Art/Culture

Photo Friday: Glaciers in Films

Posted by on Apr 21, 2017 in All Posts, Art/Culture, Featured Posts, Images | 0 comments

Photo Friday: Glaciers in Films

Spread the News:ShareMagnificent, beautiful and mysterious, glaciers are a critical part of nature. For thousands years, humans have responded to glaciers through art, incorporating them in paintings, poems, folk songs, and more recently, movies. With the development of modern arts, specifically the film industry, glaciers have popped up in a range of creative endeavors from documentaries to animated pictures. Explore some popular films featuring glaciers with GlacierHub.   Chasing Ice Chasing Ice (2012) is the story of one man’s quest to gather evidence of climate change. A documentary film about environmental photographer James Balog, it tells the story of his trip to the Arctic to capture images to help tell the story of Earth’s changing climate. The film included scenes from a glacier calving event lasting 75 minutes at Jakobshavn Glacier in Greenland, the longest calving event ever captured on film. “Battling untested technology in subzero conditions, he comes face to face with his own mortality,” the film introduction states. “It takes years for Balog to see the fruits of his labor. His hauntingly beautiful videos compress years into seconds and capture ancient mountains of ice in motion as they disappear at a breathtaking rate.”     Ice Age Ice Age (2002) is one of the most popular animations in the world and its sequels have continued to delight thousands of children and adults. First directed by Chris Wedge and produced by Blue Sky Studios, the film is set during the ice age. The characters in the film must migrate due to the coming winters. These animals, including a mammoth family, a sloth Sid, and a saber-tooth tiger Diego, live on glaciers. They find a human baby and set out to return the baby. The animation won positive reviews and awards, making it a successful film about glaciers.       James Bond Jökulsárlón, an unearthly glacial lagoon in Iceland, makes its appearance in several James Bonds films, including A View to Kill (1985) and Die Another Day (2002). A View to Kill, starring Roger Moore, Christopher Walken and Tanya Roberts, was also filmed on location at other glaciers in Iceland, including Vatnajökull Glacier in Vatnajökull, Austurland, Iceland.     China: Between Clouds and Dreams The documentary China: Beyond Clouds and Dreams (2016) is an award-winning new series by Director Phil Agland. The five-part series tells intimate human stories of China’s relationship with nature and the environment as the country grapples with the reality of global warming and ecological collapse. See the trailer here. Commissioned by China Central Television and filmed over three years, the film includes a scene of glaciers on the Tibetan Plateau, where the impacts of climate change are most obvious.         Spread the...

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Photo Friday: Edward Theodore Compton’s Artwork

Posted by on Apr 14, 2017 in All Posts, Art/Culture, Featured Posts, Images | 0 comments

Photo Friday: Edward Theodore Compton’s Artwork

Spread the News:ShareEdward Theodore Compton, usually referred to as E.T. Compton, was a German painter, illustrator and mountain climber who lived from 1849-1921. He is best known for his paintings and drawings of alpine scenery, many of which also contain glaciers.  Born in London, Compton’s family moved to Darmstadt, Germany, in 1867, for him to continue his education. He was also a skilled mountaineer, making 300 major ascents during his lifetime, mostly within Europe. For example, he made the first documented ascents of 27 mountains, including Torre di Brenta in the Italian Alps and Grossglockner in Austria, which he climbed at the age of 70! Apart from oil and watercolor paintings, Compton also produced numerous illustrations of alpine scenery. Many of his works help to document the days of early alpinism, showing what mountains and glaciers looked like in the past.                You can check out more of Compton’s paintings and illustrations, or take a look at other glacier artwork here. Spread the...

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Tribal House in Glacier Bay Park Recognizes Huna Tlingit

Posted by on Apr 13, 2017 in All Posts, Art/Culture, Featured Posts, News | 0 comments

Tribal House in Glacier Bay Park Recognizes Huna Tlingit

Spread the News:ShareA newly constructed tribal house within Glacier Bay National Park in the Southeast Alaskan panhandle begins a fresh chapter in the contentious relationship between the Huna Tlingit, a Native American tribe, and the National Park Service (NPS). For much of the 20th century, the NPS infringed on Huna hunting rights and appropriated the majority of Huna land to create a monument, and later a National Park and Preserve over 5,000 square miles in area.  The recently opened 28,000 square foot tribal house coincides with the NPS’s 100th anniversary and will serve as a gathering center for the Huna, displaying artwork and cedar carvings, while also informing some of Glacier Bay’s 500,000 yearly visitors about the Huna’s rich culture.  The house sits on the Huna’s ancestral homelands in Bartlett Cove, originally known in the endangered Huna language as L’eiwshaa Shakee Aan, which translates to “Town on Top of the Sand Hill.” It will memorialize the lost clan houses which used to dot the coast but were destroyed by the rapidly advancing Grand Pacific Glacier in the 1700s. The glacier cleared the land, including wildlife like salmon found in the streams, and destroyed Huna villages. But beginning in the 1800s, the glacier began to recede, leaving 100 miles of destruction in its wake. By the 1830s, the wildlife returned, along with the Huna, who set up seasonal camps where they fished, hunted and collected gull eggs and berries. The new tribal house will be the first permanent house since the glacier drove the Huna away to their current village, Hoonah, 30 miles south, where over 800 of them dwell. Remnants of tribal dwellings and other evidence of the Huna’s presence can still be found in the park. For example, cairns are memorials or landmarks made of mounds of stones marking the highlands used to retreat from floods associated with environmental change. In addition, archaeologists have discovered old smokehouses, house pits, and culturally modified trees stripped of bark, which may have been used for markers, baskets, pitch or shelter. Around the time the Huna returned to Glacier Bay, Westerners also arrived. Captain George Vancouver, an English Naval Officer, surveyed the area in 1794, and John Muir, often referred to as the “Father of the National Parks,” visited between 1879 and 1899. Muir is sometimes credited with the discovery of Glacier Bay, although he relied on Tlingit guides to get there. The area was proclaimed a national monument in 1925, a UNESCO World Heritage site in 1979, and finally, a national park in 1980. When the monument decree was passed under President Calvin Coolidge, the Huna Tlingit were not consulted, leading to anger among tribal members, and in addition many tribe members did not speak English. The NPS increasingly infringed on the Huna’s hunting rights, first limiting firearms to protect brown bears in the 1930s, and then ten years later outlawing all hunting and trapping except for seals, which the Park Service later banned in 1976.   In 1992, a Huna hunter in the Park was ordered to appear before a federal magistrate in Juneau for shooting a seal that was going to be used in a potlatch, or ceremonial feast, and his gun was confiscated. Around the same time, the Park Service began considering phasing out commercial fishing which prompted peaceful protests on the shores of Bartlett Cove by the Huna. Speeches were given by elders about Huna history and the importance of subsistence. Following the protests, constructive talks began, and in 1997, the idea for a tribal house was accepted by the Park Service. However, limited funding slowed the tribal...

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OMG: An Artist Flew over the Greenland Icesheet

Posted by on Apr 6, 2017 in All Posts, Art/Culture, Featured Posts, News | 0 comments

OMG: An Artist Flew over the Greenland Icesheet

Spread the News:ShareIn a recent article in Nature Climate Change, Sonja van Renssen describes various mediums through which visual artists and musicians represent climate change. She argues that illustrating climate change through art can ground it in our culture and open up new dialogues. She offers several examples, including Justin Brice Guariglia, who recently became the first artist in history to be involved in a NASA mission. He is in the midst of a five-year commitment to join NASA flights over Greenland from 2015 to 2020 in order to visually document changing climate. Guariglia’s work is inspired by scientific data, but it is not featured directly in his art. His prints focus on the connection between humans and nature during the Anthropocene, the current geologic age of the Earth. As Renssen explains in her paper, the Anthropocene is the time period when “human activity is the dominant influence on climate and the environment.” Guariglia’s enormous pieces dwarf the viewer. Jakobshavn I, a recent project, is an acrylic print on polystyrene that represents a glacier in Greenland. He prints his large-scale photographs on durable materials. Guariglia’s hope is that while the glaciers themselves may not last, his art will endure, according to Renssen. Guariglia is a member of the Oceans Melting Greenland (OMG) project, which researches the effects of ocean warming on Greenland’s glaciers. The project takes high resolution elevation measurements of these glaciers each year during the spring to measure annual glacier retreat. In addition, a second mission takes place each summer, during which 250 temperature and salinity probes measure the temperature and salinity of water in the Atlantic Ocean. These combined datasets will improve modeling of sea and ice interactions, helping to improve estimates of the contribution of Greenland’s ice to global sea level rise. In an interview with GlacierHub, Josh Willis, the principal investigator for the OMG NASA mission, explained that he is “excited by the collaboration with Justin because it means we might be able to connect with people who have a hard time relating climate change to their own daily lives. That’s important to me because climate change is a big deal, and I think we’ve been slow to accept it.” Other scientific organizations like the National Science Foundation agree with NASA’s investment in blending climate change and art. The Antarctic Artists and Writers Program sponsors individuals in the humanities, including painters and photographers, to be inspired by and help document the heritage in Antarctica. The trend in using art to portray the detrimental effects of climate change could be a creative alternative to communicating environmental risks. For example, alumni and faculty from the University of Miami recently used film, photography, and land art to illustrate climate change issues. Like Guariglia and Willis, this intersection of science and art could be uniquely effective in communicating these risks. Spread the...

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Elliott Green’s Paintings of Mountain Mindscapes

Posted by on Apr 5, 2017 in All Posts, Art/Culture, Featured Posts, Interviews | 0 comments

Elliott Green’s Paintings of Mountain Mindscapes

Spread the News:ShareElliott Green is an artist known for the diversity of his images. Born in Detroit, he studied literature and took up drawing before settling into painting. His recent exhibit at Pierogi Gallery in the Lower East Side of New York includes a number of works which look like landscapes, since they show mountains, the ocean and the sky. But they also contain other fantastic elements with colors and shapes that seem to depict inner imaginings rather than the natural world. This exhibit  impressed GlacierHub, as it impressed reviewers such as Peter Malone, who said that Green “strides confidently right over the rumbling fracture” between representation and abstraction. Writing in The New York Review of Books, Jana Prikryl stated “His compositions demonstrate the movement of the universe on both the macro and the micro scales. They … are first and last human documents, their rhythms legible to the pulse and not above trying to accelerate it.” Green’s paintings in this exhibit remind us that people experience nature, not just with their senses, but with their minds. The many different textures in his works, produced by using sponges, knives and squeegees to apply paint, as well as brushes, suggest distinct modes of perception. As our eyes turn from one feature to another, our minds explore other associations. He shows us how the landscapes in front of our eyes become mindscapes as we view them. GlacierHub interviewed Green last week. GlacierHub: Your show is titled “Human Nature.” It explores the relation of what is human and what is nature. The painting “North of the Hippocampus,” with its cool blue cloud-filled skies, tall mountains, and other forms, points both to a location in the world and to a space beyond the hippocampus, the component of the brain that is essential to memory. Do you seek to juxtapose transient and long-lasting elements both in the brain and in the external natural world? Elliott Green: The paintings show imagined places. Very often the titles are anatomical names, usually locations in the brain, but sometimes glands and hormones. On a map of a brain, the Hippocampus is just below the entorhinal cortex, where a person’s spatial memory shows activity on an MRI. It’s the place where you register where you are–the neural GPS, where psyche meets place. This idea of syncing psyche and environment occurred to me when I began painting a range of different weather systems across a long, single sky along the top of a canvas. I used that as a code for emotions, which move in rapidly changing sequences. This analogy was augmented by having distant mountain shapes getting larger toward the fore. This too became a method for describing temperament, an arrangement of sharp and round shapes which correspond in some degree to hospitality and hostility, like caressing fingertips or slicing claws. Combining gentle and dangerous shapes seems like a good way to depict how a person might view the world. It’s something we all know, that our physical selves are reconfigured earth matter, composed of calcium and iron and water and all the other minerals that roll down a mountain during a storm. This is just another way to revision that greater overview.   GH: Your paintings challenge the viewer’s efforts to separate out real objects and mental images. “Psychoid Moraine” invites the viewer to locate the moraine, and offers the long, diagonal gray area as a possibility. The yellow sky, red stripes and horizontal lines might be elements of the psychoid energy which Jung described. Do you see parallels in the processes which shape landscapes and the human self? EG: Viewers’ first impressions are that they are seeing a familiar scene. Then the unusual components reveal themselves, and...

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Photo Friday: Glacier Tattoos

Posted by on Mar 31, 2017 in All Posts, Art/Culture, Featured Posts, Images | 0 comments

Photo Friday: Glacier Tattoos

Spread the News:ShareThe beauty and grandeur of glaciers inspire some people to get tattoos of these natural wonders on their skin. Despite the vastness of glaciers, their presence on Earth may be less permanent than those tattoos, due to increased melting caused by global warming. The ways in which people choose to immortalize glaciers also vary. Some designs capture the simple beauty, while others focus on memories or experiences on glaciers. See images of these fascinating tattoos below:                 Spread the...

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