Update June 2018: The Rare Forest Project has lost its proposed site and is currently exploring alternatives in Central Maine.
The benefits of biodiversity, the variety of life found in the environment, are well known. The greater the diversity of species of plants and animals in an area, the more likely it is to be a healthy ecosystem that can better withstand and recover from threats. And the threats are plenty; Because declining biodiversity touches on some of our most pressing challenges from global food security to mass extinctions and climate change, many efforts are being made to save and restore biodiversity worldwide.
Maine is known for its vast wilderness, but Maine has not escaped the effects of pollution, habitat loss, deforestation, over-harvesting, disease, climate change and other threats that plague ecosystems the world over. As a result of these factors and others, many of Maine’s native plant and animal species common only a century ago are now either rare or have been entirely eradicated from the state. While many people may think of the caribou, eastern cougar, the gray wolf, or the humpback whale when regarding extirpated and endangered species of Maine, fewer people think of plant life that has met a similar fate. And though diversity of plant life is fundamental to supporting diversity of animal life, The Maine Endangered Species Act applies only to animals – plants are not included and do not afford the protections set out by the legislation.
The Podooc Rare Forest Project is an experiment in creating a living museum and seed library of Maine’s rare, endangered and extirpated native plant species. Over the coming years, the project is to be distributed along various sites throughout Lake George Regional Park making use of both existing and reclaimed habitats. As a living museum, the project will provide visitors an exhibition of a curated selection of Maine’s rare and extirpated plant species. As a seed bank, the project looks to the future in hopes of providing seed and stock plants for further efforts toward recapturing lost plant diversity of Maine’s forests.
Project by Mark Cooley & Derek Ellis
Dust To Dust: For Ozymandias
Commissioned by St. Louis Science Center. for “Grow“, a new pavilion and permanent agriculture exhibition at SLSC.
Design: Mark Cooley
Fabricated with local salvaged cedar by Scott Wunder @ Wunderwoods, St. Louis.
Nature is the most gifted sculptor. But perhaps the core of nature’s art is not found in its forms, but rather in the beauty of its processes. Among Nature’s basic processes is the nutrient cycle, a bland term that conceals the profound poetic reality of what it describes – the creation of life from death through the living medium we commonly call “dirt”. This process takes on a special relevance in a contradictory society, which devotes more landfill space to compostable organic materials than it does to all other sources of “waste” – all while struggling with a nationwide soil depletion crisis. Treating organic materials, from newspapers to food scraps, as “waste” to be thrown in landfills rather than composted and returned to the earth, linearizes nature’s ingenious nutrient cycle, thereby threatening its miraculous built-in system for reproducing itself seemingly infinitely, and in infinite diversity, from finite materials and conditions.
This vermiculture system provides a framework for nurturing and viewing a fundamental and necessary work of nature, the creation of living dirt – the medium through which death becomes life. This vermiculture system was designed to consume the organic material byproducts of the St. Louis Science Center. Shredded office paper, landscape clippings, and food scraps generated at on the grounds are composted and, through a symbiotic relationship of earthworms, bacteria, and fungi, are converted into rich compost to be used as fertilizer for SLSC’s grounds. Potential waste converted into living dirt is the completion of a work of Nature’s art with the help of humans who wish to aid and visualize this beautiful process.
For thousands of years, artists have been celebrated for their ability to transform raw materials into precious works, and in the process make visible what is often unseen, forgotten, or ignored. This work follows this traditional formula, but engages the goals and materials relevant to the current age – an age when our collective future depends on the redefinition of our relationship to the world by working with nature rather than against it.
GROW pavilion completed at St. Louis Science Center
SoA Green Studio website
2010 – Present
Located on the grounds of the George Mason University’s Art and Design Campus, SoA Green Studio offers students a living studio in which to creatively explore the interdependence of biological and cultural systems. The Green Studio exists, as any working art studio does, in constant flux and develops organically through the relationship artists form with the developing ecology of the site.
The concept of an externalized art studio challenges conventional approaches to landscapes as master-planned perpetually finished products. The Green Studio also challenges the notion of the art studio as a place where artists retreat from the world, while repositioning the artist within the contingencies of a living space with its art materials embedded in a functional ecosystem. The goal of work in the Green Studio is not to create in spite of the world, but rather in relation to it. In this sense, traditional art and design concerns of creating abstract aesthetic relationships (whether on the canvas or in the landscape) are reshaped to include social and ecological relationships.
Finally, The Green Studio is not contained in any one physical space. It exists as conceptual space for exploring the role of art and design in building meaningful, creative, critical, and supportive relationships between people and the earth’s life support systems. The Green Studio can materialize anywhere and anytime an artistic act forms a conscious relationship with an ecological process, and renders the opposing concepts of “nature” and “culture” as inadequate terms for creating a sustainable future.
Visit us @ www.SubHerbanRoots.com
SubHerban Roots, is a community-based family art project & business established in 2013 that offers homegrown homemade herbal remedies and home-scale permaculture design services to the Northern Virginia and Washington DC communities. SubHerban Roots is an art project, but it is not an ironic business-as-art performance. Rather, our work is a sincere art-of-everyday-life pro-formance. Through this pro-formance, we hope to provide for our family and help others take agency in regard to their personal health and the health of the land on which we all depend.
SubHerban Roots is a family collective project by
Beth Hall, Mark and Celia Cooley
Founded by Mark Cooley and Dr. Changwoo Ahn
2013 – Present
EcoScience+Art is an initiative and collaboration between the arts and sciences at George Mason University. It is our mission to bring together individuals working across the boundaries of ecosystem science, art, and design fields to share knowledge, expertise, and strategies for creatively engaging in the common pursuit of a sustainable future.
Book of Dangerous Ideas
A university faculty exhibition is used as an opportunity to provoke and collect a sample of creative witing from GMU students in response to the following text:
“Earlier this year, American University released a two-year study uncovering the infamous Koch brother’s little black checkbook. The study validates the far-reaching influence that America’s richest, most powerful men have on the public, via non-profit institutes, foundations, and higher education. The study, conducted by AU’s Investigative Reporting workshop, shows the broad, widening reach of right-wing libertarian ideologues Charles and David Koch, and the $134 million dollars that has been used to influence politics and policy through the right-wing echo chamber. The largest of the Koch’s University donations went to George Mason University, which collected $16 million between 2007 – 2011 with Mason’s Institute of Humane Studies and Mercatus Center bringing in 14 million between them.
The Institute for Humane Studies (IHS) website states its mission as, “taking bold new steps to combat the dangerous ideas that threaten our freedom, our prosperity…” With Koch funded ideologues with PhDs talking about everything from eliminating environmental protections, social safety net programs and public schools, it’s startling to think of what “dangerous ideas” they might be talking about.
In the spirit of protecting our freedom at a public university to express ‘dangerous ideas’ please anonymously write your best ones in this book.”
A graphic by Mark Cooley and Ryan Griffis for Urban Forest, DC.
This piece is an attempt to visualize the necessity of positioning community and human relations (culture) within America’s traditionally rather alienated view of “nature”. It seems that the most progressive urban forest and gardening projects these days begin by rethinking the assumption that “culture” and “nature” are mutually exclusive things as they begin to reincorporate natural elements into urban space and build community bonds around them.
The Urban Forest Project is a unique public arts initiative of Worldstudio, which invited local artists and designers to employ the idea or form of the tree to make a powerful visual statement on street-banners that were then displayed in their community. The tree is a metaphor for sustainability and in that spirit, the banners at the close of each exhibition were recycled into totebags and auctioned off to raise money for a local environmental cause. The Urban Forest project was originally executed in New York’s Times Square in the fall of 2006 and has since travelled to several cities including: New York, San Francisco, Baltimore, Denver, Toledo, Washington, DC and Albuquerque.
Photomontage and design by Mark Cooley; research and text by Stephen F. Eisenman.
Produced for: TAMMS Y10 Solitary Confinement Photography Project.
TAMMS Y10 asked prisoners in solitary confinement at notorious Tamms C-MAX prison in Illinois, “If you could have one picture, what would it be?” Artists from across the country responded to the requests. The resulting images were distributed to the prisoners.
Tamms Year Ten is a coalition of prisoners, ex-prisoners, families, artists and other concerned citizens who have come together to protest the inhumane treatment of prisoners at Tamms C-MAX in Illinois. Tamms prisoners never leave their cells except to shower or exercise alone in a concrete pen. Meals are pushed through a slot in the cell door. There are no jobs, communal activities or contact visits. Suicide attempts, self-mutilation, psychosis and serious mental disorders are common at Tamms, and are an expected consequence of long-term isolation.
Article: Visions From Solitary: Prisoners’ Imaginations Made Real By Activists’ Photographs. Prisonphotography.org.
EcoCultures is an exhibition bringing together current cultural
productions at the intersections of the arts, sciences and the
practice of everyday life to explore the interdependence of our
social and biological systems.
Mason Hall Atrium Gallery | George Mason University, Fairfax VA
September 22 – October 6, 2011
Public Reception – September 22, 6:30 – 8:00pm
Curated by Mark Cooley
|Featuring the work of:
The Yes Men
Beatriz da Costa
Temporary Travel Office
|Beehive Design Collective
Jens Jarisch & Sharon Davis
Matthew Friday & Jeff Lovett
Sarah Kanouse & Shiloh Krupar