Support Hyperallergic’s independent arts journalism.
Long before North Americans could pick up tomato seedlings at their local hardware store, there was John Bartram. The 18th-century horticulturist supplied seeds to the likes of Thomas Jefferson and established the US’s first botanical garden near the Schuylkill River in Philadelphia. But what gardening enthusiasts mostly remember him for are his boxes — 3-x-2-1/2-foot containers that he carefully packed with plant specimens and then shipped off to prospective buyers in Europe.
Bartram’s boxes quite literally gave seed to a new European landscape peppered with American foliage — everything from morning glories to poison ivy. More recently, they have inspired a remarkable series of artworks at the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin.
It all began in June 2010, when a violent storm knocked down 13 varieties of trees in the 45-acre park called Bartram’s Garden that now occupies the botanist’s old estate in Philadelphia. The organization partnered with the local Center for Art in Wood and put out a call for artists to create modern remixes of Bartram’s boxes from the fallen timber. The results — 36 projects, first exhibited at the center last year — are incredibly thoughtful and detailed.
Highlights include Nathan Hansen’s “131 Rings” (2013), which features the remains of a 131-year-old tree; its ring-lined trunk has been sliced horizontally into several sections that rotate with the passing of time, so the very top layer makes one new revolution each year. Benn Colker‘s “Museum of the Maker’s Hand” (2013) is a miniature, traveling museum that contains several “gallery” boxes filled with tiny specimens symbolic of the creative act. Bartram, who had a deep appreciation for the little things in life, would no doubt have been impressed.
Bartram’s Boxes Remix continues at the Leigh Yawkey Woodson Art Museum (700 North 12th Street, Wausau, Wisconsin) through August 30.
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.
Starting Monday, readers can borrow one of 50 rare and out-of-print titles, mailed to them completely free of charge, from Saint Heron Library.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
This is Yuskavage’s great gift, turning upside down our settled ways of thinking and seeing and, with ease, transforming the vulgar and ridiculous into the sublime.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
While hardly about the pandemic, or any of the other crises so afflicting us, all are invoked in this exhibition, which is also often tender and profoundly soulful.
These glowing, dynamic artworks reproduce something of Bosch’s chaotic energy, but on an immersive, multi-sensory scale.
This week, addressing a transphobic comedy special on Netflix, the story behind KKK hoods, cultural identity fraud, an anti-Semitic take on modern art, and more.