Idea Entry #3: Culture

Dictionary.com defines culture as:

“the behaviors and beliefs characteristic of a particular social, ethnic, or age group: the youth culture; the drug culture.” There are many types of culture, heck, even the word culture can mean different things, to a scientist it can mean a sample in a dish. In Anthropology a week ago, our teacher posed the question “Is there an American Culture?” There were some that felt that there was one, but then most felt that our culture was just a bunch of different cultural elements culled together from different countries.

“Cultural Particularism (associated with Franz Boas, among others) emphasized the importance of studying each culture in itself, without trying to explain and/or understand it in some larger theoretical framework. This approach has been marked by such things as detailed data collection and the ideal of objective participant observation.”

Donohue-Lynch, Brian. "Cultural Particularism." Quinebaug Valley Community College. Web. 27 Sept. 2011. <http://www.qvctc.commnet.edu/brian/culpart.html>.

“Is there a global culture? If by a global culture we mean something akin to the culture of the nation-state writ large, then the answer is patently a negative one.”

Featherstone, Mike. Global Culture: Nationalism, Globalization and Modernity. London: SAGE Publications, 2002. Print.

Global Culture: Nationalism, Globalization and Modernity

Featherstone, Mike. Global Culture: Nationalism, Globalization and Modernity. London: SAGE Publications, 2002. Print.

This book discusses the idea of a global culture, is one possible? The author seems to think that if we were to consider a global culture, it would be like making a world state, which in reality, is very very unlikely. He suggests that we need to look into the grounds of the formation of cultural images. He also points out a challenge that has been created by people’s sudden interest in culture in the 80s in the sociology field. They must work to form modes of investigation into these global processes.

“Alain Touraine argues that the idea of revolution which has been at the heart of the Western representation of modernization entailed a belief in the logic of the system, a society without actors.” p.3

I am really curious about people’s views/understanding of culture, when my Anthropology teacher posed the question of an exclusively American culture, I was thrown by it. Most people felt that we do have an “American” culture, but if you think about it, it is really a collection of the best elements of other cultures combined into this hybrid culture. I think I want to get some ideas of what people think about culture, about this American culture, but also about what culture they identify with, whether it’s American, or another.

Image from: http://www.daily-quotes.net/culture-quotes/western-culture-quotes

This image is what reminds me of culture, Chinese New Year, Chinatown, Asian Culture at its finest for most people.

Lecture Questions/Response: Tony Matelli

Question 1:

Would you say that your work places a lot of importance on the objects in them?

Question 2:

How much does the site influence your site-specific projects? How do you feel about site specificity?

I was really looking forward to this lecture, there were some good moments and interesting things said. I always find lectures in different departments to be interesting, especially when you get into techniques and the artist's practice. I had no idea how intensive Matelli's work was, all the materials used. I also was so surprised to learn how many shows he has been in and how many places! When he opened up by saying he didn't really think about the lecture, I immediately was put off. I got this general feeling that he did not really care too much about his work. But as he spoke, I began to get a better picture of his work and practice, and I can appreciate it now.

I thought his piece "Josh" was incredibly interesting after he explained it, how he explained it really did it for me. There is such a deep meaning behind it, and it's really interesting to sit and think on it. He talked about how the figure was seemingly weightless, and symbolized being emptied of content, emotions, baggage, and being freed. An ascension.

Three words I think that describe his practice and work are:roles (roles of the viewer/observer in the work), representation (of people, things), intentionality (he felt that there needs to be a high degree of intentionality, things are there for a specific reason).

I feel that I have a better answer to my questions than I did when I was coming up with them. I got the general idea that in his public art works, the site was not the major factor in the piece. The "Stray Dog" piece was made to be moved around to different locations, not specific to any one particular place/city/country. In terms of the importance of the objects in his work, they are incredibly important. Matelli said there was power in representation, and that objects create a philosophical contemplation, and how they are represented can give a distance for contemplation. There is a high degree of intentionality, everything is there for a reason.

I'm not really sure what else I want to ask him about, I feel like my most important questions were answered quite satisfactorily.

Artist Entry #3: James Mollison

My mom sent me an email with a link to James Mollison’s “Where Children Sleep” that was spotlighted in the NY Times Lens Blog a few weeks ago. I really loved seeing the portraits of the children paired up with their rooms. Each and every child is unique with their spaces. With each of his projects, he looks at them in a different way, striving to find an angle that is not to be expected.

James Mollison was born in Kenya in 1973 and grew up in England. After studying Art and Design at Oxford Brookes University, and later film and photography at Newport School of Art and Design, he moved to Italy to work at Benetton’s creative lab, Fabrica. His work has been widely published throughout the world including by Colors, The New York Times Magazine, the Guardian magazine, The Paris Review, The New Yorker and Le Monde. His latest book Disciples was published in October 2008 following its’ first exhibition atHasted Hunt Gallery in New York. In 2007 he published The Memory of Pablo Escobar- the extraordinary story of ‘the richest and most violent gangster in history’ told by hundreds of photographs gathered by Mollison. It was the original follow-up to his work on the great apes – widely seen as an exhibition including at the Natural History Museum, London, and in the book James and Other Apes (Chris Boot, 2004). Mollison lives in Venice with his wife. -Bio from artist’s website: http://www.jamesmollison.com/biography.php

“As he considered how to represent needy children around the world, he wanted to avoid the common devices: pleading eyes, toothless smiles. When he visualized his own childhood, he realized that his bedroom said a lot about what sort of life he led. So he set out to find others.”

Macdonald, Kerri. "James Mollison's Photos of Children's Bedrooms Are a Commentary on Class and Poverty - NYTimes.com." Web log post. New York Times Photojournalism - Photography, Video and Visual Journalism Archives - Lens Blog - NYTimes.com. NY Times, 4 Aug. 2011. Web. 23 Sept. 2011.

This relates back to my idea post from last week on compassion fatigue. I like that Mollison found another way to represent children as he said above. It becomes increasingly difficult to keep people’s attention these days, especially when it seems like the news media just reports something to the point that people just get sick of it. So this approach that Mollison took is refreshing.

“It demonstrates the photographer’s unusual respect for the monkeys’ individual physiognomies–something that sets it apart from Jill Greenberg’s more exploitative animal work, which looks to other species primarily as mirrors in which to see cute reflections of human emotions. “James and Other Apes” reminds us that, although our gazes at animals normally stop short at classification or amusement, other creatures possess surprising degrees of individuality that only a field biologist or zookeeper normally takes the time to appreciate.”

"James Mollison at Hasted Hunt." Rev. of James and Other Apes. Web log post. Page 291. 24 June 2004. Web. 23 Sept. 2011.

The quote above is from a review of Mollison’s show at Hasted Hunt back in 2004. The show had The Disciples and James and Other Apes hung at the same time, which made for a very interesting comparison between the two series. We were just discussing Primatology in Anthropology this week, and we watched a video about a chimpanzee that was taught sign language, and it was fascinating. The chimp actually taught many chimpanzees it came in contact with over the years. I think it is interesting that Mollison focused on the individuality of the various primates he photographed, giving them even more relation to us in terms of individuality and such.

Kaya, 4, Tokyo, Japan

Digital C-type prints, 50x68cm / 120x164cm James

Artist’s Site: http://www.jamesmollison.com/project_apes.php

Gallery Site: http://www.flatlandgallery.com/index.php5

NY Times Lens Blog article/review of Where Children Sleep: http://lens.blogs.nytimes.com/2011/08/04/where-children-sleep/

Idea Entry #2: Fatigue

More specifically from there, Compassion Fatigue.

“‘While we debate how to improve our health care system, build the information superhighway, and protect the spotted owl, the four horsemen of the Apocalypse - War, Disease, Famine, and Death - gallop. . . leaving behind scenes of unspeakable horror which occasionally burst onto our TV screens or momentarily claim our attention.’

J. R. Bullington

‘No Easy Solutions to End Suffering’

The Virginian Pilot, September 4, 1994”

Moeller, Susan D. "Riding With the Four Horsemen." Introduction. Compassion Fatigue: How the Media Sell Disease, Famine, War, and Death. New York: Routledge, 1999. eBook.

“Compassion fatigue reinforces simplistic, formulaic coverage. If images of starving babies worked in the past to capture attention for a complex crisis of war, refugees, and famine, then starving babies will headline the next difficult crisis.”

Moeller, Susan D. "Riding With the Four Horsemen." Introduction. Compassion Fatigue: How the Media Sell Disease, Famine, War, and Death. New York: Routledge, 1999. eBook.

Self-Study Unit 3: Photography & Trauma IV. Traumatic Stress and the News Audience

"Self-Study Unit 3: Photography & Trauma | Dart Center for Journalism & Trauma."Main | Dart Center for Journalism & Trauma. DART Center for Journalism and Trauma. Web. 21 Sept. 2011.

This article I found online discusses the scientific effects behind compassion fatigue, but it also does a good job of going into the photojournalism and media side of it as well. This particular section talks about the science and then gives tips to photojournalists. I particularly found it interesting that when you look at the brain as someone is being shown images, there is a visible response on the scans. So our brains seem to have a section dedicated to apathy and similar responses. The article also discusses the effect of media coverage and the Columbine Shootings, as well as September 11th. It suggests that people with PTSD related to the events may react in a common way because they are all linked by the event.

“The field of mass communication study is largely build upon “effects research,” the study of how media content (e.g., movies, newspaper articles, propaganda, television programs, etc.) affects some segment of the population. This research goes back about three-quarters of a century and has yielded a wide range of useful findings. The most important caveat that has emerged over the decades is that not everyone is affected in the same way by the same “message” at the same time. In other words, there is no “magic bullet” effect.”

“The public response to the genocide in Rwanda was reticent, not because people did not feel discomfort — some complained about the graphic images in newspapers and magazines — but because they felt helpless and thus not compelled to respond in a concerted manner. Certainly there were calls to relief organizations, but not in the volume one might expect given the severity of the situation.

In contrast, when cholera broke out in Rwandan refugee camps and were reported by the international news media, calls to relief agencies poured in. This was something that people felt they could meaningfully contribute to; their dollars could buy real relief for suffering people, if only a blanket or rations.”

This term came up in my meeting Monday, and I think that it will influence how I go about choosing my subject for my project, and how to execute it while not being cliche with it. I want to hold people’s attention with my work, I don’t want them to just cast it aside as irrelevant or meaningless.

What is Compassion Fatigue?

http://www.youtube.com/watch?v=VubmnvCl9sk

Description from Youtube.com video: “Compassion Fatigue can develop because even though working with suffering people is rewarding it can also be hard to take sometimes. In this webcast Dr. Frank Ochberg explains the causes, symptoms and methods for coping with compassion fatigue.”

Artist Entry #2: Susan Hiller

I came across Susan Hiller’s name while doing a search on Google for Site-Specific Artists. Upon further investigation, I discovered that she has a background in anthropology, which instantly piqued my curiosity. I had never seen her work until the other day, but from what I have seen and read, I really like how she creates her work, using unimportant objects, and using the audience as witness. I also really can agree with her quote about how we are all collaborating in creating this current culture, and art makes us aware of that. Also, that we as artists are important, that we are part of a conversation.

Artist Bio:

From: WHACK! Art and the Feminist Revolution
Museum of Contemporary Art, Los Angeles
Exhibition catalogue, forthcoming 2007

“Susan Hiller b. 1940, Tallahassee, Florida
Lives and works in London and Berlin

The work of Susan Hiller has long been recognized for its excavation of everyday phenomena that lie within the recesses, byways and blind spots of our cultural surround. In a distinguished career of more than 30 years, Hiller has drawn upon sources as diverse as dreams (Dream Mapping 1974), postcards (Dedicated to the Unknown Artists, 1972-76), Punch & Judy shows (An Entertainment, 1990), archives (From the Freud Museum 1991-7), horror movies (Wild Talents, 1997), UFO sightings (Witness 2000), and narratives of 'near death' experience (Clinic 2004). Hiller makes powerful and seductive works out of ephemeral, sometimes seemingly unimportant items, works which do not merely enumerate or catalogue but instead involve the audience as witness to the lacunae and contradictions in our collective cultural life. Using sound, video, text, photography or drawing - whatever her basic materials demand - her works open up an area of instability where fixed meanings are dissolved and where the audience is directly implicated in the emergence of new meanings which become visible only through the work and our experience of the work.

Susan Hiller graduated from Smith College in Northampton, Massachusetts, in 1961. She went on to post-graduate study at Tulane University in New Orleans, with a National Science Foundation fellowship in anthropology. After completing fieldwork in Mexico, Guatemala and Belize, she became critical of academic anthropology's adherence to scientific claims of objectivity, and dissatisfied with the distance she perceived it fostered between the observed and the lived in culture. During the latter half of the 1960s, Hiller traveled extensively throughout Europe, North Africa, and Asia, finally settling in 1969 in London, where she began to develop an art practice in an effort, as the artist later recalled, to "find a way to be inside all my activities." 1” (http://www.susanhiller.org/)

Quotes:

1. "Artists have a function. Otherwise we wouldn't be here. We're part of a conversation. It's our job to represent and mirror back the values of the culture in a way that people haven't seen before."

MLA Cite: Cooke, Rachel. "Susan Hiller: 'I've Had Just the Right Amount of Attention, Enough Not to Live in Total Despair' Interview | Art and Design | The Observer." Latest News, Sport and Comment from the Guardian | Guardian.co.uk. The Guardian, 29 Jan. 2011. Web. 16 Sept. 2011. <http://www.guardian.co.uk/artanddesign/2011/jan/30/susan-hiller-tate-britain-interview>.

2. “What I think art provides is something like an instigation or an enhanced awareness of how we are allcollaboratively and creatively implicated in making a culture….”

MLA Cite: Horlock, Mary. "Mary Horlock Talks with Susan Hiller." Susan Hiller Homepage. Web. 16 Sept. 2011. <http://www.susanhiller.org/>.Interview is on artist's website under Interviews link. Cannot find original source site.

Images:

1. Genuine Essence: Homage to Joseph Beuys 1969 - 2009

felt-lined wooden cabinet, 45 cm x 35 cm x 15 cm; containing 60 bottles of various sizes

filled with water I collected from sacred sources around the world

“I met Joseph Beuys only once, when Sandy Nairn introduced me to him at the ICA in 1974. Everyone knows about his work or rather his attitude towards art, life, and everything else. The little bottles of water in my piece refer to the way he made symbolic use of matter-of-fact materials, sacramentalizing everyday activities and storing up energy in ordinary objects.

When I collect water from a holy well or sacred spring, I'm in the process of trying to turn banal tourism into a quest or pilgrimage. The waters supposedly produce powerful effects for believers, but what I treasure is the special mental space created by searching for them and thinking about them. These little bottles of waters are more than just souvenirs; they are containers of an idea about the potentials hidden in ordinary things and experiences.” (image and descriptions are from the artist’s website)

2.

Untitled 1999 5 parcels (various sizes), barrow (pushcart), audio 97 x 122 x 48 cm

“Note: I found the wrapped items in the muddy gutter of a street in London's East End a few years ago, apparently discarded during demolition of a building that once housed a tiny shop-front synagogue. Three of the items are remnants of ritual objects (bima curtain, torah cover, etc); the fourth is a large ledger from the synagogue's now-defunct burial society into which I've inserted an old monograph about the numerous 'small synagogues that once served London's Jewish immigrant community. All the parcels are labelled and described in a museological style. A fifth parcel (not shown) contains a cd player which, at intervals, ritualistically sings a fragment of the morning prayer thanking God for restoring the soul. By analogy, the truthfulness of my labeling of the wrapped parcels, and their significance, has to be taken on faith, because what's inside isn't visible.” (image and description from the artist’s website.)

3.

The Secrets of Sunset Beach 1987 10 handprinted R-type photographs, each 56.5 x 46.5 cm

“The Secrets of Sunset Beach ...relocates what might be a rational. Observable and stable reality within the context of a changing atmosphere. The knowability of the world in any simple terms is questioned, as photography is used here not to fix identifications but to suggest how things might be seen in a different light. Or rather, this use of photography recovers from within the very banality of that metaphor the recognition that light itself is always changing, re-drawn, reweriting the environments, the atmospheres we assume to be fixed...

Susan Butler, WASL Journal, 1989”

(image and description from artist’s website)

4.

Sentimental Representations: In Memory of My Grandmothers 1980-1981 (Part I- for Rose Ehrich) rose petals in acrylic medium, ink, photocopies, mounted on 72 boards overall 113l.7 x 80.2 cm

“"...In Sentimental Representations, Hiller uses 'pages' of dried rose petals suspended in acrylic medium, with typed texts, neatly arranged to compose what resembles a conventional painting. This painting is the first section of a two-part work commemorating the lives of the artist's grandmothers, both of whom were named Rose. Hiller has described the thoughts and feelings that accompanied the laborious and time-consuming making of the work as 'opening a closed book'. This 'closed book' can provide us with a new understanding of the relationship between tradition and innovation, between art and craft, and between gender and language, as Hiller's subtle manipulation of materials deliberately blurs the distinction between something visible and tangible, its representation in art, and its symbolic content."”

David Brown: Beauty & Other Works, exh,cat.1981

(image and description from artist’s website)

Interview: The Guardian: “Susan Hiller: 'I've had just the right amount of attention, enough not to live in total despair' On the eve of a major Tate survey, veteran radical artist Susan Hiller talks about her uncompromising journey from anthropology to art.”

http://www.guardian.co.uk/artanddesign/2011/jan/30/susan-hiller-tate-britain-interview

Gallery Link: http://www.timothytaylorgallery.com/artists/home/susan-hiller

Artist’s Site: http://www.susanhiller.org/

Idea Entry #1: Anthropology

Idea Entry #1: Anthropology

Anthropology is defined as the study of humankind and their origins, throughout different places and times. Anthropology is a interdisciplinary science, however the discipline focuses in detail on cultural, biological, linguistic, and archaeological research. -Anthropology.net http://anthropology.net/about/

“An anthropologist often asks questions such as: How are we different and how are we similar? However, the philosophy is to go beyond ethnocentrism, the judgmental idea that one culture is superior than others. When each society's cognitive structure, rules of moral conduct and patterns of social interactions are placed in its own socio-cultural context, these become meaningful despite how "bizarre" or "strange" they seem to other cultures looking in. Unlike ethnocentrism, the concept of cultural relativism emphasizes that there are no superior or inferior cultures; all cultures are meaningful when placed in their own socio-cultural context.”- Yutaka Yamada Ph.d

Hamada, Yutaka. "Yutaka Yamada Ph.D. Anthropology Culture as Cognitive Structures, Rules and Interactions." Yutaka Yamada Ph.D. Bilingual Japanese Anthropologist Research on Japan, Cross-Cultural Training, Translation, and Tutoring. Web. 02 Sept. 2011. <http://www.anthja.com/CA3.html>.

“Anthropology is the study of human behavior. That exploration of what it means to be human ranges from the study of culture and social relations, to human biology and evolution, to languages, to music, art and architecture, and to vestiges of human habitation. It considers such fascinating questions as how peoples' behavior changes over time, how people move about the world, why and how people from distant parts of the world and dissimilar cultures are different and the same, how the human species has evolved over millions of years, and how individuals understand and operate successfully in distinct cultural settings.”- American Anthropological Association

"Career Paths and Education." American Anthropological Association (AAA). Web. 02 Sept. 2011. <http://www.aaanet.org/profdev/careers/Careers.cfm>.

Annotated Bibliography: Anthropology and Photography

Edwards, Elizabeth. "Introduction." Anthropology and Photography: 1860-1920. New Haven U.a.: Yale Univ., 1992. 3-15. Print.

This book examines a period of anthropological study from 1860 to 1920, particularly examining the effect of photography and other modern research methods and how they have forced the re-evaluation and scrutinization of historical materials in the same manner as this newer method of research. The book contains a group of essays exploring and explaining the effects of photography on anthropology and how they are parallel in their histories. It also contains several case studies as examples.

“The visual image is possibly the dominant mode of communication in the late twentieth century and its location, establishment and integration among traditional texts rightly exercises the minds of interested scholars and practitioners.” (pp. 3)

-The text goes on to say that as a result, scholars and practitioners are now scrutinizing historical materials in the same manner, examining the integration as evidence of the past among more traditional means of transcribing anthropological information.

“The second possible history stresses that photography. . . has always suffered moments of unease. Such unease can be conceptualized in a number of ways ranging from a recurrent tension between photography’s ‘iconic’ and ‘indexical’ status between art and verisimilitude, or a stress on the deconstructive lines of fracture which both underpin and undermine photography’s single-voiced authority.” (pp. 74)

-To be entirely honest, there is a lot in here that I don’t fully understand seeing as I have just begun to delve into anthropology in an academic sense, but it sounds to me like much of the same argument that photography is not art, etc, etc. This essay that the quote is from seems to feel that anthropology and photography have had parallel histories.

So how can I use this in my work? Anthropologists create studies and research thoroughly on the subjects they have chosen to make a study of. I like the idea of taking these disciplines and applying them to my work, choosing a subject and making a study of it. Perhaps I could choose a specific area to work and photograph within (a city block is one example) and then the work I produce is inspired by the area I have chosen to study, I could research particular businesses or buildings within the area.

I did a google image search on visual anthropology, and this was an image that came up, a man is using film as a research tool out in the field. Image is from this page: http://www.cas.sc.edu/anth/faculty/heiderk/heider.html

Artist Entry #1: Mark Dion

Mark Dion spoke as a visiting artist my Freshman year. I found his lecture to be very interesting and intriguing. He spoke of his Curiosity Cabinets and the processes in which he arrived to that point. Dion works by exploring a particular site and then collecting artifacts from it and creating a display (Curiosity Cabinets) to show the objects in. Exploration in particular is something I enjoy doing in my work. I have worked by choosing a specific location or setting up a specific perimeter within which to photograph. I also find the site-specificity in his work interesting, choosing a particular place and then creating a work around that place, influenced by it, surrounded by it.

Bio:

“Mark Dion was born in New Bedford, Massachusetts in 1961. He received a BFA (1986) and an honorary doctorate (2003) from the University of Hartford School of Art, Connecticut. Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. The job of the artist, he says, is to go against the grain of dominant culture, to challenge perception and convention. Appropriating archaeological and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between ‘objective’ (‘rational’) scientific methods and ‘subjective’ (‘irrational’) influences. The artist’s spectacular and often fantastical curiosity cabinets, modeled on Wunderkabinetts of the 16th Century, exalt atypical orderings of objects and specimens. By locating the roots of environmental politics and public policy in the construction of knowledge about nature, Mark Dion questions the authoritative role of the scientific voice in contemporary society.” - Art 21

Quotes:

When asked about the importance of performance in his work:

“I am very interested in the figure of the dilettante, the amateur. Amateurs have made great contributions in science, but now we live in a time when there’s such a radical degree of specialization that it’s very difficult for professionals in physics or biology to be able to communicate to a general public. Trying to be this character in between is fascinating. At the same time, I’m always suspicious of the way artists use science because science has such tremendous influence and authority in our culture. Whenever you encounter the kind of authority that seems unquestioned and unquestionable you need to find ways to challenge it. One of the reasons for taking a play-acting approach is to create a situation in which people regard the trappings of authority with suspicion.”

PBS. "Art21 . Mark Dion . Interview & Videos | PBS." PBS: Public Broadcasting Service. Web. 01 Sept. 2011. "http://www.pbs.org/art21/artists/dion/clip2.html".

Comment on site-specificity from Miwon Kwon in reference to Mark Dion and other site-specific artists:

“The site of art is again redefined, often extending beyond familiar art contexts to more ‘public’ realms . . . the site can now be as various as a billboard, an artistic genre, a disenfranchised community, an institutional framework, a magazine page, a social cause, or a political debate. It can be literal, like a street corner, or virtual, like a theoretical concept.”

Kwon, Miwon. "Introduction." One Place after Another: Site-specific Art and Locational Identity. Cambridge, MA: MIT, 2004. 1-9. Janetzweig.com. Web. 1 Sept. 2011.

Work:

The Department of Marine Animal Identification of the City of New York (China Town Division)

1992 Mixed media Dimensions variable

The Library for the Birds of Antwerp 1993

18 African Finches, tree, ceramic tiles, books, photographs, bird cages, bird traps, assorted objects.

Installation view

Museum van Hedengaase Kunst, Antwerp, 1993

Library for the Birds of Massachusetts 2005

Steel, maple tree, plywoood, books, and mixed media 20 x 18 x 20 feet

Installation view: Becoming Animal, at MASS MoCA, North Adams, MA

Polar Bear and Toucans (From Amazonas to Svalbard) 1991 Mixed media

91 x 44 x 29 1/2 inches 231 x 112 x 75 cm

Art 21: Ecology (interview) http://video.pbs.org/video/1239798902

Tanya Bonakdar Gallery: http://www.tanyabonakdargallery.com/artist.php?art_name=Mark%20Dion

Mark Dion’s Bartram Travels: http://markdionsbartramstravels.pcah.us/index.php

Mildred’s Lane: http://www.mildredslane.com/index.php