{"id":4448,"date":"2020-04-23T20:52:00","date_gmt":"2020-04-23T20:52:00","guid":{"rendered":"http:\/\/emilyrosemichaud.com\/?p=4448"},"modified":"2020-04-23T20:52:00","modified_gmt":"2020-04-23T20:52:00","slug":"resources-inspiration","status":"publish","type":"post","link":"https:\/\/emilyrosemichaud.com\/fr\/2020\/04\/resources-inspiration.html","title":{"rendered":"Resources \/ Inspiration"},"content":{"rendered":"
‘To say \u00ab\u00a0we must dig in\u00a0\u00bb or \u00ab\u00a0here we must draw our line\u00a0\u00bb is a far more universal application than growing your own food or living in the country. One of the key problems in American society now, it seems to me, is people’s lack of commitment to any given place- which is, again, totally unnatural and outside history. Neighbourhoods are allowed to deteriorate, landscapes are allowed to be strip-mined, because there is nobody who will live there and take responsibility; they’ll just move on.’Gary Snyder. Excerpt from The Real Work. Interviews and Talks 1964-1979. New Directions, 1980, p. 117.<\/div>\n

RESOURCES<\/p>\n

Grande, John K.
\nBalance: Art and Nature. Montreal: Black Rose Books, 1994.<\/p>\n

International Triennial Ecology and Art
\n(4th). 4. Mednarodni Trienale Ekologija in Umetnost. Maribor, Slovenia: Umetnostna Galerija Maribor, 1992.<\/p>\n

Ecovention: Current Art to Transform Ecologies.
\nSue Spaid and Amy Lipton, curators. Cincinnati: The Contemporary Arts Center and greenmuseum.org<\/a>; ecoartspace, 2002. Published on the occasion of the exhibition held at the Contemporary Arts Center, June9 -August 18.<\/p>\n

Emerson Gallery, Hamilton College.
\nListening to the Earth: Artists and the Environment. Clinton, NY: Emerson Gallery,1995.<\/div>\n

Gallery Route One.
\nWhat Have We Got to Lose? Artists and the Environmental Crisis. Point Reyes Station, Calif., 1990.<\/p>\n

Gelburd, Gail Enid.
\nCreative Solutions to Ecological Issues. New York: Council for Creative Projects; Philadelphia: dist. by University of Pennsylvania Press, 1993.<\/p>\n

Green, Charles.
\nThe Third Hand: Collaboration in Art from Conceptualism to Postmodernism. Minneapolis, MN: University of Minnesota Press, 2001.<\/p>\n

Grande, John K.
\nArt Nature Dialogues: Interviews with Environmental Artists. Albany: State University of New York Press, 2004<\/p>\n

Gablik, Suzi.
\nConversations Before The End of Time. New York; London: Thames and Hudson, 1995.<\/p>\n

Gablik, Suzi.
\nThe Reenchantment of Art. New York: Thames and Hudson, 1991.<\/p>\n

Korp, Maureen.
\nSacred Art of the Earth: Ancient and Contemporary Earthworks. New York: Continuum, 1997.<\/p>\n

Stam, Herd.
\nCrop Art and Other Earthworks. New York: H.N. Abrams, 1994.<\/p>\n

Association des Femmes Diplomees des Universites.
\nFemmes de Parole et Ecologie: Art Actuel, 1988. Maison de la Culture Cote-des-Neiges,1988. Montreal: Association des Femmes Diplomees des Universites, 1988.<\/p>\n

Benthall, Jonathan.
\n\u00ab\u00a0The Relevance of Ecology\u00a0\u00bb in Battock, Gregory. Idea Art : A Critical Anthology. New York: Dutton, 1973.<\/p>\n

Institute for Contemporary Art and P.S.1 Museum.
\nTheatergarden Bestiarium: The Garden as Theater as Museum. Cambridge, Mass.: MIT Press, 1990. Exhibition organized by Chris Dercon.<\/p>\n

Leeds City Art Gallery.
\nAndy Goldsworthy: A Collaboration With Nature. London and New York: Viking and Harry N. Abrams, Inc.<\/p>\n

Matilsky, Barbara C.
\nFragile Ecologies: Contemporary Artists Interpretations and Solutions. New York: Rizzoli International, 1992. Published in conjunction with the exhibition at the Queens Museum of Art, New York.<\/p>\n

Natural Reality: Artistic Positions Between Nature and Culture\/Kunstlerische Positionen Swischen Natur und Kultur. (Heike Strelow, curator). Ludwig Forum fur Internationale Kunst, Stuttgart: DACO, 1999.<\/p>\n

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WEB<\/div>\n
16 Beaver Group<\/a><\/div>\n
Agnes Denes (Projects for Public Spaces)<\/a><\/span><\/div>\n
Alphabet City Magazine<\/span><\/a><\/div>\n
Amy Franceschini (Reinvents the Victory Garden)<\/a><\/span><\/div>\n
Future Farmers<\/a><\/div>\n
Green Arts<\/a><\/div>\n
Jackie Brookner<\/a><\/div>\n
Landscape + Environment<\/a>
\nLandscape Architecture Magazine<\/a>
\nBioart Society (Finland)<\/span><\/a><\/div>\n
BIONEERS\u00a0<\/a><\/span><\/div>\n
Evergreen Brick Works<\/a><\/div>\n
Center for Artistic Activism<\/span><\/a><\/div>\n
Centre for Contemporary Arts and the Natural World<\/a><\/span><\/div>\n
CESTA, Cultural Exchange Station in Tabor (Czech Republic)<\/a><\/span><\/div>\n
Comit\u00e9 des Citoyens du Mile End<\/a><\/span><\/div>\n
Creative Resistance Research Network<\/span><\/a><\/div>\n
Crop Mob<\/a><\/span><\/div>\n
C\u00f4t\u00e9 Cour C\u00f4t\u00e9 Voisins<\/a><\/div>\n
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Dare-Dare: Centre de diffusion d\u2019art multidisciplinaire de Montr\u00e9al<\/a><\/span><\/div>\n<\/div>\n
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Dave Jacke + Eric Toensmeier<\/a><\/span><\/div>\n<\/div>\n
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Death to Weeds: An NFB short<\/a><\/span><\/div>\n<\/div>\n
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D\u00e9ranger l’espace<\/a><\/span><\/div>\n<\/div>\n
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ECOARTSPACE<\/a><\/span><\/div>\n<\/div>\n
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ECOVENTION (ecology + invention)<\/a><\/span><\/div>\n<\/div>\n
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Emmanuelle L\u00e9onard<\/a><\/span><\/div>\n<\/div>\n
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Engrenage Noir<\/a><\/span><\/div>\n<\/div>\n
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Environmental Studies (York U, To)<\/a><\/span><\/div>\n<\/div>\n
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Evergreen Native Plant Databse<\/a><\/span><\/div>\n<\/div>\n
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Evergreen, Toronto<\/a><\/span><\/div>\n<\/div>\n
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Facilitating Change<\/a><\/span><\/div>\n<\/div>\n
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Farm Lab<\/a><\/span><\/div>\n<\/div>\n
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Festival Int’l des Jardins \u00e0 M\u00e9tis<\/a><\/span><\/div>\n<\/div>\n
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Free Soil<\/a><\/span><\/div>\n<\/div>\n
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From the Greek Streets<\/a><\/span><\/div>\n<\/div>\n
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Future Farmers<\/a><\/span><\/div>\n<\/div>\n
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Gilles Cl\u00e9ment – Le Tiers Paysage<\/a><\/span><\/div>\n<\/div>\n
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Gilles Cl\u00e9ment- Le Jardin en Mouvement<\/a><\/span><\/div>\n<\/div>\n
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GreenMuseum: Network for Environmental Artists.<\/a><\/span><\/div>\n<\/div>\n
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Horticulture Indigo<\/a><\/span><\/div>\n<\/div>\n
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IMAGINE (le) Mile-End<\/a><\/span><\/div>\n<\/div>\n
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Is the institutionalization of urban movements inevitable? – Hans Pruijt, 2003<\/a><\/span><\/div>\n<\/div>\n
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Jeanne Fabb<\/a><\/span><\/div>\n<\/div>\n
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JED Collective, Maine<\/a><\/span><\/div>\n<\/div>\n
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Landscape Architecture (Mtl. Based)<\/a><\/span><\/div>\n<\/div>\n
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Le Champ Des Possibles (Maguire-Roerich)<\/a><\/span><\/div>\n<\/div>\n
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Liz Christy Commmunity Garden<\/a><\/span><\/div>\n<\/div>\n
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Lynne Hull (trans-species art)<\/a><\/span><\/div>\n<\/div>\n
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MA Art + Environment (University of Falmouth, UK)<\/a><\/span><\/div>\n<\/div>\n
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Marie-Jeanne Musiol<\/a><\/span><\/div>\n<\/div>\n
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Melissa Campbell :: Photographer<\/a><\/span><\/div>\n<\/div>\n
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Melissa Campbell’s Blogspot<\/a><\/span><\/div>\n<\/div>\n
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Mineo Mizuno<\/a><\/span><\/div>\n<\/div>\n
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Minor Compositions<\/a><\/span><\/div>\n<\/div>\n
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MIT: Visual Arts Program<\/a><\/span><\/div>\n<\/div>\n
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MOPARRC Means of Production Artists Raw Resource Collective<\/a><\/span><\/div>\n<\/div>\n
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More Gardens!<\/a><\/span><\/div>\n<\/div>\n
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Nancy Klehm<\/a><\/span><\/div>\n<\/div>\n
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Nature, Culture, Public Space<\/a><\/span><\/div>\n<\/div>\n
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Nicole Dextras<\/a><\/span><\/div>\n<\/div>\n
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North American Native Plant Society<\/a><\/span><\/div>\n<\/div>\n
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Occupied London<\/a><\/span><\/div>\n<\/div>\n
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Occupy with Art<\/a><\/span><\/div>\n<\/div>\n
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Pari Center for New Learning<\/a><\/span><\/div>\n<\/div>\n
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Projets urbains – Secteur Saint-Viateur Est (2012)<\/a><\/span><\/div>\n<\/div>\n
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Revolutions in Reverse: Essays on Politics, Violence, Art, and Imagination<\/a><\/span><\/div>\n<\/div>\n
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R\u00e9seau Qu\u00e9b\u00e9cois des Groupes \u00c9cologistes<\/a><\/span><\/div>\n<\/div>\n
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Salvation Jane<\/a><\/span><\/div>\n<\/div>\n
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Schumacher College<\/a><\/span><\/div>\n<\/div>\n
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Serve Your Country Food<\/a><\/span><\/div>\n<\/div>\n
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Sitka Center, Oregon<\/a><\/span><\/div>\n<\/div>\n
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Slow Lab<\/a><\/span><\/div>\n<\/div>\n
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Square Feet: Artist’s Guide to Renting & Buying Creative Space<\/a><\/span><\/div>\n<\/div>\n
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Strike Everywhere<\/a><\/span><\/div>\n<\/div>\n
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Temporare Gaerten<\/a><\/span><\/div>\n<\/div>\n
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The Arts Catalyst<\/a><\/span><\/div>\n<\/div>\n
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The Centre for Land Use Interpretation<\/a><\/span><\/div>\n<\/div>\n
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The Greenhorns (Film about young farmers)<\/a><\/span><\/div>\n<\/div>\n
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The Logic of Urban Squatting – Hans Pruijt, 2011<\/a><\/span><\/div>\n<\/div>\n
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The Royal Society of Arts<\/a><\/span><\/div>\n<\/div>\n
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The Society For Ecological Restoration<\/a><\/span><\/div>\n<\/div>\n
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Translocal<\/a><\/span><\/div>\n<\/div>\n
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Victory Gardens (San Franscisco)<\/a><\/span><\/div>\n<\/div>\n
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x design project:<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

‘To say \u00ab\u00a0we must dig in\u00a0\u00bb or \u00ab\u00a0here we must draw our line\u00a0\u00bb is a far more universal application than growing your own food or living in the country. One of the key problems in American society now, it seems…<\/p>\n","protected":false},"author":3,"featured_media":4450,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[],"post_series":[],"class_list":["post-4448","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-fr","entry","has-media"],"_links":{"self":[{"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/posts\/4448","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/comments?post=4448"}],"version-history":[{"count":3,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/posts\/4448\/revisions"}],"predecessor-version":[{"id":4690,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/posts\/4448\/revisions\/4690"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/media\/4450"}],"wp:attachment":[{"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/media?parent=4448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/categories?post=4448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/tags?post=4448"},{"taxonomy":"post_series","embeddable":true,"href":"https:\/\/emilyrosemichaud.com\/fr\/wp-json\/wp\/v2\/post_series?post=4448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}