Wednesday, April 17, 2013
Contact: Anita Posey Lowe at 530-878-8034,
What: Seventeen well known award winning foothill artists will be participating together in the 18th year of the North Auburn Art Studios Tour
When: Mother’s Day weekend, Saturday, May 11 and Sunday, May 12, 2013 from 10 am to 5 p.m.
Where: Visit www.northauburnartists.com for the map to the studios and a list of the artists or call 530-889-2002. The tour is free and all seventeen artists participating in our 18th Annual North Auburn Art Studios Tour are within a few miles of each other.
Who: Artists in the tour are: Laura Bennett – Photography, Cathy Cline ~ fine jewelry and enamels, Don Crawford ~ wood sculpture, David Crosby – Digital Photography, Marianne DeMartini ~ clay, Vincent DiLeo ~ photography, Patty Pieropan Dong ~ painting, block printing. Dirk Dusharme ~ photography, Reif Erickson ~ pastel, Rita Forman ~ lamp work glass jewelry, Sonja Hamilton ~ watercolor and silk scarves, Anita Posey-Lowe ~ clay, Janet and Rick Nicholson ~ blown glass, Barbra Paitich ~ silk painting with metal and glass accessories, Jennifer Riley ~ metal sculpture and Diane J Wood ~ kiln formed glass.
Monday, April 15, 2013
Visual Arts Development Project- “the Land” Rituals and traditions a two week artists in residency
May 13 – May 25th in Placer County.
|Altar Installation Site in Auburn|
Anita Posey- Lowe lives on three and a half archers in Placer County, where she has a potter’s studio, with several areas on her property for pit firing. She has whole-heartedly loaned the use of her land to The Gallery of Myth, Stories and Living Traditions to expand its outreach program, of workshops, outdoor altar installations, and to build a permanent structure that will be left on her land in the area we have proposed to erect the outdoor altar.
The artist has proposed that the panels and other elements of the installation be a temporary installation that will be deconstructed by the resident artist at the end of exhibition. The residency will be a series of workshops, intensive structure construction, clearing of the land for ceremonies, and artist constructing individual elements of the sculpture, independent studio, time for creative conversation and libations.
Collaborating Organization: Visual Arts Development Project
Alpha Bruton, Talver Germany-Miller, Anita Posey-Lowe, Andrea Porras (Yaya) , Ondrea Walker,
Primary focus for this project is:
1. Land Trust for Small Museum and Artist in Residency Projects
2. Research land acquisition, auctions, purchase land for permanent installations
3. Creating markers, for temporary installation
2013 TRAINING SCHEDULEMarch 23 – 25: Weekend Retreat Visual Arts Development Project,
March 30: De-installation Gallery of Myth, Stories and Living Traditions- and the.
April 1 – 30: Invitation to guest artists, facilitators, registration
May 11-12: North Auburn Studio’s Tour Mother’s Day Weekend
May 13 – 25: Building Living Sculpture Installation- Guest Artist and Preparatory
May 17 – 19: Weekend Retreat Workshop and Studio Intensive
May 18: Ceremony Begins
May 20 – 24: Installations, murals, layering of the Shell
May 25th Community Celebration
Envisioned to evoke the transformative value of historic and contemporary cultural traditions, MAP's Gallery uses the power of myth, stories and imagination to give voice to the universality of cultural traditions.
The gallery is an outreach program of the Metropolitan Arts Partnership (“MAP“) and is designed to provide a greater presence in the region. The Gallery of Myth, Stories and Living Traditions will soon expand to include a companion lecture, workshop and conference series.
The primary programs of MAP are its work place giving Arts Fund; the management of the local federal workplace giving program, the Combined Federal Campaign; and the gallery outreach program which was at the Arts Building in downtown Auburn, from 2006 – 2013.
The mission of the Metropolitan Arts Partnership is to support arts education and outreach programs for children and youth in schools, performance venues and neighborhood centers, which are provided by our members’ agencies. Members of MAP are all certified non-profit arts organizations based in El Dorado, Placer, Sacramento, Sutter, Yolo or Yuba Counties.
From 2006 until its closing in March of 2013 the MAP Gallery consisted of temporary installations which were curated by Founder and Executive Director Michelle Walker who was the Artistic Director of the Gallery, and Founder of the International Society of Altar Making. She facilitated Altar Making workshops since 1980. Michelle drew from her New Orleans ancestry and her interests in Ndebele, Hopi, Bon Po, Tibetan Tantric and Kundalini philosophies and practices; she integrated those elements into her personal altars and Altar Making over the years.
Co- curator Andrea “YaYa” Porras, is an artist and assistant to the Map Gallery, where she was mentored and guided by master-artist/Altar Maker Michelle Walker. YaYa in her own right has studied the traditions of her ancestry; she is an Aztecan dancer, African-modern dancer, actress, and a poet and altar artist from Sacramento California.
Gallery-Assistant Ondrea Walker- is an artist apprentice, and trained in concept development and installation by the International Society of Altar Making. She attended the San Francisco Art Academy where her concentration was in photography, photo documentary, and photo journalism.
PROPOSED INSTALLATION “the Land” Rituals and traditions Purification Ceremony Rituals and traditions associated with sweating vary regionally and culturally. Ceremonies often include traditional prayers and songs. In some cultures drumming and offerings to the spirit world may be part of the ceremony, or a sweat lodge ceremony may be a part of another, longer ceremony.
Some common practices and key elements associated with purification ceremonies include:
- Training - Most cultures that hold ceremonial sweats require that someone go through intensive training for many years to be allowed to lead a purification ceremony. One of the requirements is that the leader be able to pray and communicate fluently in the indigenous language of that culture, and that they understand how to conduct the ceremony safely. This leadership role is granted by the Elders of the community, not self-designated.
- Orientation – The door may face a sacred fire. The cardinal directions may have symbolism in the culture that is holding the purification ceremonies. The structure may be oriented within its environment for a specific purpose. Placement and orientation of the structure within its environment are often considered to facilitate the ceremony's connection with the spirit world, as well as practical considerations of usage.
- Construction – The purification ceremonies is generally built with great care, and with respect for the environment and for the materials being used. Many traditions construct the purification ceremonies in complete silence, some have a drum playing while they build, and other traditions have the builders fast during construction.
- Support – In many traditions, one or more persons will remain outside the structure to protect the ceremony, assist the participants, and aid purification ceremonies etiquette. Sometimes they will tend the fire and place the hot stones, if it is a structure that uses stones, though usually this is done by a designated fire keeper.
The initiative for community land trust was known as the Bhoodan or Land gift movement, in the 1950s and 1960s gathering people together and asking those with more land than they needed to give a portion of it to their poorer sisters and brothers, many of India's leaders participated in these walks from village to village .[i]
Seeing this, Vinoba altered the Boodan system to a Gramdan or Village gift system. All donated land was subsequently held by the village itself. The village would then lease the land to those capable of working it. The lease expired if the land was unused. The Gramdan movement inspired a series of regional village land trusts that anticipated Community Land Trusts in the United States.
The first organization to be labeled with the term 'community land trust' in the U.S., called New Communities, Inc., was founded with the purpose of helping African-American farmers in the rural South to gain access to farmland and to work it with security.
A precursor to this was the Celo Community in North Carolina, which was founded in 1937 by Arthur Ernest Morgan.
New communities: Robert Swann worked with Slater King, president of the Albany Movement and a cousin of Martin Luther King, Jr., Charles Sherrod, an organizer for the Student Nonviolent Coordinating Committee, and individuals from other southern civil rights organizations in the South to develop New Communities, Inc., "a nonprofit organization to hold land in perpetual trust for the permanent use of rural communities".[ii]
There are currently over 250 community land trusts in the United States. Fledgling CLT movements are also underway in England, Canada, Australia, Belgium, Kenya and New Zealand. In 2006, a national association was established in the United States to provide assistance and support for CLTs: the National Community Land Trust Network.[iii]
I am interested in developing a “Community Land Trusts and Art Place Making, to expand the MAP Gallery of Myth, Stories and Living Traditions in the acquisition of land ownership, to capture the value of public investment for long-term community benefit. Instead of leasing or renting gallery spaces for exhibition, the gallery would become land owners.
Conservation Land Trust: A land trust is a nonprofit organization that, as all or part of its mission, actively works to conserve land by undertaking or assisting in land or conservation easement acquisition, or by its stewardship of such land or easements.
Putting real estate assets into a land trust allows the owner to avoid probate, and save on estate taxes when the property passes to heirs. It will also protect the property from liens and judgments that might otherwise be brought against an owner. For partners and tenants in common, each owner is insulated from judgments. With a land trust, an owner can privately transfer their beneficial interest in the trust (the actual ownership) without it being reported to any governmental agencies. Lastly, with a land trust, a person’s ownership of a property remains confidential and does not appear in any county recorder's office or other publicly-accessible resource.
In particular, Community land trusts attempt to meet the needs of residents least served by the prevailing land market. Community land trusts help communities to: Gain control over local land use and reduce absentee ownership, provide affordable housing for lower income residents in the community, promote resident ownership and control of housing, keep housing affordable for future residents and builds a strong base for community action.