—Utah Arts & Museums – For immediate release on March 1, 2016
SALT LAKE CITY — Utah Arts & Museums announces A Call to Place: The first five years of the Frontier Fellowship. The exhibition highlights the town of Green River through a project initiated by Epicenter, an interdisciplinary nonprofit organization.
The town of Green River lies within the lunar landscape of eastern Utah: rock cliffs reveal striations of sediment with boulders clustered below fracturing buttes. Green River is a place where the land is plentiful and the red dust, burnt cliffs, and lonely sky lie just beyond the end of its roads. Prismatic sunsets give way to stars that shine bold and close. If you’ve never seen monolithic terraces under an oceanic sky, Green River is the seeing place. The only town of consequence for many miles, Green River has been a welcomed sight to travelers for well over a century. Uranium mining, the construction of a missile base, and other economic booms led to times of prosperity that proved short-lived. As jobs disappeared and the newly built Interstate 70 routed travelers around, rather than through the town, businesses closed shop, buildings fell into disrepair, and the town’s population dwindled to its current size of 952. During the recent recession, Epicenter began partnering with the city and residents to reverse Green River’s economic misfortunes and strengthen the community.
Epicenter’s visiting artists, “Frontier Fellows,” prove an integral part of this revitalization by discerning and celebrating Green River’s rural pride and pioneering spirit. The exhibition, A Call to Place, features the first five years of Frontier Fellows, 50 visiting artists and collaborators who have each spent up to one month in residence generating place-based work in Green River alongside the community.
“We’re delighted to celebrate and reflect on one of our most stunning rural communities in Utah” said Gay Cookson Utah Arts & Museums Director, “Epicenter, and the respective fellows, are playing an important role in their community while expanding the boundaries of how we think about art making. Undoubtedly the contributions and perspective offered by these visiting artists will make a lasting impact.”
The exhibition runs from Mar. 18th-May 13th, 2016. An artist reception will be held on Mar. 18th from 6-9 p.m. for Gallery Stroll. The Rio Gallery is located inside the Rio Grande Depot at 300 S. Rio Grande Street, Salt Lake City. Gallery hours are 8 a.m. to 5 p.m., Monday – Friday. Additionally the Gallery is open in partnership with The Downtown Winter Farmers Market every other Saturday from 10am-2pm from January 16th-April 23rd, 2016.
Thanks to the National Endowment for the Arts (Artworks), Utah Division of Arts and Museums, AmeriCorps VISTA, and Steve and Juanita Sykes for their generous support of this project.
Charlotte XC Sullivan, Zoe Minikes, Zorth Pilioneta, Miles Mattison, Nick Zdon, Daniel Strauss, Nicole Lavelle, Ali Osborn, Jamey Herman, Richard Saxton, Sarah Baugh, Justin Flood, Raphael Griswold, Emily Howe, Aidan Koch, Shawn Creeden, Catherine Page-Harris, Kristina Fong, Corbin Lamont, Zach Bulick, Russell Kerr, Cabin Time, Erica Dixon, Dylan Adams, Bennett Williamson, Gina Abelkop, Colin Bliss, Lucia Carroll, Cyrus Smith, Sincerely Interested, Michelle Benoit, Molly Goldberg, Mary Rothlisberger, Celia Hollander, Ryan Ford, Grayson Earle, Jordan Topiel Paul, Andrew Hamblin, Spence Kroll, Eliza Fernand, Geoffrey Holstad, Rob Loucks, Pete Collard & Alice Masters, Lisa Ward, Emily Howe, Jordan Gulasky, Phil Dagostino, High Desert Test Sites, Laurelin Kruse, and Sarah Lillegard.
Design: Corbin LaMont
For more information on the Fellowship visit frontierfellowship.org.
RSVP to the event here.
Julie Brody, Kate Brown, Dominique Cox, Mari Garrett, and Gabie Strong performing “Brainchild Part 3” by Kathleen Johnson and Mark So (click to enlarge)
This weekend Green River welcomed over 100 visitors for HDTS: Epicenter. Twelve different artist groups from around the country showcased projects, installations, and performances in and around Green River, including folk ballads performed in Black Dragon Canyon, interactive hammock weaving (with corn stalks, no less!), and a chance for visitors and locals to be photographed with their car. The project was a collaboration between Epicenter and High Desert Test Sites, an arts organization based in Joshua Tree, California that has put on similar events in the past.
Friday night potluck at Epicenter (click to enlarge)
Things officially kicked off on Friday with a potluck and swap meet hosted at Epicenter. Over 75 people showed up to share food, meet new friends, and catch up with old ones. Several projects went on display, including Alyse Emdur and Michael Parker’s “Geyser Girls” drawing residency at Crystal Geyser and “Rural Light” at the Dunham Melon Stand, Jordan Topiel Paul and J. Gordon Faylor’s “Motel Room” installation at the Robbers Roost, Allan McCollum’s “Reprints” at the USU Eastern Prehistoric Museum in Price, and the Puusemp family’s “Gamma,” an installation that made radiation experienceable by sonically representing each radiation wave passing through a small area. Visitors passing through Green River for a pit stop got the opportunity to be photographed with their car as part of Nicole Lavelle’s “Autoland” at the Conoco Gas ’n Go. Those willing to get out of town could visit “Site Specific Hammock 2 and 3” by Bennett Williamson, a set of two hammocks which visitors could participate making by learning a weaving technique. One hammock was made of recycled fabrics, while the other was made from harvested corn stalks.
On Saturday visitors could catch projects they didn’t see the day before as well as attend a few unique events. Charlie Macquarie’s “Library of Approximate Location” was open at Swasey’s Beach, where visitors could peruse a unique collection of books and documents pertinent to Green River, Utah, and the Inland West. Butchy Fuego and the Seeing Trails Division of Fine Arts performed “Doppler” at the Municipal Airport: two trucks, one with Butchy Fuego and a drum kit, the other with Jeremiah Chiu and a keyboard, began at opposite ends of the runway and drove toward each other, meeting in the middle, creating a unique sonic experience for the stationary audience. Steve Badgett’s “River Quaternion”—a giant, floating black pyramid, sailed/hovered down the Green River from the Main Street bridge to the Crystal Geyser as the sun set. In the afternoon, a group of explorers left for Cabin-Time’s “Sleepout” at Wild Horse Butte—a no electronics, all-wilderness overnight experience, while those still in Green River attended the Seeing Trails DFA’s “Past on Present” projection and laser show/party at the Bunker.
Sunday began a day of travel and performances. In the morning, Alison Kinney, Daniel Nickerson, Cyrus Smith, and Matt Takiff gave a performance of folk songs and cowboy ballads in Black Dragon Canyon—the unique shape of the canyon enhancing and distorting the acoustics to create a magical experience. In the afternoon, visitors traveled to the Mars Desert Research Station near Hanksville for a performance of “Brainchild” Part 3, an otherworldly performance set among the alien earth formations that lie between Capitol Reef and the San Rafael Swell.
On Monday things began to wind down, but not before the Seeing Trails DFA led a hike around Blue Castle, a grey-blue monolith north of town. During the hike, visitors could engage with various viewing portals that framed different views of the landscape. The event officially wrapped at noon. Overall it was a highly successful weekend and a great collaboration with High Desert Test Sites.
“River Quaternion” by Steve Badgett
Our participating artists included Steve Badgett, Cabin-Time, Alyse Emdur and Michael Parker, Butchy Fuego and the Seeing Trails Division of Fine Arts, Kathleen Johnson and Mark So, Alison Kinney, Daniel Nickerson, Cyrus Smith, and Matt Takiff, Nicole Lavelle, Charlie Macquarie, Allan McCollum, Jordan Topiel Paul and J. Gordon Faylor, Ephraim, Kiersten, and Raivo Puusemp, and Bennett Williamson.
Thanks to our local volunteers and partners: Allen Burns, Dunham Melons, Gas-N-Go, Green River Thrift Store, PACT, Robbers Roost Motel, and Shady Acres.
Thanks to our wonderful crew of volunteers who made this weekend run so smoothly: Andrea Bacigalupo, Paulina Berczynski, Cari Carmean, Matthew Dannevik, Bob Dornberger, Luke Forsyth, Leah Gallant, Adam Geremia, Marisa Goedhart, Bill Morrison, Joelle Neuenschwander, Antonia, Julia Schenck, and Sophie Trauberman.
HDTS: Epicenter was made possible with support from the National Endowment for the Arts (Art Works–Design), Andy Warhol Foundation for the Visual Arts, Utah Division of Arts and Museums, Emery County Travel Board, and the Sorenson Legacy Foundation.
Epicenter and High Desert Test Sites (HDTS) are co-hosting HDTS: Epicenter on October 9-12, 2015. HDTS: Epicenter is a collaborative curation of 12 artists’ projects, along with many regional points of interest and programs in diverse locations in and around the rural Utah community of Green River, Utah.
Our 12 featured artists:
Alyse Emdur & Michael Parker
Kathleen Johnson & Mark So
Jordan Topiel Paul & J. Gordon Faylor
The Puusemp Family (Ephraim, Kiersten & Raivo Puusemp)
Cyrus Smith, Alison Kinney, Daniel Nickerson & Matt Takiff
…stay tuned for more!
HDTS is a non-profit organization located in Joshua Tree, CA, that supports immersive experiences and exchanges between artists, critical thinkers, and general audiences – challenging all to expand their definition of art to take on new areas of relevancy.
Epicenter is a non-profit organization located in Green River, that provides housing and business resources and promotes the arts to accentuate Green River’s rural pride and pioneering spirit.
This project is made possible through support from the Andy Warhol Foundation for the Visual Arts, the Utah Division of Arts & Museums, the National Endowment for the Arts, Utah’s Emery County Travel Board, and the Robber’s Roost Motel.
I first came to Green River in February 2012 to visit my friend Ali Osborn, who was here as a Frontier Fellow. A drive through the San Rafael swell in the morning light, a few West Winds breakfasts, and walking an open field in the shadow of the Book Cliffs was enough to get me to apply for the Fellowship this year. I’ve happily spent the past six weeks watching Green River turn from summer to fall, working on a variety of projects, and trying to put my finger on what makes this tiny town so darned interesting.
I’ve moved six times in the past few years, and when I get back to L.A. next week, I’ll be packing up to turn right around and move again. Green River is by far the smallest place I’ve ever lived, and while it has it’s related small-town problems, it also has a profound simplicity that is entirely refreshing. “Why is there an Amtrak stop there?” asked my Mom. Why is Green River here at all? This is where the river gets shallow and slow enough to cross. There’s no big industry keeping the town alive, this is a place that people have been passing through for hundreds of years. This is the only place with water and gas for a hundred miles either direction on the interstate. The people are friendly, the sunsets are incredible. When they built the railroads, this was the overnight stop. Sometimes cars break down and their drivers just decide to stay. Simple.
Maybe that’s just the myth of The West playing tricks on me. But it’s the vast unfeeling desert creeping at the edge of town that made me see how hard people are working here, it’s stark cliffs towering over one tiny piece of humanity, everyone pulling their weight to keep it flourishing. The small business owners, the ranchers, the farmers, the volunteer Mayor, the people who organize softball games, and of course the Epicenter staff, helping keep roofs over people’s heads.
Here is a place where clearly you can be an agent of change. Coming off a busy summer managing a huge project, I was excited to have the time, space, tools, encouragement, lack of responsibility, and limited email access that would allow me to focus on my own projects for as long as it took to finish them. Like, ‘I made this, that means I am alive.’
Green River Community Radio
I built a Part-15 AM radio broadcasting kit, to experiment with broadcasting in Green River. I know about the programming side of radio but I wanted to learn more about engineering. I also filed an application for a Low Power FM license for Epicenter, which, if granted, would allow them to build an FM station that could potentially reach the entire town. Many thanks to Common Frequency, who helped guide me through the FCC’s application process.
I taught a weaving workshop at Epicenter, introducing the class to basic techniques on a frame loom, focusing on using yarn and fabric scraps, and showing ways to use cheap materials to make your own tools. I was really impressed with how quickly everyone got into the rhythm of the weaving, with some people finishing their first ever weaving in just three hours.
Next Punchline 30 Miles
I installed two 8′ x 12′ billboards as part of High Desert Test Sites 2013 in Joshua Tree, CA. The piece was designed and constructed in Epicenter’s backyard, and then deconstructed for transport. Thanks to AmeriCorps VISTA Ryann Savino who helped with construction and installation. She travelled with me and the signs to HDTS and wrote about the trip more detail in a previous blog post.
Additionally, I did a ride-along interview with City Ordinance Compliance Manager CJ Vetere for the upcoming Green River Magazine, worked shifts at the Green River Thrift Store, took a field trip to melon and corn fields with The Boys and Girls Club of Green River, helped plan the Melon Days Seed Spitting Contest and worked the spin art bike at the arts and crafts booth, worked on my crockpot cooking for family dinner (carnitas, beef stew, veggie chili), helped Armando put in a new ceiling at Faye Sweat’s house, fixed a bicycle, learned what a goathead is and then picked a million out of my shoes, saw the petroglyphs at Sego Canyon at dawn, borrowed Justin’s truck a lot (thanks Justin!!), ate curly cheese fries at Chow Hound, and much more.
Thank you Epicenter. You gave me a place to work, a place to live, a group of friends, and a real taste of life in a small town. I admire the work you do and I’ll be sure to come back to Green River to check in on you.
Leaning against the bed of the old pickup truck, I watched as a train of bikers blew past us, their heads turning one by one to take in the blue sign perched atop sand. We were parked along Kelbaker Road just outside the Mojave National Monument and our presence in the arid desert landscape must have appeared as if a mirage to the clad-in-black riders. Little did they know their answer would come just five miles further down the asphalt roadway. “How do billboards talk?” Well. “They use sign language.”
Started in 2002, “High Desert Test Sites” is based in Joshua Tree, California, with a mission to support experimental art that engages with the local environment and community. This year, they decided to create an art event larger and more ambitious -a 1,000 plus mile long journey along the roads of the Southwest from Joshua Tree to Albuquerque, New Mexico. Hundreds of artists from around the country submitted proposals for the event and almost sixty were selected to install their pieces, serve their food, share their goods, and perform along these desert roadways. One such artist to be selected was current Epicenter Frontier Fellow, Bennett Williamson of Los Angeles, California. His piece, entitled, “Next Punchline 30 Miles” was located just east of Amboy, CA between I-40 and Route 66. Two handmade billboards –the first a set up to a joke, the second the punchline –(designed, constructed, and painted here in Green River!) were placed roughly five miles apart on a desolate desert highway. Bennett described the joke as, “a real stinker,” and was inspired to create them in an “attempt to create a bit of absurdity for the passing audience captive in the ennui of a long road trip.”
What intrigued me most about High Desert Test Sites was how it took people out of conventional galleries and placed them in natural areas to interact and experience art. As Andrea Zittel, artist and co-founder of HDTS, commented, these projects are putting “art in places one normally might not even think to look.” The open space and vast views created an atmosphere of inclusion between viewer, artist, and art. Individuals had to commit to making the long treks through arid lands to find certain sites, some only in place for a mere day. From the Joshua Trees to the Book Cliffs here in Green River, landscapes are in a constant state of shift. The fleeting art of HDTS actively reminds one to be present. One day I found myself at “Magnetic Influence” witnessing viewers dressed in large elastic clothing wrapped around boulders, an ode to Franz Anton Mesmer’s (1779) philosophic belief that all bodies are subject to the gravitational pull of the heavens. Another day I walked up to a pop-up storage unit masking a Volkswagon bus, a creation by Lars Fisk, who through his own discrete minimalist housing is exploring the significance of personal storage units across the United States. If I had returned the following morning to either site, not a trace would be left of these detailed art pieces.
Part of HDTS 2013 seemed to be focused at celebrating the diverse desert habitats of the southwest –just getting people out there to see space for themselves. Their mission and work was, and is inspiring. They write, “To create a ‘center’ outside of any preexisting centers…To contribute to a community in which art can truly make a difference.” Who knows, maybe Green River can be a stop along the caravan next year? I sure hope so.
Special thanks to Aurora Tang and Andrea Zittel for being welcoming and sharing A-Z West and HDTS. Big gratitude goes to Bennett Williamson for allowing me to help along this journey.
This post was written by Ryann Savino, an AmeriCorps VISTA here at Epicenter. Originally from the granite-clad foothills of Northern California, she first came to Green River in 2012 via canoe. A recent graduate of Whitman College, she wrote her Environmental Humanities Thesis on the Green River Watershed and her family history held within its silty flow.