Interview Part #2 with Bill Fox of the Center for Art and the Environment

Additional Questions for Bill Fox Part #2
Nevada Museum of Art
Center for Art + Environment

These are additional questions that follow the initial interview performed with Bill Fox. The earlier interview is documented on Wooden Leg.

1.An archive within a museum has a unique relationship to the institution and the public. Could you describe the role that you imagine the Center for Art+ Environment will play for the museum, researchers, other artists, and institutions like the Center for Land Use and Interpretation?

The CA+E is the most concentrated part of a thematic focus for the museum that enables it to generate original scholarship, and attracting in the process new and non-local funding for us. We’re expanding opportunities for scholars and artists to examine a collection of related materials–which in turn brings artists and organizations such as CLUI in range of a broader group of scholars globally. Aggregate resources and they will come!

2. Who is the archive primarily for? Who is the ideal audience that you hope will use it?

Our primary audience is for scholars and artists. Unlike fostering a communication between a work of art and a viewer, this is more about growing a network of scholars and artists and organizations.

3. From where do you source the materials that end up in the archive?How is the archive necessary for the creation and preservation of information about artists and their individual practices?

We source the materials by doing research. In fact, we have an intern working on part of that this summer. That means we look at the history of what’s been produced and try to construct a coherent picture of the work done by different people–but in some cases we also research what’s soon going to be produced (contacting an artist as she or he is just beginning to work on a project for example, and asking them to construct an archive for us).

Archives do three things. They preserve materials that otherwise are prone to getting lost, they aggregate them so they inform one another in the minds of scholars, and they increase the understanding of the art by establishing a larger context for it. Stuff in the attic of an artist doesn’t get organized very well in most cases, or fare well or get studied much.

4. This archive has a specific focus on art and the environment. What niche does this fill? Is the environment in artists practices a subject that has been overlooked by museums?

We’re the only museum-based research institute devoted to art + the environment, and yeah, it’s been overlooked in favor of more traditional frameworks. So you get archives about individual artists, or formal movements such as performance or installation art–but not something on a rubric from other disciplines.

Surplus and Exchange Interview with San Francisco Parks Trust

Location: San Francisco
Posted: April 24th
By: Erin Fletcher

Kearstin Krehbiel
Director of Programs
San Francisco Parks Trust

http://www.sfpt.org/

San Francisco has many parks, both large and small, which are managed by the San Francisco Parks Trust. I interview the Director of Programs, Kearstin Krehbiel, about the organization, the relationship between people and parks, and the importance of greening the surplus lots throughout the city.

1. Could you please describe your job? Give a brief bit of information on the Parks Trust, What it manages, what your job duties entail, where you entered the organization and how you came to where you are now, what are your specific areas of interest within this organization ?

San Francisco Parks Trust (SFPT) is a member-based non-profit organization that supports city parks and open spaces through philanthropy, volunteerism, and advocacy. Since 1971, we’ve been helping make San Francisco parks more awesome. As the Director of Programs I identify and work to solve problems that face our city parks. My job is 90% Director of Programs and 10% managing people. A steadily shrinking budget has long been the largest problem facing San Francisco parks. As the city directs fewer dollars to parks, there is less for maintenance, repairs, and even service. As a result we’re stepping up our fundraising campaigns to raise awareness and direct private dollars to public parks and programs. I work to find solutions that fit with parks and the residents that love them. Helping people to support their parks is my main function – people in San Francisco love their parks and I help them discover how they can help to improve them.

2. In your position, what chance do you have to re-use materials or use surplus materials when you are  building, landscaping, or realizing projects?

There are many opportunities for reuse in the Street Parks program. The land is vacant and often stewards acquire re-purposed materials (like urbanite-broken concrete for walls, or chipped tree limbs for mulch) and surplus plant materials to keep costs low.

3. Is this a priority for you?

Yes, connecting stewards to unused land is a priority, sourcing useful material for our projects is a lower priority.

4. Where do materials to make parks come from, specifically the materials that are reused?

Street Parks stewards scavenge for materials from construction sites or seek excess materials from landscapers or arborists and other professionals with access to garden supplies. Some also write grants for funding to purchase more expense items like irrigation systems (though we encourage drought-tolerant plantings).

5. What is the street parks program? How was it developed? What is the role that you play in maintaining it? What are some of the costs that go into developing a street park? What are the materials needed to create one? What is the role of the steward?  

The Street Parks program began in 2004 as a partnership between the San Francisco Department of Public Works (DPW) and SFPT (San Francisco Parks Trust) to improve blighted lots throughout the city. In all there are about 500 acres of land – about half the size of Golden Gate Park) that DPW owns but does not maintain – these are public-right-of-ways like stairs, or streets that should have gone through but didn’t (usually because of a steep hill). The materials and costs for each site vary greatly as no two sites, community visions or capacities are the same.

Together we work with neighbors to identify and improve vacant lots in their neighborhood. Community groups form around a problem area and SFPT and DPW support these groups with technical assistance, community organizing, and education. Neighbors agree to improve and maintain the site. Generally the process for development follows these steps (You can access these steps from the SFPT webpage by going to “Our Programs” and selecting “Community Greening”):
Get Started
Read the Street Parks Guidelines
Submit a Street Parks Application – we’ll contact you to schedule a meeting when we receive it.
Meet with SFPT and DPW at your site (DPW must approve your site before you make improvements).
Develop a Plan
Attend a free organizing seminar with your neighbors to develop a plan.
     Create a drawing of your proposed improvements.
     Develop a plant list. (See a recommended plant list.)
     Create a budget.
Share your plan with the neighborhood through community meetings or flyers.
Get your permits and plans approved by the Bureau of Urban Forestry (one month turnaround).

Raise Money
Apply for fiscal sponsorship.
Apply for funding.

Break Ground
Host a volunteer workday at your garden.
Spread the word about your project in our newsletter.
Extra Help
See our resources page for more help from SFPT and our partners. We have annual events, volunteers, free seminars and funding to help you get your garden started.
6. Could you talk about why it is important to use the unused land? What are these places before they are turned into parks? Why are parks a better use of the land than vacant space?

In a city with a small footprint, like San Francisco, taking advantage of every opportunity to green is important. Street Parks increase the property values of surrounding homes, they anchor communities – neighbors working together with city government draw resources to their communities – like the Pennsylvania Street Garden in the Portrero. Street Parks can bring food to neighborhoods with limited access to fresh choices like the Quesada Gardens in the Bayview, and like the Green Hairstreak Corridor, they can also provide critical habitat for native species that are threatened by human development.
  

Steve Lambert

Location: NYC
Posted: April 23rd
By: Erin Fletcher

http://visitsteve.com/bio/

Summary: Steve Lambert is an artist who worked on the “New York Times Special Edition” and “Add-Art”. His practice is strongly based on exchange. His artist statement reads: For me, art is a bridge that connects uncommon, idealistic, or even radical ideas with everyday life. I carefully craft various conditions where I can discuss these ideas with people and have a mutually meaningful exchange. Often this means working collaboratively with the audience, bringing them into the process or even having them physically complete the work.

Luke Fischbeck

Location: California
Posted: April 23rd
By: Erin Fletcher

http://www.hawksandsparrows.org/

Description of artist’s practice by the Headlands Center for the Arts: Luke Fischbeck is an interdisciplinary artist who facilitates the development of community through cooperative art making. Fischbeck’s improvisational approach to making music reflects life’s unpredictable beauty in songs he has described as “nature jams.” He recruits guest musicians and audience members to participate in Lucky Dragons, his communal music experiment linking sound to video, dance, and interactive technology.

Southern Exposure Youth Programs

Location: San Francisco, CA
Posted: April 23rd
By: Erin Fletcher

http://soex.org/educationprograms.html

An example of how arts organizations can create education wings that support youth by fostering a sense of exchange and partnership with the organization.

Lucy Raven

Location: Utah/China
Posted: April 23rd
By: Erin Fletcher

http://www.lucyraven.com

Lucy Raven is an artist who has charted the process of copper, from its stages in a mine in Utah to its development into wire in China. Her documentary “China Town” charts a material resource from the time it is mined until it takes its final form. This is a rare and important work because it shows all the steps of a process that are usually isolated from each other. This film shows how even an apparent surplus of a resource can be depleted and devastate the land around it.

Free Culture

Location: Network is Nation Wide
Posted: April 23rd
By: Erin Fletcher

http://freeculture.org/about/

Summary: The free culture movement advocates for the free distribution and modification of creative work through the internet and other media. This movement stands for the free exchange of ideas, especially in terms of new technologies.

Free Speech Monument

Location: UC Berkeley
Posted: April 23rd
By: Erin Fletcher

http://www.infoflow.com/mbvk/freespeech.html

The Free Speech monument was erected on the Berkeley campus to be a place where anyone was allowed to speak and share their views: creating a space for the open exchange of information. Although it was censored by the University Administration, the monument still exists.

Diggers

Location: Internet/San Francisco- Haight-Ashbury
Posted: April 23rd
By: Erin Fletcher

http://www.diggers.org/overview.htm

This website is a project to preserve the history of the guerilla street theater group from the 1960′s. The diggers worked to create a “free city” by distributing food, working against private property, and hosting free stores. They provide a precedent for many of the ideas discussed on this blog.

Critical Spatial Practice

Location: Internet
Posted: April 23rd
By: Erin Fletcher

http://criticalspatialpractice.blogspot.com/

Critical Spatial Practice uses Space as a metaphor to exchange ideas that identify racial and cultural discrimination.