Jackson Hole Art Blog

“Years later I’m going back and looking at the projects we did.  My critique is, they are pastiche.  They are cardboard facades.  The real town is a block behind them, and it’s still awful, in trouble. So we didn’t help the people who live there, the thing that was supposed to be helped.” - Walter Hood

Finding what is particular and special to a community is part of what urban landscape designer Walter Hood does; over the years it has become clearer to Hood that urban centers require different formulas for renewal, depending on relevant measurable goals.

Pittsburgh, with its steel industry history, at one time existed for opposite reasons than Jackson exists.  But, says Hood, Pittsburgh  (sort of a sister city for me, and a great example in urban renewal) has found itself again. Like other mid-west industrial towns Pittsburgh fell on hard times; hard enough that a few decades ago many were giving it up for lost.  Jobs disappeared, people left in droves, and the city was gritty and depressed.

Jackson and Pittsburgh have traditionally relied on single industries. Jackson’s magnificent beauty and location have made it an economy inflated by landscape;  Pittsburgh’s economy relied on steel.

Now Pittsburgh’s economy is strong; it has weathered this recession relatively well, in large part because the city has taken pains to attract diverse market sectors.  Healthcare, education, technology, financial jobs play a large role. City parks are being restored. Abandoned spaces are recycled into new housing and businesses.

Hood opines that whatever direction Jackson takes in shaping its future, keeping traffic in check is crucial.   Open space cannot be fully protected unless we control congestion and emissions.

“I think where we are as Americans, things are hitting the fan.  We will have to make some really serious decisions about the land.  I have a lot of projects where people are investing in alternative transportation modes; they are starting to say “we don’t need that much parking.”  They are beginning to say we want to be greener—it will force them to act differently.”

Its community locking horns over a new Comprehensive Plan, Jackson’s town and county officials are attempting to correctly address a demand for affordable housing.  The risk of over development is very real.  To date, officials are treating mass transit as a finishing touch for building more units;  most urban planning takes the opposite approach.

Whenever I return to Jackson from the east coast, my immediate sense is Jackson’s traffic is under control.  Then summer arrives.

“In the winter it is really fantastic to be here—you could drive and everything goes back to scale,” says Hood.  “When spring comes the scale gets smaller but it is still big.  You see more in Jackson.  It’s sensory overload.”

A national park’s purpose is defeated, says Hood, when 4,000,000 tourists a year jam the roads and the scenery is…”unseeable.” If you want to reduce traffic, and impact, you make roads smaller and narrower. Cars then have to get smaller.  Discourage, don’t encourage, more traffic.

We agree that the town of Jackson should be about this place.  That gentler transitions from park to town are optimal, but not planned.  Approaching downtown Jackson, there is a sense that our open spaces are chopped off at the knees.  It’s good, we conclude, that the National Museum of Wildlife Art is one of the first things you see.   But many buildings and landscapings closer to town are visually harsh.  Lots of aging concrete, signage, little shoulder softening, no real thought to the landscape.

And simply as a marketing concept, in addition to the conservation benefits, planning should accentuate sensitivity to place.

But what about helping a community through recession?  Hood may not have Jackson’s specific economic remedy, but he does have experience with plans that didn’t work.

Hood says that collectively, we often make big mistakes when trying to “save” community.

“There are some amazing places, but the way we act in those landscapes is still the freakin’ same way,” he notes.  “I worked for a firm in the 90’s that would go to lots of small towns, particularly in Washington state. There was, at the time, the whole notion that you can go to these communities and save them by design.  A lot of them have lost their industries; they were river towns and people logged, or fished…those economies died.

The community then dies.

So we’re in this amazing valley or setting and what do we do?  Tourism. Immediately the main street programs help fortify the preservation of these towns—and I was into it.  At the time it seemed like the right thing to do.

Years later I’m going back and looking at the projects we did.  My critique is, they are pastiche.  They are cardboard facades.  The real town is a block behind them, and it’s still awful, in trouble.   So we didn’t help the people who live there, the thing that was supposed to be helped.”

Hood says the reasons people do choose to live in Jackson Hole are clear.  Safety is big, he says, and that feeling of safety springs in large part from how we control growth.

“It is a gift to have the ability to just walk around without fear and collision.  Last night I saw a woman running in the near dark, without street lights, without fear.  Wow.  She’s safe, there’s no traffic, the landscape is still visible, and she wants to be there.

I could not do this where I live.  Those are the kind of experiences to save.   The ability to navigate the landscape at night!  But more people, more traffic—more security and more lights come in. Success breeds more demand. It’s a circle.   I asked for a room on the upper floors of my hotel, facing the mountains, so I could take that in.  That’s the experience!  I know why people live here.”

To find out more about Walter J. Hood and his work, log onto his website here.

Post Script:  The Jackson Hole Art Blog is VERY happy to hear of Blaize Oswald’s encouraging progress as he recovers from a bad fall from a ski chairlift.   Our prayers and best wishes go out to the Oswald Family.

I don’t have many answers, but I do have lots of questions. Jackson’s sustainable and artistic efforts should fuse. But how? What models are out there in the world that we can study, even emulate?

Jackson’s future, in many ways, depends on the questions we ask. We should be asking more “baby step” questions and the larger ideals will naturally evolve. Just the other day, the Grand Teton Music Festival announced some news: Anonymous pledges (signaling that donors  don’t wish to be placed on pedestals for their contributions) totaling $3.5 million will establish a Housing Fund that will support its participating artists and stabilize “the largest line item in the Festival’s budget.”

The money is out there. Affordable housing, one of our biggest crises, will be available where the Festival is, in Teton Village. Where the artists actually work. In theory, not a lot of additional traffic. Green.

If we’re not going to create better mass transit opportunities, we’d better put housing where workers work.

I did not attend Jackson’s recent Energy Summit. No doubt I missed a lot of cool interaction, scintillating discussion, theory, science, inspiring vision, good networking and even a photo op or two.

The questions that formed in my mind, that weren’t answered to my satisfaction prior to the Summit, are these:

What was its cost?  Will Summit organizers offer up a financial report of this and any subsequent summits, as it is “for-profit” and not “non-profit?”

Who receives any fees the community pays out to the Summit? Why should the community contribute to it now, rather than to established initiatives? Perhaps it’s simply a choice, but am I the only one feeling stretched?  And kind of guilty just for sometimes having to say “no?”   In this economy, I’d love a time line for practical Summit results related to Jackson.

How big was this summit’s carbon footprint?

Are our new, empty buildings green? Are they going to be made green before or after they’re occupied?  What is the plan to fill all these empty spaces?  Is anyone considering reducing rents in exchange for tax credits, in order to attract new businesses that would provide good jobs?

How do such summits aid or detract from efforts to resolve, in a financially prudent way, our Comprehensive Plan?  Do they address land use? What is the interface with the planning process?

Will we price out middle class families looking for memorable, but affordable experiences here? If we can’t offer lodging under $400 a night, “regular” people can’t visit. And if they don’t visit, they won’t know the valley, or feel any impetus to protect it. How can we move forward with being green and ensure keeping it “real?”

Many less sexy communities without real estate hyper-spikes haven’t crashed as hard as Jackson.  How will we address that?

A tunnel running under Teton Pass would provide safer and faster commutes, run beneath habitat, and balance real estate values. On this side of the Pass, values would come down a bit.  Over in Idaho, they’d go up a bit because Jackson Hole would be more accessible. We’d give the mountain back to wildlife.  Mass transit would operate more efficiently.  That road is treacherous.  Avalanche emergencies and related deaths would be reduced.

Ted Kerasote once suggested a tunnel, in lieu of a bridge, for GTNP. How about a tunnel to go under that freakin’ Pass?

“The Earth is at a crossroads never before experienced. My hope is that we begin a new path, one of enlightenment, understanding, appreciation, and tolerance for all living things.” - Tom Mangelsen.

Here in Jackson Hole, wildlife photographer Tom Mangelsen needs no introduction.  Our arts, particularly our conservation-based arts, have long looked to his intuitive, prescient practice of seeking out species and their habitats around the globe.   Tom Mangelsen is a given, thank goodness. But preservation of wildlife, its assured survival, will never be a “given.”  We are responsible, and Mangelsen has taken up the sword.  He won’t put it down.

His awards include “Outstanding Nature Photographer of the Year” honors from the North American Nature Photographer Association and “Wildlife Photographer of the Year” from the BBC.

So welcome the chance to take in his work - a significant and renowned oeuvre - and reconnect to the wildlife and landscapes Mangelsen spends eight months a year exploring.  The National Museum of Wildlife Art opens “On the Natural World: Photographs by Thomas D. Mangelsen,” on October 1.  The exhibition remains up through April 25, 2010.

“These animals, even the most seemingly insignificant ones, are the barometer of the health of this planet,” says Mangelsen.  “It doesn’t take long to realize that we are on that same chain, we are all linked in nature.”

I am the proud owner of Mangelsen’s quintessential book, “The Natural World.” It is a prized possession.  Through his looking glass I peer. I close my eyes, fan the pages and stop.  I do this several times, opening my eyes to see where I’ve landed.

Lord, he’s been written about.  But my guess is, Tom (May I call you “Tom?”) is most proud of his connection to Jane Goodall, Founder of the Jane Goodall Institute and a UN Messenger of Peace. She thanks Tom for his “magnificent enterprise,” and she speaks of his work:

“There I found myself in a magic place, for the breathtaking photographs around the walls transported me to faraway countries, some loved and familiar so that looking at them woke a yearning to be back, others that provided tantalizing images of other worlds I had yet to experience.  Here, at last, were photographs that had captured…the very essence of the wilderness scenes depicted.”

I wish I could be there this Thursday, but I’m traveling.  You all go, you hear?   What better place to take in Mangelsen’s work than within the rustic stone walls of the Museum, crouched on its butte like a watchful cougar?

For information, log on to www.wildlifeart.org or phone 307.733.5771.

Greg Woodard’s “Native Americana,” an exhibition of his new sculptural works, opens with an artist’s reception at Altamira Fine Art on Thursday, September 17, 2-4:00 pm.   The show, currently on display, remains up through September 21.

Woodard is largely self-taught. I’ve chosen to share his portrayal of a wolf, “Last Stand,” carved from apricot wood, because the continued successful sustaining of our region’s wolf population is, currently, at the top of conservationist’s lists.  But Woodard is widely known for keenly specific bird sculptures.   A master falconer, Woodard has been a contender in the Ward World Competition in Ocean City, MD, recognized as the most prestigious bird carving competition in the world.   That is big stuff.

The arts overlap with with conservation and conscientious hunting.  We can all co-exist if we are mindful and creative.   As Woodard notes, understanding environment, habits and characteristics of wildlife is crucial to us, crucial to survival.  His love of the wild is present in his work.

For information, email connect@altamiraart.com.

Item #2:

Chris Burch sends this headline:

“THESE ARE THE PEOPLE IN YOUR NEIGHBORHOOD: CENTER OF WONDER SHOW FOCUSES ON COMMUNITY DURING FALL ARTS FESTIVAL!”

Where: Lyndsay McCandless Contemporary, 130 South Jackson Street
When: September 11, 5-8 p.m.  (Palates & Palettes Night!)
Sponsors: Center of Wonder, LMC,  Art Association,  Community Foundation, Rocky Mountain Bank, Wyoming Arts Council, National Endowment for the Arts.

Many locals have a hidden–or not so hidden–creative side.  You probably know some of them, but others come as a surprise.   This exhibit, curated by Christian Burch, consists of 30 wooden silhouettes of these secret creative people.

Maybe they can be placed around downtown Jackson?   Our version of NYC’s bronze, life-sized sculptures of businessmen and other citizens, sprinkled around that city.   A nice echo of last winter’s cut-out wildlife figures spread around Wilson and its environs.

Says Burch, ” The show, … in collaboration with Bland Hoke and The Center of Wonder, consists of thirty wooden silhouettes of Jackson Hole citizens painted by an equal number of Jackson’s own local artists. The free-standing figures have been painted so that one side represents what is known of the person, while the other side is painted to reveal something that might not be known. “  Works will be auctioned off to benefit non-profits chosen by the artists.

Information about public art programs will be on display and computers will be available for people to comment on the Teton County Comprehensive Plan review.

Item #3  (excuse the black text…hey, it stands out!)

Teton Artlab spotlights favorite local artist Craig Spankie, on September 11.  Jackson natives Mark and Wade Dunstan and Abbie Miller contribute, too.  Mark and Wade are the children of Kaidi Dunstan and grandkids of Art Association founder Georgie Morgan. (Abbie is making a huge inflatable dress!  Heck yes. - TW) The opening takes place during the FAF festivities that evening.   But don’t call Travis, he has a new baby.  Call Spankie, now an old hand with babies: 699-0687.

Item #4

Came across a headline the other day about Scottsdale, Arizona’s Museum of Contemporary Art. Its attendance “surged” and grew by more than 6,000 visitors since the economic bomb fell, and the museum has enjoyed more than 40,000 visitors in the past fiscal year.  That’s more than last year, but less than its 2005-2006 high, a 47,291 visitor count. The link to that article is here.

The Jackson Hole Art Association addresses global warming with its summer exhibition GAIA and Global Warming: Women Artists Champion Nature, kicking off with a free “art talk” at the Center for the Arts Theater on June 24, beginning at 7:30 pm.    The show opens June 26 with a 5:30 pm artists’ reception at Artspace; the work remains on display through September 27, 2009.

Curated by Lowery Stokes Sims, GAIA looks at climate change through the eye of the arts.  In other words, this is not an exhibit about climate change; it is a show examining–considering–the myriad ways the arts have explored themes of global warming, sustainability (which, in its true sense, refers to any activity or practice that, no matter how often executed, never leaves a corrosive environmental trace) and responsibility.

Hope Sandrow, Peggy Diggs, Margaret and Christine Wertheim (of the Institute for Figuring), Nancy Macko and Judy Cotton are participating artists.

So, GAIA is not land art–art that disappears or transforms–nor is it work designed for a specific public installation. The show is at once a retrospective and commentary. Tracing the “explosion” of enviro-art back to 2006, GAIA embraces the concept that artists are at the vanguard of environmentalism.  Creativity and its derivative tactile arts reflect our experience of the world around us.

The Art Association notes that collaborations with “….scientists, statisticians, public policy wonks, municipal officials and arts organizations (has) set the protocol for this genre of art making. Artists thus have been at the vanguard of concretizing (sic) scientific, social, political and economic theory around the environment into specific projects which they have situated in venues for maximum exposure to the public.”

June 24th’s free panel discussion features moderator Lowery Stokes Sims, forest ecologist Nalini Nadkarni, and artists Nancy Macko, Susan Thulin and Lyndsay McCandless.

For more information, phone the Art Association at 307.733.6379.

“The more artists use and understand color, the more they learn about nature; what’s really going on. Why is it doing what it’s doing?  We are painting with knowledge.  We are not guessing.    I used to spend hours studying light on the mountains—why is it doing what it’s doing?

And you ask, why are we painting the same things over and over again?  We aren’t.  Yes, a lot of people paint the Tetons, but if you lined up every one of those paintings, each is different.  Why?  Because either they’re painting the WOW or trying to paint something they can sell for the market.  I’d rather paint the WOW.  I love painting Buck Mountain.   I’m one of the only ones who paint Buck Mountain and I probably own most of my paintings of Buck Mountain.   I’ve only sold two in 36 years.  But I’ll keep painting Buck Mountain because I love painting it. ” - Greg McHuron, Founder, “Artists in the Park”

Fred Kingwill. Greg McHuron. Jennifer Hoffman.  Lee Carlman Riddell.   These are 2009’s Grand Teton Association “Artists in the Park,” and one of these local artists will be on location the second Saturday of every month—June 13 is Kingwill’s stand–so that anyone may watch talented artists put brush to canvas, creating painterly snapshots and adding to the Park’s rich art history.  2009’s painting schedule continues thusly:

July 11 – Greg McHuron

August 8 – Jennifer Hoffman

September 12 – Lee Carlman Riddell

Artists choose a favorite place and time to execute plein air painting demonstrations for the public.  Wonderfully accessible, artists answer questions regarding inspirations and creative processes.  These plein air demonstrations are free to the public.

The  series, officially called the “Art in the Environment Program”, was founded in the early 1970’s by Greg McHuron and Conrad Schwiering as a way to bring the public free access to some of Jackson’s most talented natural artists.  Funded by the Grand Teton Association, the series underlines appreciation, understanding and enjoyment of the Grand Teton National Park and the Greater Yellowstone Area.

For over 40 years, Fred Kingwell has been painting his watercolors of the Tetons and other locations.  (We’ve had so much rain I advise checking with GTA about rain dates.)   Weather permitting, you will find Kingwill at the Oxbow of the Snake River in Grand Teton National Park on Saturday, June 13, from 9am-noon. Visitors can park at the Oxbow Bend Parking lot, 2.5 miles from the Moran Park entrance.  Look for the Artist banner.

For information, contact Jan Lynch at 307.739-3406 or Liza Millet at 917.864-9395.

Lots and lots of National Museum of Wildlife Art news and updates!   Here is a full list of activities related to our museum on the hill.

#1:  Dr. Seuss!

Whose childhood–and by extension, adulthood–has not been charmed by Theodor Geisel’s opus?  We all occasionally find ourselves thinking “Seussical.”

“The Lorax: Original Illustrations by Dr. Seuss” is on display at the museum through September 7.   NMWA notes that the Lorax’s tale is a cautionary one, a tale ahead of its time, warning us of our own penchant for wrecking our beloved environment.   The exhibit gives us access to Seuss’ process, from conceptual sketches to to camera-ready line art.  Anthropormorphism of wildlife and our relationship to the natural world are the coal in creative story-telling engines; Disney has built an empire around these themes.   Stand out exhibit characters include Swomee-Swans and Humming-Fish.

“Seuss was not one to shy away from contemporary topics or social commentary. The Lorax is among his most pointed, taking to task a company whose greed causes grave environmental harm,” notes the Museum. ” This exhibit combines original art as it probes humanity’s relationship with nature, making a perfect match for the National Museum of Wildlife Art.”  The exhibit is on loan from the Lyndon Baines Johnson Library & Museum.

Special fun-for-kids activities tied to Seuss’s art will be offered throughout the Museum. The Lorax exhibition is included in Museum admission: $10 for adults, $5 for kids 5-18, and free for children under 5. A family rate of $30 for the first two adults, first two children, and $1 for each additional child helps make the Museum affordable for larger families.

#2:  Out of the Box!

NMWA’s biennial “Out of the Box Show and Auction” is one of the museum’s best-loved events.  This year, the show and sale takes place Friday, June 12 and includes over 115 creatively altered boxes by regionally and nationally acclaimed artists.   Prices have typically ranged from an affordable $25 to $4,000 and more.  Proceeds support the Museum’s adult and youth education programs.

Each box is unique, and artists are invited to work in any medium as long as the work retains its function as a box.  The box artworks will be auctioned by auctioneer Jim Loose, and the evening’s M.C. is KMTN’s “Fish.”   Of course, there are door prizes: two CityPass books, a two-hour art appraisal by Art Appraisals of Jackson Hole, LLC, two bird-themed notions boxes and a tour of the newly opened Jackson Hole Raptor Center with guide Roger Smith.

Volunteer Chair Ann Nelson notes the event is a labor of love, with 15 volunteers devoting much of the last two years organizing the show.    “The community of Jackson Hole anticipates Out of the Box with great enthusiasm; this show will have something for everyone,” says Nelson.

Out of the Box is free for museum members, $7 for non-members; free for children.  Event admission includes light hors d’oeuvres and a cash bar.  Doors open at 5:30 p.m.    733-5771.

#3: Wyoming 2009 Junior Duck Stamp Winners!

Through August 23, take time to visit this year’s entries and winners of the Wyoming Federal Junior Duck Stamp Contest. Now in its 15th year, this exceptional program, a national art competition for students in grades K - 12 simultaneously teaches art, conservation of wetlands and natural resources, and awareness skills.

The exhibit is traditionally on display in the Museum’s King Gallery; check with the front desk to confirm.   The list of winners is long, and every entry is a winner in itself.

The following information on is provided by the Museum.

Eighteen year-old Bryant Helm, of Cokeville, Wyoming, received the 2009 Best of Show award for his painting, “Provocative.”  His oil painting depicts a striking portrait of a Long-tailed Duck.  Bryant’s painting represented Wyoming at the Federal Jr. Duck Stamp contest Wednesday, April 22, 2009, at the Smithsonian National Postal Museum in Washington, D.C. The winner of the national competition will receive $5,000, a trip to our nation’s capital along with a parent and the art teacher, and have his or her artwork used to make the 2009-2010 Junior Duck Stamp.  Proceeds from the sale of the Junior Duck Stamps, which cost $5.00, support conservation education.

Baily Schupp, a eight year-old student from Pinedale, for the second year in a row,  won the 2009 Betty Nelson Artistic Promise Award for the best art in the youngest age group.  The Betty Nelson Artistic Promise Award was established eight years ago to recognize the artistic accomplishment of students in the K-3rd grade age group and to honor the late Betty Nelson, a generous supporter of the Junior Duck Stamp program.

The 1st through 3rd place Wyoming winners of the Jr. Duck Stamp contest can be viewed online on the Museum’s web site, WildlifeArt.org.  The 1st, 2nd, and 3rd place contest winners will be honored at a dinner and awards ceremony at the National Museum of Wildlife Art on Saturday July 18, 2009.

For more information, please contact Amy Goicoechea at (307) 732-5435.

Photographer Robert Turner’s large format, color landscape photography show “Rare Places in a Rare Light” is on display at the Buffalo Bill Cody Historical Center in Cody, Wyoming.   It remains on display in the BBHC’s John Bunker Sand Photography Gallery through July 31.

Forty-three images make up the show, which has traveled to notable natural history museums at Harvard University and the Mumm Napa Fine Art Photography Gallery. The exhibit showcases Turner’s landscape shots of vistas in Utah, California, Maine and New Mexico…and of Wyoming’s Bridger-Teton National Forest and Yellowstone National Park.

“There are times when my camera frames a scene that sweeps 50 miles to the horizon without a trace of human life. Those times are rare and thrilling,” says Robert “Bob” Turner. “More often, I work to frame out the footprint of man on the landscape.”

I’m not familiar with any mantras saying human beings should be included in wildlife photography in order to show scale, even though Turner says one exists.  If it does, he’s not a disciple of that photography sect.

” As a species, we have the capacity to respond to the essence of wildness in a place, even if that place is only an island in the larger sea of human commotion,” says Turner.  “When [a photograph] works, it is often because I’ve managed to capture a fleeting moment of light, color, motion, or stillness that gives the image a sense of heightened reality. I’m left feeling that I have witnessed something that has transcended the realm of ordinary experience.”

The historical center’s education department is working with Turner for lecture and workshop opportunities in late July. Details will be forthcoming later this spring. Monitor www.bbhc.org for more information.

An affiliate of the Smithsonian Institution, the BBHC is open 10 a.m. – 5 p.m. daily.  For general information, visit www.bbhc.org or call 307.587.4771.

Public Art and Placemaking are, as many of us in the arts community have been saying, inextricable from contemporary, smart, even green, urban growth.  Right now, the Teton County Comprehensive Plan is available to for the public to review.  This is our chance to comment on the way we will grow, not only quantitatively, but qualitatively.   Quality urban growth must include public urban spaces and public art.

If Jackson Hole’s citizens do not make reviewing this plan a priority, we essentially determine not to vote.  And those of us determining not to vote lose a lot of “street cred.”   Writing letters to the editor is a crucial public right;  writing them when you’ve opted not to be a part of the process by showing up at town meetings or workshops is a bit fraudulent.  The Comprehensive Planning process has been activated for many, many months.

YOU are the Plan.

I know it’s hard; but make this a priority.  Here’s a way to start.

TUESDAY, MAY 12, beginning at 5:30 p.m., attend a public meeting at the CENTER FOR THE ARTS. The meeting takes place on the Center’s third floor, in Teton Art Lab’s new space.  The Art Association’s digital photography studio will be available for those wanting to contribute comments electronically.   Members of our arts community will ask questions and submit comments on the inclusion of public art and placemaking in Teton County’s Comprehensive Plan.  Please try and make time to study Themes 3 and 7, in particular.

Preserving environment and quality of place, managing growth, and creating a more viable, broad-based economy are Jackson’s great challenges. Most crucial is ensuring we promote and protect our wildlife, its habitat and other environmentally sensitive areas.  In our region, the arts are a keystone in preserving place.  Although our Town Square’s monument,  various land art and myriad creative educational projects provide continual reminders of our inherent love for the arts, we’ve so far not included researching and moving towards making the arts a part of our “constitution,” as it were.   We can remind ourselves and all visitors of this history by including beautiful and lasting public place making in our Comprehensive Plan.   Such planning aids in building tourism and strong market values. Think logo.

Art captures the essence of the places dear to our hearts.  Successful public art resonates on a national level.   Our traditional themes may be translated traditionally; they may also be translated using contemporary aesthetics and materials.

We must not only include the words.  We must decide upon a logical process of implementation.  Without implementation any plan is simply an exercise.

For information, contact Don Kushner at don@jhcenterforthearts.org or Carrie Geracie at carrie@centerofwonder.org.

Where is the Spiral Jetty, perhaps the most famous land art sculpture, located?

The Great Salt Lake.

You probably knew that.

The Jetty is immediately identifiable with Utah’s Great Salt Lake, a memorable icon with a very positive connotation.  We connect forward-thinking creativity and environmentalism with this significant earth art.

The jetty is a giant earth logo.

The concept of Land Art appeared in the U.S. ..in the 60’s!  Of course.  In its purest sense earth is linked to the creative process, and becomes the art.  Land art can erode over time, be ephemeral, and leave us with only the memory of the work. Made entirely of earth elements, land art is truly sustainable because no matter how long it survives or transforms, no ecological harm is done.

Sculpture gardens are more permanent outdoor projects; they also create a strong, identifiable sense of place.   Google ’sculpture gardens’ and one of the first items you’ll come across is the Sculpture Parks and Gardens Directory,  provided by the International Sculpture Center.   The directory displays an emerald world map, and countries with notable sculpture gardens are indicated.  I clicked on USA, and up popped a map of the United States.  States with documented sculpture gardens had a yellow dot hovering o’er.

The map seems to indicate Jackson Hole, Wyoming has a world-renowned sculpture garden! A yellow dot floats above Wyoming’s upper left corner.  Click on that, however, and a link Colorado’s Museum of Outdoor Arts window opens.

MOA’s history vitae page tells us that the non-profit is a “…synthesis of fine art, architecture, and landscape design integrated into the community and business environment.  It is fully accessible to the public, exemplifying the belief that “art is a part of everyday life.”

Utilizing a One-Percent-for-Art program–Seattle’s program is a prominent example–the organization’s founders purchased commissioned art for site-specific projects.

Our town of Jackson seems a good place to create a stronger sense of place through incorporating new public placemaking art that is accessible to visitors and residents, and that interprets traditional themes and values in contemporary ways.  Outdoor art allows everyone to take it in on their own terms.  Yes, we’re in a recession.  What better time to re-think our downtown and what it might offer to us, and to visitors?