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Event Series Event Series: Alex Callender Exhibit: American Lawn

Alex Callender Exhibit: American Lawn

April 20 @ 11:00 am - April 21 @ 4:00 pm

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 20 @ 11:00 am
End:
April 21 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 26 @ 11:00 am
End:
April 27 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 27 @ 11:00 am
End:
April 28 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 8 @ 11:00 am
End:
March 9 @ 5:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 3 @ 11:00 am
End:
May 4 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 9 @ 11:00 am
End:
March 10 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 4 @ 11:00 am
End:
May 5 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 15 @ 11:00 am
End:
March 16 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 10 @ 11:00 am
End:
May 11 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 16 @ 11:00 am
End:
March 17 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 11 @ 11:00 am
End:
May 12 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 22 @ 11:00 am
End:
March 23 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 17 @ 11:00 am
End:
May 18 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 23 @ 11:00 am
End:
March 24 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 18 @ 11:00 am
End:
May 19 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
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In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 29 @ 11:00 am
End:
March 30 @ 4:00 pm
Series:
Event Categories:
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In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 24 @ 11:00 am
End:
May 25 @ 4:00 pm
Series:
Event Categories:
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Event Tags:
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In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
March 30 @ 11:00 am
End:
March 31 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
May 25 @ 11:00 am
End:
May 26 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 5 @ 11:00 am
End:
April 6 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 6 @ 11:00 am
End:
April 7 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 12 @ 11:00 am
End:
April 13 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 13 @ 11:00 am
End:
April 14 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,

In American Lawn, Alex Callender imagines the ubiquitous familiarity of lawn grass as a conflicted terrain that holds ongoing questions of public and private space, haunted vegetation, and the legacies of colonialism and settler land management in our current era of climate devastation.

Through Callender’s reframing of historical materials in the painted plane, we encounter fragments of flooding lawns that designate the iconic green turf of private property, landscapes of leisure, and idealized pastoral imagery. The monotone palette of industrialized lawn plants like Kentucky Bluegrass are interrupted by both plantation cane grasses (sugar) and wild grasses like Bluestems, Lovegrass, Vetiver… grasses that are self-seeding and drought-resistant, cultivate soil restoration, brace the flow of waters, and offer refuge to pollinators and varied wildlife.

In these scenes of twilight and geographical uncertainty, the landscape and the water’s edge merge closer together to reveal a historical Atlantic space — a place that loops. A site to explore American mythologies about land and conquest, invoking the kinds of manufactured environments that have comfortably maintained and spatially defined structures of racial and ecological supremacy. What plants get caught up in stories of human violence?

Historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.

Learn more HERE!

Details

Start:
April 19 @ 11:00 am
End:
April 20 @ 4:00 pm
Series:
Event Categories:
,
Event Tags:
,