Tag Archives: social justice

Rice University Art Exhibition Focuses On Human Body & Land Connections

Resonant Earth: Contemporary Perspectives on Land and Body features works from Kelly Akashi, Lisa Alvarado, Eddie Rodolfo Aparicio, Andrea Chung, Sky Hopinka, and Anna Mayer On view through August 17, 2024.
Kelly Akashi, Life Forms, 2022. Collection of Barbara and Michael Gamson. Courtesy of the artist. Photo by Paul Salveson.
March, 2024 [Houston, TX]— The Moody Center for the Arts at Rice University announces the exhibition Resonant Earth: Contemporary Perspectives on Land and Body opening May 31 and on view through August 17, 2024. Bringing together new and recent work by six contemporary artists based in the United States, the exhibition explores vital connections between the human body and the land. This focused presentation emphasizes how art and artists can build awareness toward integrated ecosystems in the face of intergenerational trauma, continued exploitation of the Earth’s resources, and climate change. 

Featured artists include Kelly Akashi, Lisa Alvarado, Eddie Rodolfo Aparicio, Andrea Chung, Sky Hopinka, and Anna Mayer. Spanning a variety of media, including sculpture, painting, ceramics, collage, photography, video, and sound, the presentation also features two site-specific interventions commissioned by the Moody. Lisa Alvarado will create a monumental wall mural and Anna Mayer will mount an installation with locally sourced clay consisting of more than fifty new objects. The diverse practices presented in Resonant Earth demonstrate a critical engagement with histories of the land, primarily in the Western and Southern United States. Collectively, the exhibition addresses the local environment while considering the forced migration and displacement of people and plants across geographies.  

Executive Director Alison Weaver notes, “This project foregrounds artworks that speak to our lived experience in the United States, highlighting how personal and social histories shape our natural surroundings and our individual bodies. This summer we look forward to welcoming visitors who bring their own experiences to the galleries.” 
Sky Hopinka, Mnemonics of Shape and Reason,2022. Still. Courtesy of the artist.
About the Exhibition Resonant Earth: Contemporary Perspectives on Land and Body seeks to illuminate the intertwined social and material histories of specific ecologies, ranging from farms along the US-Mexico border, to former Japanese American internment camps in Arizona, to the extraction of land in and around Houston. With geographical references that privilege biological memory and somatically inherited knowledge over a dominant linear history, these artists highlight the intergenerational pain of displacement and the healing power of reconnection to our place on the planet.
The artworks on view echo our fraught engagement with the environment, while implying webs of interdependence in which the natural and the cultural are inseparable. The six selected artists draw on Indigenous and diasporic forms of knowledge, culture, and materials to envision modes of transformation and regeneration in relation to ongoing struggles for environmental and social justice. 
A selection of new and recent work by Kelly Akashi underscores the artist’s interest in temporality and memory as contained in the land and the body. Her sculptural work incorporates a range of material processes and is installed spatially as a constellation of objects that reference her personal and family history as well as the passage of time, the ephemerality of the human body, and the impermanence of the natural world. For example, in Conjoined Tumbleweeds, Akashi cast entangled plants growing at the site of a Japanese American incarceration camp in Poston, AZ. The bronze sculpture refers to her father’s imprisonment there during World War II.
A cast of the artist’s own body, fragmented, appears as a blue crystal hand in Inheritance. Adorned with Akashi’s grandmother’s ring, the fingers wrap around a stone from Poston, invoking the biological memory of the body as well as geological time.  Through double-sided hanging paintings, and a major site-specific wall mural accompanied by a sound installation, artist and musician 

Lisa Alvarado explores social histories of the land, including the Chicana/o Movement and her own family’s experience along the US-Mexico border. Her free-hanging abstract paintings allude to generations of migrant farmers in the region, while referencing textile traditions and muralism of the Americas.

Compositionally anchored at the corner of the gallery space and expanding outward along horizontal and vertical planes, Alvarado’s site-specific mural suggests “being in-between,” both spatially and conceptually. In the monumental painting that encompasses the viewer, Alvarado also considers meridians—both celestial, in relation to one’s position on Earth and the sky, and those used in traditional non-Western medicine to trace the pathways within one’s own body. Cast from the trunks of non-native trees in Los Angeles, large-scale sculptural works from Eddie Rodolfo Aparicio’s Caucho (Rubber) series reference intertwined histories of plants and people. The artist, whose family is from El Salvador, considers experiences of migration, solidarity, and civil war that resonate with some Central American communities in Los Angeles.
Deeply invested in the social histories of materials, Aparicio’s artistic media suggests layers of meaning and the inseparability of the natural and the cultural. For instance, his use of rubber, which is made from the bloodlike sap of trees, recalls its importance as an Indigenous Mesoamerican technology and subsequent exploitation by colonialist extraction and trade. An immersive planetarium installation together with collages by Andrea Chung reflect the interconnected histories of materials, processes, and places of the island nations in the Caribbean Sea and Indian Ocean. In her research-based practice, Chung often subverts tools of European colonialism while considering the multiplicity of the relationships that enslaved people had with the Earth. Inspired by star charts, and seeking to invert colonial maps, The Westerlies: Prevailing the Winds is a dome structure shrouded in cyanotype canvas that invites the viewer to be surrounded by the night sky and ocean as both expanse and enclosure.
In collages featuring late-nineteenth-century ethnographic photographs of African women, Chung adorns the images with intricate beadwork, gold ink, and reproductions of delicate flora atop traditional birthing cloth, exploring the relationship between the people depicted and the land. Videos by filmmaker, photographer, and poet Sky Hopinka portray landscapes traversed by the artist, interweaving personal and collective memory. A member of the Ho-Chunk Nation of Wisconsin and the Pechanga Band of Luiseño Indians, Hopinka explores Indigenous homeland and language through rhythmic and poetic accounts. In the selected videos, the artist layers visual and audio recordings, music, and text, to consider intergenerational connections to a place as well as the ongoing effects of colonialism while prompting the viewer to consider one’s own relationship to landscape and memory. 
Twenty-five pairs of newly created wall-mounted ceramic vessels and sculptures will be part of a site-specific installation by Houston-based artist Anna Mayer, who engages with the land locally. Known for her social and sculptural practice, Mayer’s process involves analog firing techniques while critically engaging pre- and post-petroculture. In her hand-built ceramics, the artist incorporates what she calls “gleaned clay” (available as a by-product of other processes such as flooding, drought, or construction), sourced from the Houston area. 
Described as “implements” by the artist, the shapes of the wall-mounted objects reference drill bits and hammers as well as body parts and geological sediment. The series will be installed over photographic wallpaper depicting damp cement, suggesting water seeping up from the ground into the gallery. Additionally, Mayer is making new large-scale ceramic vessels that will be positioned among existing furniture at the Moody, underscoring their corporeal presence and connection. 
This new body of work examines how tools function as an extension of the body, commonly used to excavate earth, while reflecting a polyvalent approach to the land. Resonant Earth is curated by Molly Everett, Assistant Curator, Moody Center for the Arts. The exhibition is made possible by the City of Houston through Houston Arts Alliance, the Brad and Leslie Bucher Artist Endowment, the Tamara de Kuffner Fund, the Kilgore Endowment Fund, and the Sewall Endowment. 
Eddie Rodolfo Aparicio, Ruta de las flores, 2022. Courtesy of the artist and Commonwealth and Council, Los Angeles
About the Artists Kelly Akashi’s (b. 1983, Los Angeles, CA) major solo exhibition, Kelly Akashi: Formations, originated at the San José Museum of Art (2022–23), and traveled to the Frye Art Museum in Seattle (2023), and the Museum of Contemporary Art San Diego (2023–24). Her work is currently the subject of a solo presentation at the Henry Art Gallery, University of Washington, Seattle, WA (2023–24) and has been included in several group exhibitions internationally. Akashi is based in Los Angeles, CA. 

Lisa Alvarado (b. 1982, San Antonio, TX) has exhibited and performed widely, with recent solo exhibitions at the Wadsworth Atheneum Museum of Art, Hartford, CT (2023) and at REDCAT, Los Angeles, CA (2023). Originally from San Antonio, TX, Alvarado now lives and works in Chicago, IL. 

Eddie Rodolfo Aparicio’s (b. 1990, Los Angeles, CA) work is the subject of a solo exhibition at The Museum of Contemporary Art, Los Angeles, CA, on view until June 16, 2024. His work is featured in the 2024 Whitney Biennial in New York, NY, and Prospect.6 in New Orleans, LA. The artist lives and works in Los Angeles. 

Andrea Chung (b. 1978, Newark, NJ) has received solo presentations at the John Michael Kohler Arts Center, Sheboygan, WI (2023), the Art Gallery of Ontario, Toronto (2022), and the Museum of Contemporary Art San Diego, CA (2017). Her work has been exhibited at the J. Paul Getty Center, Los Angeles, CA (2021), the Pérez Art Museum, Miami, FL (2019), and in Prospect.4, New Orleans, LA (2017). Chung grew up in Sugar Land, TX, and is now based in San Diego, CA. 

Sky Hopinka’s (b. 1984, Ferndale, WA) work has been the subject of several solo exhibitions, including at the Museu de Arte de São Paulo, Brazil (2023), LUMA Arles, France (2022), Speed Art Museum, Louisville, KY (2022), and the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY (2020). He is a 2022 MacArthur Fellow. Hopinka recently joined the faculty at Harvard University as an Assistant Professor in the Department of Art, Film, and Visual Studies, and is currently based in Cambridge, MA. 

Anna Mayer’s (b. 1974, Macomb, IL) practice spans Los Angeles and Houston. Her recent solo presentation at the Houston Center for Contemporary Craft (2021) was preceded by exhibitions at Ballroom Marfa, Marfa, TX (2016–17), and the Hammer Museum, Los Angeles, CA (2012). She lives in Houston, TX, and is an Associate Professor of sculpture at the University of Houston. 
Lisa Alvarado, Spinning Echo, 2023. Courtesy the artist and Bridget Donahue, New York.
Special EventsFriday, May 31, 6–8 p.m. Opening Reception for Resonant Earth: Contemporary Perspectives on Land and Body Celebrate the start of the exhibition with the artists.Saturday, June 1, 4–6 p.m. Dimensions Variable: National Information Society Together with her band National Information Society, featured artist Lisa Alvarado will activate the gallery space with a special musical performance.Fridays, June 7, 14, 21, and 28 at 12 p.m.

The Moody Wellness Series Join us on Fridays in June for meditation and yoga in the galleries, offered through a collaboration with the Barbara and David Gibbs Recreation and Wellness Center. Saturdays, June 8, 15, 22, 29, 2–4 p.m.

Moody ArtLab Guests of all ages are invited to create a hands-on craft inspired by artwork featured in the summer exhibition at our self-guided activity station on Saturdays in June. Materials and instructions provided. Saturday, July 20, 12–5 p.m.

Summer Jam Community Day Celebrate summer at this all-day, family-friendly event featuring an indoor farmer’s market, art activities, and local food vendors. 
Featured image: Mnemonics. Sky Hopinka
About the Moody Center for the Arts Inaugurated in February 2017, the Moody Center for the Arts at Rice University is a state-of-the-art, non-collecting institution dedicated to transdisciplinary collaboration among the arts, sciences, and humanities. The 50,000-square-foot facility, designed by acclaimed Los Angeles-based architect Michael Maltzan, serves as an experimental platform for creating and presenting works in all disciplines, a flexible teaching space to encourage new modes of making, and a forum for creative partnerships with visiting national and international artists. The Moody is free and open to the public year-round.

Website: moody.rice.edu

Social Media: @theMoodyArtsPhone: +1 713.348.ARTSAddress: Moody Center for the Arts at Rice University6100 Main Street, MS-480, Houston, TX 77005(University Entrance 8, at University Boulevard and Stockton Street)

Hours & Admission Exhibition spaces are open to the public and free of charge Tuesday through Saturday from 10 a.m. to 5 p.m. and closed on Sundays, Mondays, and holidays. Events and programs are open to the public. For schedule, tickets, and prices as applicable, visit moody.rice.edu.

Directions & Parking The Moody Center for the Arts is located on the campus of Rice University and is best reached by using Campus Entrance 8 at the intersection of University Boulevard and Stockton Street. As you enter campus, the building is on the right, just past the Media Center. There is a dedicated parking lot adjacent to the building. Payment for the Moody Lot is by credit card only.
For campus maps, visit www.rice.edu/maps.

About Rice University Located on a 300-acre forested campus in Houston, Rice University is consistently ranked among the nation’s top 20 universities by U.S. News & World Report. Rice has highly respected schools of Architecture, Business, Continuing Studies, Engineering, Humanities, Music, Natural Sciences and Social Sciences and is home to the Baker Institute for Public Policy. With 3,879 undergraduates and 2,861 graduate students, Rice’s undergraduate student-to-faculty ratio is 6-to-1. Its residential college system builds close-knit communities and lifelong friendships, just one reason why Rice is ranked No. 1 for quality of life and for lots of race/class interaction and No. 2 for happiest students by the Princeton Review. Rice is also rated as the best value among private universities by Kiplinger’s Personal Finance.

Women Of 1970s & 1980s Punk Rock

Z.Z. “Carrot Woman” Howell

The punk rock scene of the 1970s and ’80s in Southern California is widely acknowledged as one of the most vibrant and creative periods in rock and roll.

Over the years, many books have come out exploring this explosive time in music and culture, but none have exclusively focused on the vitality and influence of the women who played such a crucial role in this incredibly dynamic movement.

“Almost a decade ago- IN THE SUMMER OF 2012, I attended an oral history workshop by the social justice organization Voice of Witness. I’m a librarian and professor at Santa Ana College and I participated in the workshop to discover projects I could do with students. I ended up imagining something entirely different: interviewing other women like me, now in our middle or later years, who grew up in the punk rock scene in Southern California. Did punk rock influence the rest of their lives? What attracted them to punk rock and how did they get involved? What was it like being a woman in the scene?

What you can now hold in your hands is the final result of a project that took several years and countless hours to complete.

How did I do it? I created a flyer about the project. I posted the flyer a few places around Orange County and Los Angeles and on Facebook. Women started contacting me to participate. I wrote up a list of questions and bought two digital recorders. I emailed some women directly and asked if they would be willing to participate. Then I started calling women and meeting them, mostly in their homes. A friend called it “punk rock anthropology.” I had no idea what an amazing experience this would be.

Stacy Russo has created a unique book about the punk rock era, focusing on the women who were such a huge part of it. We Were Going to Change the World: Interviews with Women From the 1970s & 1980s Southern California Punk Rock Scene (Santa Monica Press/2017) captures the stories of women who were active in the punk rock scene in Southern California during this historic time, adding an important voice to the cultural and musical record. Recommended reading. For the Silo, Trina Kaye.

Violence Against Women Costs Lesotho South Africa $113 Million USD Annually

Lesotho–South Africa relations - Wikipedia
Lesotho, South Africa- Commonwealth member.
A recent Commonwealth report has revealed violence against women and girls costs Lesotho more than $113 million (about 1.9 billion Lesotho loti) a year. The report estimates the total cost, including loss of income and expenses associated with medical, legal and police support, equates to around 5.5 per cent of Lesotho’s gross domestic product (GDP).

The cost of $113 million means each Lesotho citizen loses at least $50 every year to violence against women and girls.The cost of $113 million means each Lesotho citizen loses at least $50 every year to violence against women and girls.

The bulk – $45usd million – is attributed to legal protection, healthcare, social services and learning loss.

This is more than twice the amount – $21 million – Lesotho spent on health, education and energy in the last fiscal year. The report sets out policy recommendations for the health, education, legal and private sectors to better meet the needs of victims, which include: Updating the forms used for collecting data on violence against women and girls; Using digital services to collect and share the data with stakeholders; Training staff responsible for recording, analyzing and sharing data; Developing a broad approach involving all sectors to prevent the abuse; and making strategic shifts to allocate resources to carry out these recommendations.

Commonwealth Secretary-General Patricia Scotland said: “This report proves once again that ending violence against woman and girls is not only the right thing to do but it is also the smart thing to do and beneficial to us all. “Tackling this issue will prevent immense pain and suffering for individuals and communities and will also end the damage this violence does to our economies and prosperity. “As the first report of its kind to focus on Lesotho in this way, our intention is that it should provide the basis for designing more clearly focused national policies and programs, and help ensure that adequate resources are allocated for priorities such as training service providers.

“The findings put a price tag on the endemic scourge of gender-based violence, and demonstrate that the consequences of ignoring the problem are far higher than the cost of taking preventative and remedial action. “By providing the baseline for a series of periodic costing studies and practical intervention, we hope the report will help pave the way towards significant progress on eliminating violence against women and girls, thereby saving many lives.”

The loss of income for women who experience violence due to missed days of work and lost productivity comes to $22usd million annually. Income losses result in less spending which triggers a negative impact on commodity demand and supply of goods and services. Lesotho’s Minister of Gender and Youth, Sport and Recreation Mahali Phamotse said: “Violence against women and girls is a problem in Lesotho which affects national development.“

The report will help Lesotho come up with appropriate strategies that will help eradicate violence against women and girls as we are now aware of its causes and economic implications. “The report calls for immediate action through which my ministry will embark on a project to ensure the protection of women and girls.”

In Lesotho, about one in three women experience sexual or physical violence in their lifetime, similar to the global prevalence rate. The Commonwealth worked with Lesotho’s Ministry of Gender and Youth, Sport and Recreation to conduct the study and produce this report.

This is the second country report completed by the Commonwealth. The first was produced for Seychelles in 2018. Read: The Economic Cost of Violence Against Women and Girls: A Study of Lesotho 

The Commonwealth is a voluntary association of 54 independent and equal sovereign states and includes Canada. Our combined population is 2.4 billion, of which more than 60 per cent is aged 29 or under. The Commonwealth spans the globe and includes both advanced economies and developing countries. Thirty-two of our members are small states, many of which are island nations.

The Commonwealth Secretariat supports member countries to build democratic and inclusive institutions, strengthen governance and promote justice and human rights. Our work helps to grow economies and boost trade, deliver national resilience, empower young people, and address threats such as climate change, debt and inequality. Member countries are supported by a network of more than 80 intergovernmental, civil society, cultural and professional organisations.
 
For the Silo, Snober Abbasi.

Dominican Republic Province Altagracia Suffering With Poverty

Villa Altagracia is the easternmost province of the Dominican Republic. The name “La Altagracia” (High Grace) commemorates a painting, Our Lady of La Altagracia, brought from Spain in the early 16th century. Our Lady of La Altagracia is known to the Dominicans as a protector of the Island, to create miracles.

Our Lady of Altagracia Painting by Unknown Artist. Exhibited at Basilica Nuestra Senora de La Altagracia
Our Lady of Altagracia Painting by Unknown Artist. Exhibited at Basilica Nuestra Senora de La Altagracia

Altagracias 2

Sadly, as we drove up the hill of Altagracia, we couldn’t help but notice that a miracle is what this village needed the most. We noticed the roads were unpaved, uneven, and more so just paths of orange dirt. The houses are shacks, made of tree branches, plastic and debris from the streets, the bedrooms separated by tarps and bed sheets, sometimes, a single room holding a family of seven. As we made our way up, we spotted a young boy, fully nude – gripping onto his mother’s hand. She didn’t seem much more lively than the boy. Her skin was cracked and her spirit seemed tired and broken. These people aren’t living, they are merely surviving as best they can to provide for themselves, and their children.

La Altagracia is suffering from poverty.
Poverty. It isn’t being “broke”, it isn’t frugality, or living paycheck-to-paycheck, it isn’t going without your television for a month or cutting back on extravagances.
Poverty is real. It exists. For the people of La Altagracia, it is a normalcy, and it is a harsh reality. These people cannot turn on a sink to wash their hands or brush their teeth. They cannot flush a toilet or take a shower. They don’t have access to fresh, running water. In extreme hot temperatures, these people have to walk a mile and a half to get water from a lake and then walk back with only the amount of water they are able to carry. These people lack countless luxuries that most people take for granted, they don’t know anything else.

Any donations will be utilized to build a public restroom and a well in the village of Altagracia. In the future, we have planned on offering additional resources throughout the village. As for now, we are taking baby steps to provide them with necessities. You have the ability to provide our leaders of tomorrow with the resources they need to build their minds today. We need at least six notebooks per child, books, pens, and other basic school supplies – $10 per child is all it takes to change a life and provide an opportunity for a higher education. Your donations will help make this dream turn into the miracle this village so desperately needs.

Altagracias 3All donations will go out to the Village of Altagracia in Dominican Republic. Because of your generous giving, Villa Altagracia will be provided with water, a public restroom, educational resources, and an overall growth and unity in community living. For the Silo, Jessica Kirk.

Please visit their website at Altagracias.org 

Canada Migrant Worker Program Not Perfect But Seen As World Model

Migrant WorkerTORONTO, CANADA – The world’s most successful program connecting seasonal workers with agricultural employers has kicked into high gear.

Administered by Foreign Agricultural Resource Management Services (F.A.R.M.S.), the Seasonal Agricultural Worker Program (SAWP) links approximately 14,000 requests for seasonal workers with jobs at Ontario farms this growing season.

Not only does the 52-year-old program provide a long list of benefits to the workers and the farmers, but also it creates two Canadian jobs in the agrifood industry for every worker employed through SAWP at Ontario agricultural operations, says Ken Forth, president of F.A.R.M.S.

“Governments and agricultural organizations around the world are looking at this program as a model,” Forth says.  “For decades, this program has provided Ontario farmers a steady source of reliable labour as a supplement to local labour. At the same time it gives the seasonal workers well-paying employment, benefits and educational opportunities not available at home.”

Not without critics- the Seasonal Agri-worker program has been linked to the continued decline of the "family farm" and the continued trend of "farm industrialization"- See supplemental section link below CP
Not without critics- the Seasonal Agri-worker program has been linked to the continued decline of the “family farm” and the continued trend of “farm industrialization”- See supplemental section link below CP

Seasonal workers employed at Ontario farm operations through SAWP:

  • Sign contracts that guarantee them all the protections and benefits that Canadian workers receive, including WSIB, certain EI benefits and provincial health care coverage.
  • Receive an hourly wage rate set by Human Resources & Skills Development Canada.The hourly rate is not less than the provincial minimum wage rate or the local prevailing rate paid to Canadians doing the same job, whichever is greatest.
  • Earn up to five times more than they could in their own countries, which enables them to support their families, educate their children and buy and operate businesses and farms in their own countries.

Farmers have also realized great benefits from the program for more than 40 years, enabling them to hire staff that would otherwise be extremely challenging to find because of the ongoing shortage of suitable and available local Canadian workers.

Social justice groups point to concerns over health and safety
Social justice groups point to concerns over health and safety

“Ontario farmers pay the highest farm worker wages in North America and face intense competition from low-wage competitors,” Forth says. “Without this program, many Ontario farmers simply couldn’t continue to grow fruits and vegetables. They’d stop growing altogether or move into less labour-intensive crops.

About the Seasonal Agricultural Worker Program:

More information about Canada’s Seasonal Agricultural Worker Program (SAWP) can be found at www.farmsontario.ca

Supplemental- NSI study highlighting concerns related to the program’ http://www.nsi-ins.ca/wp-content/uploads/2012/10/2006-Migrant-Workers-in-Canada-A-review-of-the-Canadian-Seasonal-Agricultural-Workers-Program.pdf

Afraid to speak out? Some workers report that they are reluctant to address concerns out of fear of job loss
Afraid to speak out? Some workers report that they are reluctant to address concerns out of fear of job loss