Amy
@nebbia
Amy
Into the underland we have long placed that which we fear and wish to lose, and that which we love and wish to save.
Robert Macfarlane • Underland: A Deep Time Journey
We find speaking of the Anthropocene, even speaking in the Anthropocene, difficult. It is, perhaps, best imagined as an epoch of loss – of species, places and people – for which we are seeking a language of grief and, even harder to find, a language of hope.
Robert Macfarlane • Underland: A Deep Time Journey
Could the knowledge and practice of collecting and using Cinquefoil be an appropriate way of remembering and absorbing the memory-heritage of Salpa Line, Finland's response to external invasion during World War II? As interpretors of bunker-trench landscape and history, I suggest that creative and practical-minded visitors to Salpa Line can persona
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Pekka Jylhä
Beverly Buchanan
Untitled (Frustula Series)
Buchanan took a particular interest in the revelatory nature of ruins and their ability to expose the histories of a place and its former inhabitants. To make her multipart Frustula works, the artist cast pigmented concrete in molds she constructed from milk cartons. Borrowing a term from her work in biology for the structural casing of a cell wall, Buchanan conceived the Frustula as representations of ruins and time, striated deposits of history meant to commemorate quiet, often overlooked historical moments.
The work confronts the marsh’s history and lore as the cultural landscape that inspired confederate soldier and poet Sidney Lanier, to write the poem, Marshes of Glynn, in 1878. The poet is said to have frequented an extant live oak, named in his honor, located less than half-a-mile north of the sculpture. Marsh Ruins also pays homage to Igbo Landi
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2–3. Beverly Buchanan working on Marsh Ruins, 1981. Collection of Museum of Arts and Sciences, Macon