of the animals that once roamed her state's beaches
and woods. Florida's strange menagerie of native beasts, alligators
and bears and panthers and turtles, have long since mostly given
way to Disney detritus and retirement rot. In "Nowhere to
Run," a mixed-media photograph, a hapless Florida panther
is superimposed on a busy city intersection. Less heavyhanded,
and wittier, is her "No Vacancy." All around the perimeter
is a collage of Florida vernacular architecture, old-time seaside
motels and the like, and they're cramping the sea turtle at the
center. It's at once a commentary on environmental degradation
and the coming loss of regional variation in architecture.
Which brings us to poor Arizona. Charles Hedgcock of Tucson has
made a tongue-in-cheek sculptural homage to the instrument of
our destruction in "Caged Fetish." A bulldozer of brick-red
clay, it's housed inside saguaro ribs and decorated with that
yellow tape that goes around construction sites. Archaeologists
of the future, Hedgcock seems to be saying, may puzzle over the
free rein given to the bulldozer. Like a sacred untouchable, the
bulldozer has been allowed to destroy the very places that give
us life.
Tucsonan Sharyl Wagner had made a deft planner's drawing, the
kind that helps direct the bulldozer to its destructive work.
A cyanotype blueprint of a lush desert slope, it's scarred by
an overlay of drawings of the regimented houses and palm trees
that will soon supplant the wilderness. Wagner's work pointedly
critiques not only the appalling design of our new subdivisions,
all pink and treeless; her mimicry of architectural drawing chides
the professionals who turn their training into such garbage.
The results of these architectural efforts are seen from the
air in the work of Adriel Heisey, the aerial photographer who's
also exhibiting a whole suite of Sonoran Desert photos out at
the Arizona Sonora Desert Museum. "Homes Surrounding Butte,
West of Saguaro National Park West" is a gorgeous color photo
of the desert in late afternoon, when the butte casts a long shadow
onto the valley. But all around this majestic geological formation
white houses are littered like so much trash. As Heisey writes
in a mournful artist's statement, "The desert offers little
camouflage from the air. Intrusions read loud and clear, and remain
for years."
Photographer Kent Kochenderfer of Tucson turned his attention
to a specific local calamity. "Burned Rillito Cottonwoods"
commemorates a thick stand of cottonwoods that once were, along
the river that once was. Stressed by the encroachment of the city
and long since deprived of their once marshy riverbanks, these
trees burned so forcefully this summer that a heavy cloud of smoke
choked the city for a day and a night. This beautiful work is
a memento mori, colored in elegiac golds, browns and grays, but
it's also a sad warning of more losses sure to come.
Encroachment: Nowhere to Hide continues through
Saturday, September 26, at Central Arts Collective, 188
E. Broadway. Gallery hours are noon to 4 p.m. Tuesday through
Saturday. From 7 to 10 p.m. Saturday, September 19, and coinciding
with the Art Square Fine Art Market at 186 E. Broadway, the gallery
will stage a series of free performances inspired by the exhibition.
Juan Enriquez will do a performance piece about the disappearing
bighorn sheep of Pusch Ridge. A video will spoof the fights over
pygmy owls and Honeybee Canyon. Also on the program are poetry
readings, songs and maybe even a puppet show. For more information,
call 623-5883.
|
|