Food Justice: Growing a Healthier Community through Art

Support for Food Justice: Growing a Healthier Community through Art is provided in part by the National Endowment for the Arts, the Jewish Healthcare Foundation, and JENDOCO Construction Corporation. General operating support is provided by Allegheny Regional Asset District, The Heinz Endowments, Henry L. Hillman Foundation, Windgate Foundation, Opportunity Fund, the Pennsylvania Council on the Arts, the Elizabeth R. Raphael Fund of The Pittsburgh Foundation, Bloomberg Philanthropies, Jack Buncher Foundation, The Fine Foundation, Giant Eagle Foundation, Anonymous foundation, and by members of the Heart of Craft circle of donors (as of June 2021).

Media sponsors for Food Justice: Growing a Healthier Community through Art are NEXTpittsburgh, TABLE Magazine, 90.5 WESA, and 91.3 WYEP.

Growing a Healthier Community through Art

Contemporary Craft

Pittsburgh, PA

September 10, 2021– March 19, 2022

Southern Ohio Museum

Portsmouth, OH

April 22– June 30, 2022

Ohio Craft Museum

Columbus, OH

July 25– September 26, 2022

Fuller Craft Museum

Brockton, MA

November 12, 2022– April 23, 2023

The Gallery at Penn College

Williamsport, PA

August 13– October 8, 2023

ACKNOWLEDGMENTS

At Contemporary Craft we believe in the power of art as a resource for a more meaningful, fulfilling life. We are committed to using the arts to build community by bringing citizens and artists together to address urgent societal problems. At a time when needs are overwhelming and financial resources are shrinking, we believe artists can offer creative leadership as problem solvers, educators, and agents for change.

Food insecurity is an economic and social indicator of the health of a community. In Pennsylvania, more than 383,520 children are “food insecure,” lacking reliable access to a sufficient quantity of affordable, nutritious food. Nearly 1 in 7 of our neighbors in Allegheny County face chronic hunger and food scarcity. Economic inequality and structural racism, corporate agricultural practices, food waste, and climate change are among the many factors that contribute to the wide and growing disparity in the distribution of food resources across the US and around the globe. In the wake of the COVID-19 pandemic, unemployment and food insecurity has soared. More than 42 million people may face hunger because of coronavirus.

To spotlight these serious issues and to investigate the impact of inequitable food access and the need for collective action, we have planned the fourth in CC’s series of social justice exhibitions, Food Justice: Growing a Healthier Community through Art Food Justice showcases an amazing range of artworks by 15 nationally and internationally recognized contemporary artists who address topics relevant to the exhibition in their practice, while acknowledging processes and forms rooted in the craft tradition. Among them, Jeff Schmuki and Wendy DesChene who combine communal action with craft and tactical media to underscore consequences of the corporatization of agriculture, and Logan Woodle whose exquisite works, hand-formed in sterling silver and copper, tell the story of 200 acres that shaped his family history over decades. These featured artists point out the disparity between rich and poor, the power of corporations and the need for advocacy to strengthen access and resources and stabilize families with limited incomes.

From the beginning, we sought to make the project as inclusive as possible by representing a broad spectrum of experiences and artistic voices. We put out an open call for stories and art related to the subject and an interesting and diverse group of artists submitted work for consideration. As we could only accommodate a small percentage of these entries, we have also featured two artists at Contemporary Craft’s BNY satellite gallery in downtown Pittsburgh. Artists George Bowes and Patty Kennedy-Zafred are recognized with solo exhibitions as part of Food Justice. We are grateful to all of the exhibiting artists for their generosity and for sharing their art for this project.

Because one of our goals for this project was to encourage action by connecting audiences with services and programs that work to create a just community with respect to the democracy of food, we have partnered with numerous social service agencies including 412 Food Rescue, Black Urban Gardeners and Farmers, Inc., Greater Pittsburgh Community Food Bank, Grow Pittsburgh, Just Harvest, and the Food Policy Council and with community groups to share resources, encourage dialogue, and support change through a range of free programs both in our facility and throughout the city. We are very grateful to these partners for their generosity of time, resources, and spirit in working with us on this initiative.

An exhibition of this scope requires months of behind-the-scenes preparation and groundwork from the dedicated staff at Contemporary Craft. I acknowledge with gratitude all of our staff members who added important contributions to the project in some way. Finally, we extend special thanks to Paul Schifino for designing this striking publication to document the show.

We would also like to thank three individuals, Alice Julier, Ken Regal and Karen Weeks, whose catalogue contributions remind us of the human dignity of people who suffer from hunger. As Ken so aptly writes, “Promoting ‘food justice’ means dignifying the human-ness of all our neighbors, especially those who struggle to keep enough food on the table.”

We owe an enormous debt to the many funders who believed in this project and generously invested in making it a reality: the National Endowment for the Arts, the Jewish Healthcare Foundation, and JENDOCO Construction Corporation. General operating support is provided by Allegheny Regional Asset District, The Heinz Endowments, Henry L. Hillman Foundation, Windgate Foundation, Opportunity Fund, the Pennsylvania Council on the Arts, the Elizabeth R. Raphael Fund of The Pittsburgh Foundation, Bloomberg Philanthropies, Jack Buncher Foundation, The Fine Foundation, Giant Eagle Foundation, Anonymous foundation, and by members of the Heart of Craft circle of donors and media sponsors NEXTpittsburgh, TABLE Magazine, 90.5 WESA, and 91.3 WYEP.

It is our hope that after experiencing this exhibition you, too, will be moved to become part of the solution in a way that is personally meaningful to you and supportive for our community

Sincerely,

Kate Lydon Director of Exhibitions

Food security is among the most basic of human needs, but contemporary issues preventing equitable access to food are extremely complex.

WORKING FOR FOOD JUSTICE FOR ALL

By Ken Regal

“Food Justice” is fundamentally different than “donating food to the hungry.” When we speak of food justice, we honor all the many interlaced aspects of our food system. Just as a fabric with warp but no weft cannot hold, we would all be hungry if not for farmers and farmworkers, fishers and ranch-hands,meatpackers and grocery store workers, trash-haulers and so many more. These are the people that we have only recently learned to call “essential workers.” Promoting “food justice” means dignifying the human-ness of all our neighbors, especially those who struggle to keep enough food on the table. Of course, charity is one part of the answer, but only a part.

Justice, with respect to food, requires long-term solutions to deep and complex problems. Why are so many predominantly African-American communities in Allegheny County without supermarkets? Why are unhealthy foods cheap and healthy foods expensive? Why is it so complicated for low-income people to obtain the help they need that nearly 1 in 3 applications for Food Stamps in Pennsylvania are rejected.

(HINT: having too high an income accounts for only about 1/6 of all rejections). Why do we tolerate a system that makes millions of Americans rely on charity for enough food to eat?

The real answers challenge our comfort, and they demand not just analysis, but action. The author and activist Frances Moore Lappe wrote that “Hunger is not caused by a scarcity of food but a scarcity of democracy.” As in every other struggle for justice in our collective history, Food Justice will require a voice for the ignored, power for the powerless, and liberation for those who are oppressed. This is and will be hard work.

The artistic perspectives on Food Justice in this exhibit inform us about the complexity of our food system, remind us of the human dignity of people who suffer from hunger, and challenge us to do that hard work. They remind us also of the depth of human creativity that is both literally and figuratively fed by what we eat. An enormous body of research—as well as common sense—demonstrates that health and learning outcomes are worse for children whose families run short of food. Anxiety, chronic stress, and behavioral problems are all associated with childhood and adult hunger. And so as we visit this exhibit, we should ask ourselves what other magnificent art we would see here if someone’s creative spark had not been damaged by their hunger as a child. Where are the next Picassos, the Angelous, the Einsteins, whose contributions to human achievement are being snuffed out by our collective failure to bring an end to poverty?

Perhaps they are on the bus from Braddock or Duquesne getting to and from a distant grocery store. Or at the mailbox reading the form letter that their food stamp application was rejected for lack of the right paperwork. Or cashing their meager paycheck after another 40 hours of “essential” work, only to choose between paying the rent and buying food.

For 35+ years, Just Harvest has worked to promote a just system of food access by addressing the root causes of hunger—systemic poverty and inequity—through policy advocacy, grassroots organizing, communitybased solutions, and connecting people to benefits. We are proud to participate with Contemporary Craft in welcoming these artists to share their perspectives. If you find yourself inspired by this exhibit to take action for Food Justice, we invite you to join us in that effort.

Ken Regal has served with Just Harvest since its founding in 1986 and as its Executive Director since 2012. He organized the campaign in the 1980s, which persuaded the Pittsburgh Public Schools to join the National School Breakfast Program. Ken has written and spoken widely on hunger and poverty issues for audiences from kindergarteners to graduate students, and from garden clubs to legislative hearings. A native of Brooklyn and a graduate of Brandeis University, Ken lives in Highland Park with his wife. He spends his spare time cooking, solving crossword puzzles, and cheering for the New York Mets.

Mandela

Overcoming poverty is not a gesture of charity. It is an act of justice. It is the protection of a fundamental human right.

—Nelson

*Officially, the Supplemental Nutrition Assistance Program or “SNAP”

Photo: courtesy of Just Harvest

ACTS OF RESILIENCE: CULTURING GRAINS, BREAD, AND COMMUNITY

By Alice Julier

When I think about cultures and the way food shapes them—and the collective values therein—I think about starch. Nations and identities are wrapped up, literally, by starches. Rice. Corn. Rye. Cassava. Potatoes. Wheat. Wheat, especially, the staff of life, the colonizer crop, the food regime that marks the modern era of global scale.

Every culture has a bread. Experts who provide evidence about human experience—historians, archaeologists, economists—say bread is the staple at the center of everything—it marks the origins of human communities, settled agriculture, nationhood, and identity, and, possibly, the beginning of entrenched inequalities. It represents the most ancient form of industrialization, of how we systematize communal need. No matter how it’s done, grains and bread require work. The way a culture grows grains and makes bread tells you something about what—and who —it values. Bread is sustenance: some people grow the corn, the rye, the wheat, others mill it, bake it; it is shared—but in what way and at what cost? And what meaning? The arbitrary line between artisanal or industrial carries so much real and symbolic weight: it can be drawn in many places, but the amount of time, and value given to the work is the crevice, the split in the loaf that separates one from the other. How much time do you have? How much are you willing to pay? Is it art or is it commerce or is it both? In her Paris Review essay during the pandemic, Sabrina Orah Mark, writes “I call my mother. ‘I can’t find bread flour or yeast anywhere.’ ‘Fuck the bread,’ says my mother. ‘The bread is over.’’ Where does that leave us, if we give up cultivating cultures?

We collectivize and commercialize this process, even as we mythologize the lone baker in the kitchen, kneading for self-sufficiency and joy. The little red hen could do it all by herself, but she clearly didn’t want to, did she? Is there food justice for the heroine of this fable?

I write about everyday life and food and political economies that create and reinforce inequality. I did not intend to think about bread and yet, bread shows up everywhere in daily life—indeed, many of the violent moments of social injustice emerge from not having bread, the right bread or grain that is important to your people, your identity, your communal sovereignty in the world. Bread is social class, distinguishing origins and aspirations with every bite. A campesino, interviewed by Lindsay Naylor, sums it up: “The basis of the capitalist economy is to get you to buy food.”

Maybe the little red hen could have reacted differently to the entitled behaviors of her barnyard companions. She could have joined bread riots, when the nation stops subsidizing bread and the denizens of France, Egypt, Boston, Lebanon, Richmond, and the United States, lose their supply chain. Or, she could have opted out of the barnyard economy, letting industrial producers make food, while she gained employment and wages in other factories, but still demanding bread and roses. Rejecting wheat as a colonizer crop, she could have claimed indigeneity, returning

to corn as a sacred object. There is always an act of resistance, resilience, and justice to be found in the desire for grains, in the act of making or eating bread.

And yet, the champion of regional grains and bread, Amy Halloran, even has to think: “Are we asking too much of bread—or at least of our bread metaphors?” Can we rally around our shared needs rather than compete or fight over them? How many loaves and what kinds do we need to sustain ourselves, in all our differences and similarities? What would the little red hen have made of the pandemic flour shortage? Did it result in people realizing they are not autonomous, not permanently entitled to cheap food that they had no hand in creating?

She would have already grown her own grains, set up storehouses, baked something beautiful and laughed at the pampered segment of north Americans who expect—and often got—everything delivered to their doorsteps, their settled homes and safe walls. The little red hen is often presented as a story of individual hard work, but in the fights for food sovereignty and justice, grains and bread remind us that this is a collective act.

Alice Julier is the Director of CRAFT, the Center for Regional Agriculture, Food, and Transformation, whose mission is to help support and create transformative food systems that are equitable, sustainable, and inclusive. She is also professor and director of the Food Studies program at Chatham University’s Falk School of Sustainability and the Environment where she has spent a decade working with food system warriors, builders, and weavers. Her PhD in sociology is from University of Massachusetts, Amherst. After writing a book titled, Eating Together: Food, Friendship, and Inequality, she has focused on the politics of food in public and private domains, feminist intersectional and activist approaches to food studies. Born in New York, her heart is in New England. Like Ken Regal, she also went to Brandeis where they definitely took the same classes on social change, just not at the same time.

‘Bread is a myth, it’s a million myths,’ she said… Grain has become invisible, she said, and bread has become an ideology.

—Amy Halloran, quoting Lexie Smith in Bread Metaphors: The Heavy Lifting of Words

HARMONIOUS FUSIONS, UNFORGETTABLE CONTRASTS, BREADTHS AND STRENGTHS: WE ARE OF A COMMON FATE

By Karen Weeks

It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.

—John Berger Ways of Seeing

The world is irreducibly complex. Though we try to compartmentalize, analyze, predict, and describe it, the world in all its complexity resists parsing. This is not to say that analysis or theorizing is not useful; instead, it is our belief in the results of analysis that can alienate us from the world. In this space of alienation, we are at odds with the world, with each other. In contrast, activities that affirm the world’s complexity bring us together. Making art, looking at art, listening to music, watching a play or dance, planting and tending a garden; these are activities that affirm our irreducible humanity and the irreducibility of the world by engaging our senses. We can theorize or analyze the ways in which gardening or going to see art substantively improves our lives and the life of the planet, but as they are activities that bring us in communion with the world as it is, there is no need to quantify or debate it. These activities put us in relationship with each other and with the world; it is an exchange firmly rooted in experience. To advocate for the well-being of the planet and ourselves within it, we need to engage in activities that affirm ourselves in the world.

Art is a wonderfully complex form of communication. The art work is only complete when the viewer encounters it. And instead of explain, art explores. Through this exploration, art bears witness to the world’s irreducibility. It can aggravate, affirm, delight, confound and inform. The attentive gardener could describe cultivating the land similarly. Inherent in gardening and making art is an exchange, a transference of energy, growth results. Farmers and gardeners—those who engage with the earth in a choreographed interplay between will and chaos— know from experience that the world cannot be effectively reduced or collapsed. They also know that working in concert with the dynamism of nature yields the most satisfactory results. Artists use their materials, hone their craft and invest their time, will and thought into generating something never before made, a choreographed interplay between will and chaos.

Human visual perception is such that artists and designers can create images that come alive in people’s minds. They know how to play with relationships between parts and wholes in images, creating pathways through which we can reimagine the world. Propagandists and marketing experts fully exploit this potential in service of political messaging and

other capitalist pursuits. To use this knowledge of perception and resist using it to create a work of propaganda or as means of selling is activism. It is privileging humanity over capitalism. The introduction of capital in food production has similarly alienated famer from land, turned cultivation into exploitation. Capital has enticed farmers to grow to a scale that is beyond their natural limits and has led to a food system that serves capital, not farmers, not people. The exchange has become mediated by capital, just as with artistic activity that is in service of selling. Irresistibly beautiful works of art can stay inside a person’s mind forever; the taste of freshly grown produce can become similarly etched. The sensual recollection becomes a part of the person. In our time, misinformation, advertisement, and divisive journalism inform public opinion. Connectivity means checking personal social media feeds produced by algorithms created by people whose main incentive is to sell more and keep people’s attention. In this time, engagement in activities that enliven our senses is essential for our humanity to remain intact, to remain irreducible.

Mother of two, Karen Weeks is an artist who got a BFA in Printmaking from Indiana University and recently, an MFA from the University of Louisville. She is currently an adjunct art professor at Ohio Wesleyan University. In her artwork she uses a breadth of media to explore themes of materiality, and repetition as a building principle at the theoretical crossroads of capitalism, feminism, design, craft, and domesticity. From book binding and design in Berkeley to printing letterpress wedding invitations in New York, posters in Alabama, hosting a knitting circle in her apartment in Germany, to teaching sewing workshops, and running her own letterpress printshop in Louisville, she has a ceaseless interest in creative processes that turn nothings into somethings. She bikes, writes, reads, gardens, travels and sings in her dreams.

GAVINBENJAMIN FORCK

Passages (detail)

2021

JASON

I was sitting at my mother’s table in Queens, New York when it hit me. Who will carry on the food traditions in my family? Georgetown, Guyana, South America is my home and the foods of that place continue to occupy my mother’s home, but they also manifest in me. Even if I'm not cooking Pepper Pot or Black Rum Cake, even when I am not eating a mango, a slice of papaya or chewing on a piece of sugar cane, my art manifests their physical and emotional impact.

Passages is a collaboration between Gavin Benjamin and glass artist Jason Forck. It started in a New York kitchen, but the collaboration moves forward and backward in time answering the questions: Where did this food come from? How did it get here? Where did it go? Reaching into the history of the 17th century slave trade and manifesting in the reality of big business import export monopolies, this series examines the physical and emotional labor behind the trade routes of British Guyana, it examines the memories of what we eat and how that food makes a home.

SOURCE

Mixed media collage by artist; Found internet images, (search included: Guyana, sugar cane, stamps, slave trade, export import trade)

Photograph, exhibition canvas mounted on panel, lacquers, glass objects, mixed media Installation, dimensions vary

Photo: Gavin Benjamin

Prep Bowl

2019

Porcelain, underglaze, glazes

5" x4" x5"

SOURCES

LEFT: Prep bowls in the artist’s collection. Artists are: Deirdre Daw, Suze Lindsay, Kent McLaughlin and Carole Ann Fer.

RIGHT: Bowes’ exhibit at BNY Mellon Center, is dedicated in loving memory to partner Rodrick Desmond Hawkins, who taught him about the transformational work of catalyst kitchens.

Photos: George Bowes

A recent body of work has consisted of small, pinched, highly decorated “prep bowls.”

Made for friends who love to cook, among other things they can be used to separate herbs and spices. I started making a parallel between my little bowls helping to prepare a meal and organizations like Community Kitchen Pittsburgh helping to prepare people to be active members of their communities. I, along with a group of fellow artists, have produced prep bowls that bring attention to Community Kitchen Pittsburgh and the important programming they facilitate. Collectively we have produced a prep bowl to represent each person who has graduated from Community Kitchen’s training programs.

BOWES

Photo: George Bowes

George Bowes is one of the exhibiting artists featured at Contemporary Craft’s Satellite Gallery, BNY Mellon Center, downtown Pittsburgh.

DESCHENE

Community Hydroponic Garden 2019

Recycled, refashioned commercial products, clay, ceramics, food plants

Installation, dimensions vary

JEFF SCHMUKI

We operate under the guise of PlantBot Genetics Inc., a parody of Big Agricultural Firms who skillfully manipulate current food production and distribution systems. PlantBot Genetics, Inc. combines communal action with craft and tactical media to promote critical thinking and political action on environmental issues. By imitating actual corporate practice, we underscore the potential consequences of the global corporatization of agriculture, the natural environment, and public space. The PlantBot Genetics, Inc. project explores the lack of transparency and corporate “grafting” of food production and distribution by creating hydroponic community gardens that produce food and occur in unexpected locations or releasing humorous next-generation, robot-plant hybrids to prompt critical discussion on the environmental costs of intensive agricultural practices.

SOURCES

ABOVE: Abandoned garden

six months after Hurricane Katrina

BELOW: Catastrophic damage from Hurricane Katrina in Gulfport, MS

Jeff Schmuki

Photo: Jeff Schmuki

Photos:

DIAZ HOLLY HANESSIAN

MICHAEL AUSTIN

New Histories: The Gadsden Farm Project

2019

Digitally printed tablecloth, ceramic plates, photographs, seed bombs, alfalfa hay, and audio loop 70" x30" x20"

In the 1940’s, Gadsden County, FL was home to 67 CocaCola millionaires and a 100 million dollar shade tobacco industry.With a deep history of racial and agricultural inequality, Gadsden County is now the only county in Florida with a majority African American population and is one of the poorest counties in the state.

This art project presents the stories of 12 farmers who embody the agricultural demographics of Gadsden County, along with artifacts from more than two years of collaboration. Farmers were initially given a piece of sweet potato pie on a handmade plate as a welcome gesture and later a commemorative plate honoring their labor.

Working with the Gadsden County Extension office, the State of Florida Folklorist and photographer, we recorded the farmers' stories, chronicling their perseverance, personal triumphs, and obstacles. Each interview has been archived online for these agricultural families to share.

Photo: Michael Austin Diaz

SOURCE

Gadsden County City Marker

Photo: Holly Hanessian

STEFANIE HERR

SOURCE

Unlocking the next generation’s consumer appetite: teddy bear mortadella and mouseshaped cheese

Alcampo— Green Valley

2012

Photographic relief sculpture, cardboard, paper 2" x9" x6.5"

Most people ignore where their food comes from. Some children have never seen or touched a real cow in their life, but are perfectly familiar with fingers, patties, meatballs or even Mickey Mouse shaped minced meat. Skinned and eviscerated, filleted or portioned, neatly packaged and appropriately labeled, animals are treated as mere commodities today and are no longer considered an integral part of a unique ecosystem. Humans were once successful hunters, but just as we domesticated pigs, sheep, and cattle, we tamed ourselves. Insensitive to fur and feathers, we prefer the cold touch of Styrofoam and cellophane instead.

Photo: Stefanie Herr

Photo: Stefanie Herr

JOAN IVERSEN GOSWELL

Dick and Jane: A Time of Disparity

2019

Unique accordion book; digitally altered images

5.5" x39" (open)

My creative process is that I don’t really have one. I like to work spontaneously. The finished work is often the first draft. I just think of something, start to put it onto paper, cut some eraser stamps, and find material for collage. Or sometimes I make paper, or just use or find whatever materials the book calls for and then … make a book. Once the book is “started” it begins to take on a life of its own, it creates its own energy, and when it’s done—it’s done! Satire, over the ages, has been an effective way of exposing the ugliness in societies. This book is a satire of the childhood books “Fun With Dick And Jane.” It is meant to point out the disparity between the super wealthy and the poor, the power and greed of the corporations and the poisoning of our food sources.

Photo: Joan Iversen Goswell

SOURCE

This satire is pointing out the disparity of rich and poor, power and powerless in American society.

Photo: Joan Iversen Goswell

AMOS PAUL KENNEDY, JR.

Fresh Food for the People

2018

Letterpress print

19" x12"

I was born.

I am animal.

I am human. I live.

I live negro.

I tell you this because you will mistake me for an africanamerican BUT i am negro, a descendant of the enslaved peoples of theseunitedstatesofamerica.

I live southern.

I was born colored in Louisiana. I was raised negro. I was educated Black at Grambling College, a historically integrated college.

I live in the moment.

In the moment is creation. Creation is within every human. We must celebrate our creativity. The moment fuels our creativity.

I live to put ink on paper.

This is the major outlet for my creativity. I put ink on paper for the glory of my peoples. The words of my peoples have largely been excluded from “fine print.” I defy this condition and force my peoples’ presence into this part of this civilization’s culture.

I am a printer.

I am not an artist.

I am a stuff-maker.

I am not an artist.

I am a visitor. I will die.

Young people, I want to beg of you always keep your eyes open to what Mother Nature has to teach you. By so doing you will learn many valuable things every day of your life.

—George Washington Carver

SOURCE

Mr. LeRoy Dunn, tenant farmer in a field near White Plains, Green County, GA

U.S. Farm Security Administration/Office of War Information Black & White Photographs, Library of Congress Prints and Photographs collection.

Photo: Jack Delano, June 1941

PATTY KENNEDYZAFRED

American Portraits: Deep Roots

2021

Hand-pulled silkscreened images, vintage feed sacks; image transfer text; machine pieced and quilted 56" x56"

The agricultural landscape of rural America has changed dramatically since 1900, when nearly half of the U.S. population lived and worked on farms. That number now rests at just two percent, and more than one-third of today’s farmers are over the age of 65. Every week, faced with economic hardship, long hours, and corporate competition, hundreds of farmers leave their land for good. The independent family farm is an essential part of our diverse American fabric, representing strength, tenacity, patience, and perseverance. The men, women, and children of America’s family farms are a treasured part of our national fiber, and will not be easily replaced on the landscapes and fields they have loved for generations. Inspired by photographs taken for the U.S. Farm Security Administration during the 1930’s, this series is a tribute to America’s family farmers.

Photo: Larry Berman

Kennedy-Zafred is one of the exhibiting artists featured at Contemporary Craft’s Satellite Gallery, BNY Mellon Center, downtown Pittsburgh.

METCALFE

Pop Up

Pollinator Picnic (detail)

2016–2021

Porcelain, glaze, transfer prints

Installation, dimensions vary

As an artist, I employ the quiet tactility of clay to connect with people. I use the ceramic vessel and connection over food to build empathy within communities.

Growing up in rural Virginia, much of my free time was spent building forts in creek gullies and blazing pathways through wooded brambles. Now, living in an urban environment, I am a member of the rural diaspora. I see systems of hierarchies and disparities that separate us from each other and the resources that give us life. However, I believe that healing can happen when we are able to connect with the things we all must share: the land and water around us. My work as an artist is an attempt to reconnect with these resources, and I believe that craft has a special role to play in drawing attention to land, water and agriculture in our contemporary struggle to protect our natural resources.

SOURCE

View from artist’s childhood home in Rappahannock County, Virginia.

Photo: Robert Metcalfe (father of the artist)

Photo: Renee Yamada

RUSKIN MOLLIE

SOURCE

Washington Post, August 29, 2017

Transaction Denied 2019

Mixed media, paper receipts, manila folders, audio clips

Installation, dimensions vary

Photo: Eric Chiu

We are an art, design, and community organizing duo. We create multimedia interactive experiences for the public good. We believe in dignity and democracy at scale. And, we believe that public institutions should work with and for the people they serve, so we work with government partners, community organizations, and art collectives to help our local communities become more representative, equitable, and just.

Transaction Denied is a multimedia installation that tells the story of thousands of people seeking help to pay for food in our nation’s capitol.

Reflecting on a troubled $50 million computer upgrade to DC’s food assistance program (also known as SNAP) that left thousands without access to their benefits, Transaction Denied invites us to ask our government to do better.

https://www.washingtonpost.com/local/publicsafety/widespread-problems-in-district-run-foodstamp-program-alleged-in-new-lawsuit/2017/08/28/d4 cb6c9c-8bf5-11e7-84c0-02cc069f2c37_story.html

The work pairs cascades of familiar objects, like receipts and manila folders, with audio of human stories lost amidst systemic failures. The result is an immersive experience that calls into question how much we scrutinize people struggling to put food on their tables, and how little we understand about how our government is failing them.

SOURCE

Low on the Hog: Gravy Boat

Home. Nothing has been so central to my identity. 200 odd acres of the poorest dirt money could buy has shaped my family for nearly as many years. It has made us rich, then left us poor, and now it almost breaks even. It has fed the pigs and cattle that fed us, and it has laid fallow. More bombs have been dropped on it than I could count, only to have the land cleared again and reseeded. I have no right to this land, but it seems to have rights to me.

This work is my way of searching for what this land, and the people that worked it, mean. As I have dug through the past, I find stories, milestones for moments that put me here today. This work uproots those stories, looking in, under, and around them searching for context and hoping their connections bring the answers I need.

2014

Sterling silver, copper 5" x9" x5"

Photo: Mathew Parise

Artist’s grandfather, William Solon Livingston and his favorite bull

Photo: Unknown; Courtesy of Jerri Woodle, owner of the original photo

BIOGRAPHIES

ARTIST

BIOGRAPHIES

Biographical information has been selectively compiled and is not meant to be exhaustive.

Wendy DesChene in collaboration with Jeff Schmuki as Plantbot Genetics, Inc.

Born: Sault Ste. Marie, Ontario, Canada, 1970

Lives: Auburn, AL

Education

M.F.A., Painting, Tyler School of Art, Temple University, Philadelphia, PA, 2003

Michael Austin Diaz

in collaboration with Holly Hanessian

Born: Ocean Springs, MS, 1983

Lives: Asheville, NC

Gavin Benjamin in collaboration with Jason Forck

Born: Georgetown, Guyana, South America, 1971

Lives: Pittsburgh, PA

Education

B.F.A., Photography, School of Visual Arts, New York, NY, 1993

Apprenticeship, with portrait photographer Arnold Newman, New York, NY, 1991

Selected Exhibitions

2021

Downtown Renown: Pittsburgh

Sports Greats, Pittsburgh Downtown Partnership, Senator John Heinz History Center, Pittsburgh, PA

Fresh and Contemporary: Moving Forward, group exhibition, The Houston Museum of African American Culture, Houston, TX

Heads of State, solo exhibition, Haw Contemporary/Heidmann Salon, Kansas City, MO

Making Home Here, group exhibition, The Mattress Factory, Pittsburgh, PA

Money, Labor, Capital, & Collage, group exhibition, Saint Kate—The Arts Hotel, Milwaukee, WI

More is More, group exhibition, Akron Art Museum, Columbus, OH

Piecing It All Together, group exhibition, Paradigm Gallery and Studios, Philadelphia, PA

Summer Series 1, group exhibition, Brandt-Roberts Galleries, Columbus, OH

2020

Darkest before Dawn: Art in a time of Uncertainty, group exhibition, Ethan Cohen KuBe (Kunsthalle Beacon), Beacon, NY

Wallpaper Diaries, group exhibition, Strohl Art Center and Fowler-Kellogg Art Center, Chautauqua Institution, Chautauqua, NY

2018

AD ART Show, group exhibition, MvVO Art, Sotheby's, New York, NY

gavinbenjamin.com

George Bowes

Born: Toledo, OH, 1961

Lives: Galveston, TX

Education

M.F.A., University of California, Davis, CA, 2001

B.F.A., Cleveland Institute of Art, Cleveland, OH, 1984

Selected Grants and Awards

1999 Individual Artist Fellowship, Ohio Arts Council, Columbus, OH

1995 Individual Artist Fellowship, Ohio Arts Council, Columbus, OH

1993 Regional Visual Arts Fellowship Award, Arts Midwest/NEA, Minneapolis, MN

1992 Individual Artist Fellowship, Ohio Arts Council, Columbus, OH

1990 Individual Artist Fellowship, Ohio Arts Council, Columbus, OH

Selected Collections

The Akron Art Museum, Akron, OH

Alfred Ceramic Art Museum at Alfred University, Alfred, NY

The Art Gallery of Nova Scotia, Halifax, Nova Scotia, Canada

Crocker Art Museum, Sacramento, CA

Minneapolis Institute of Art, Minneapolis, MN

The Newark Museum, Newark, NJ

Smithsonian American Art Museum, Renwick Gallery, Washington, DC

georgebowes.com

Certificate, Center for Electronic Art, San Francisco, CA, 2000

B.F.A., Studio Art, Concordia University, Montreal, Quebec, Canada, 1992

Selected Exhibitions

2020

Biophilia, solo exhibition, Eleanor D. Wilson Museum, Hollins University, Roanoke, VA

2018

PlantBot 2.0, solo exhibition, McMaster Gallery, School of Visual Art and Design, University of South Carolina, Columbia, SC

2016

PlantBot Genetics: The Moth Project, solo exhibition, Augustana Teaching Museum of Art, Augustana College, Rock Island, IL

2014

Artists Respond, solo exhibition, Oulu Museum of Art (Taidmuseo), Oulu, Finland

2012

Monsantra, solo exhibition, The New Gallery, Calgary, Alberta, Canada

Selected Grants and Awards

2015 NEA Artworks Grant, The Moth Project, St. Norbert College Department of Art, De Pere, WI

2014 St. Louis Program Grant, Marfa Dialogues, The Pulitzer Arts Foundation, St Louis, MO

Selected Publications

Brunner, Brigitta R., editor. Creating Citizens (pp. 117-28). University of Alabama, 2016.

Burr, Ty. “What’s Under the Domes? Hopes for a Future.” Boston Globe, 14 Oct. 2017.

Shields, Kathryn M., and Sunny Spillane. Creative Collaboration in Art Practice, Pedagogy, and Research (Chapter 1.2, pp. 33-346, cover image, and color plate 1.2). Cambridge Scholars Publishing, 2018.

Zimmerman, Patricia R. Thinking Through Digital Media: Transnational Environments and Locative Places Palgrave Macmillan, 2015. plantbotgenetics.com

Education

M.F.A., Interdisciplinary Art, Florida State University, Tallahassee, FL, 2015

B.A., Studio Art, College of Charleston, Charleston, SC, 2007

Selected Exhibitions

2021

Call & Response: Craft as a Tool for Activism, virtual exhibition, Museum of Craft and Design, San Francisco, CA

2019

Ferment, Whitney Fine Arts Center, Minneapolis College, Minneapolis, MN

2018

Craft as Social Practice, Socially Engaged Craft Collective, Museum of Fine Arts, Tallahassee, FL

2012

Neither Here Nor There, group exhibition, Fountain Art Fair, Art Basel, Miami Beach, FL

2009

Convergence, Harry Wood Gallery, Arizona State University, Tempe, AZ

2007

Young Contemporaries, Halsey Institute for Contemporary Art, Charleston, SC

Selected Presentations and Publications

Chametzky, Peter. “Telling Their Stories: ‘ArtFields.’” New Art Examiner, vol. Spring Quarterly, 2021.

Diaz, Michael Austin. Lecture. Art and Education for Social Justice Symposium, 2020, Lamar Dodd School of Art, Athens, GA.

Diaz, Michael Austin. Panel Participant. Installation Art: Fine Arts, Digital Media, or Social Issues Art?, Southeastern College Art Conference (SECAC), 2014, Sarasota, FL

Diaz, Michael Austin. Lecture. Making Now: Open for Exchange Symposium, Museum of Fine Arts, Florida State University, Tallahassee, FL

Ludwig, Justine. “New Businesses: Art in Search of Alternative Economic Systems.” The Miami Rail, vol. Spring Quarterly, 2016. michaelaustindiaz.com

Jason Forck

in collaboration with Gavin Benjamin

Born: Kansas City, KS, 1981

Lives: Pittsburgh, PA

Education

B.F.A., Glass, Painting, Emporia State University, Emporia, KS, 2005

Selected Exhibitions

2019

Dissolution III (with Seth Clark), Momentum Gallery, Asheville, NC

2018

Miles From Anywhere, solo exhibition, Boxheart Gallery, Pittsburgh, PA

2017

Dissolution (with Seth Clark), special exhibition, Sculptural Objects

Functional Art Exposition (SOFA), Chicago, IL

Making the Ordinary Extraordinary, Erie Art Museum, Erie, PA

2015

Gatherings: Contemporary Drawings, Fowler-Kellogg Art Center, Chautauqua Institution, Chautauqua, NY

2014

American Landscapes, Fowler-Kellogg Art Center, Chautauqua Institution, Chautauqua, NY

Pittsburgh Biennial, Pittsburgh Glass Center, Pittsburgh, PA

2013

Glass in the Gardens, Phipps Conservatory, Pittsburgh, PA

2012

50 Years of Studio Glass, Kentucky Museum of Art and Craft, Louisville, KY

Fifty by Fifty: Celebrating the 50th Anniversary of Studio Glass, Muskegon Museum of Art, Muskegon, MI jasonforck.com

Joan Iversen Goswell

Born: Pittsburgh, PA, 1939

Lives: Valencia, PA

Education

Classical Design Bookbinding with Jean Gunner, Hunt Botanical Library, Carnegie Mellon University, Pittsburgh, PA

Calligraphy with Elizabeth Houston, Pittsburgh Center for the Arts, Pittsburgh, PA

Printmaking and Design, Chatham University, Pittsburgh, PA

Selected Exhibitions

2020

The New Collective, The Senator John Heinz History Center, Pittsburgh, PA

2017

Distinguished, Respected, Renowned, Celebrated, Gallerie Chiz, Pittsburgh, PA

Power of the Press, Jaffe Center for Book Arts, Florida Atlantic University, Boca Raton, FL

2015

Mindful: Exploring Mental Health Through Art, Contemporary Craft, Pittsburgh, PA (traveling)

Reader’s Art: Concealed, Confined and Collected, Minnesota Center for Book Arts, Minneapolis, MN

2013

Politics and Other Diversions, Durango Art Center, Durango, CO

1999

Book Objects, Artists Books, The Berchtold Villa, Salzburg, Austria

1996

Codes and Messages, British Crafts Centre, London, England

Selected Collections

The Jack Ginsberg Collection, Johannesburg, South Africa

The Sackner Archive for Concrete and Visual Poetry, University of Iowa, Special Collections, Iowa City, IA

The University of California Los Angeles, Fine Art Library, Los Angeles, CA

The Yves Klein Archive, Paris, France

Selected Publication

Calderhead, Christopher. “Art & Protest.” Letter Arts Review, vol. 25, no. 1, 2011.

Holly Hanessian in collaboration with Michael Austin Diaz

Born: Rochester, NY, 1958

Lives: Tallahassee, FL

Education

M.F.A., Ceramics, University of Georgia, Athens, GA, 1998

B.A., Ceramics, University of Florida, Gainesville, FL, 1980

Selected Exhibitions

2021

Call & Response: Craft as a Tool for Activism, virtual exhibition, Museum of Craft and Design, San Francisco, CA

2018

Cont[ract] Earth, 1st Central China Biennale,Henan Museum, Zhengzhou, China

Craft as Social Practice, Socially Engaged Craft Collective, Museum of Fine Art, Tallahassee, FL

2016

Touch in Real Time, solo exhibition, Ohr-O’Keefe Museum of Art, Biloxi, MS

2009

Hard Copy: Book as Sculpture, National Museum of Women in the Arts, Washington, DC

Installation: Four Artists, Four Perspectives, Bentley Projects, Phoenix, AZ

Jingdezhen International Ceramics Fair, Jingdezhen, Jiangxi Province, China

2008

Poetry of Space, solo exhibition, Southwest School of Art, San Antonio, TX

Selected Grants and Awards

2011 Creative Residency Program, NEA Award, The Hambidge Center for the Arts, Rabun Gap, GA

2011 Florida Artists’ Book Prize, Bienes Museum of the Modern Book, Fort Lauderdale, FL

2011 Visual Arts Fellowship, Division of Cultural Affairs, Florida Department of State, Tallahassee, FL

Selected Presentations and Publications

Chametzky, Peter. “Telling Their Stories: ‘ArtFields.’” New Art Examiner, vol. Spring Quarterly, 2021.

Hanessian, Holly. Presentation. Open Engagement, Queens Museum, New York, NY, 2018.

hollyhanessian.com

Stefanie Herr

Born: Frankfurt am Main, Germany, 1974

Lives: Barcelona, Spain

Education

M.Sc., Architecture, Technische Universität Berlin, Germany, 2001

Selected Exhibitions

2020

International Paper Triennial, Musée Charmey, Val-de-Charmey, Switzerland

2019

Arquitectura y Arte, Fundación Caja Mediterráneo, Alicante, Spain

Ism, OSTRALE Biennale, Historische Tabakfabrik f6 Striesen, Dresden, Germany

Les Chefs d’Oeufre, solo exhibition, Festival de Fotografia Emergente (BFOTO), El Moliné, Barbastro, Spain

2017

As Slow As Possible, Embarrat Festival de Creació Contemporània, Fàbrica Trepat, Tàrrega, Spain

The Best Design of the Year, Museu del Disseny, Barcelona, Spain

2016

Emboscada, solo exhibition, La Plataforma, Barcelona, Spain

2015

Premi d’Escultura Fundació Vila Casas, Museu Can Mario, Palafrugell, Spain

2014

En Plein Air, solo exhibition, Santa Teresa Espai d’Art, Barcelona, Spain

2009

Pandora’s Boxes, BAC! Festival Internacional de Arte Contemporáneo, CCCB, Barcelona, Spain

Selected Residencies

2014 Artist-in-Residence, Islington Mill, Manchester, United Kingdom

2012 Artist-in-Residence, La Escocesa Centre de Creació, Barcelona, Spain stefanieherr.com

Amos Paul Kennedy, Jr.

Born: Lafayette, LA, 1948

Lives: Detroit, MI

Education

M.F.A., Graphic Design, University of Wisconsin-Madison, Madison, WI, 1997

B.A., Mathematics, Grambling State University, Grambling, LA, 1972

Selected Exhibitions

2020

The Letterpress Posters of Amos Paul Kennedy, Jr.,Poster House, New York, NY

2019

Art in Action: In Her Own Words, Library of Congress, Washington, DC

Rosa Parks: In Her Own Words, Library of Congress, Washington, DC

2018

Passin’ On To Others, Royall Forum, Beverly Reynolds Gallery 1 (multi-site project), Richmond, VA

2017

Quotations of Rosa Louise Parks and Church Fans, MoMA, New York, NY

Selected Grants and Awards

2017 Printer-in-Residence, Minnesota Center for Book Arts, Minneapolis, MN

2015 Glasgow Fellow, United States Artists, Chicago, IL

1985 Artist-in-Residence, The Coleman Center for Arts and Culture, York, AL

Selected Collections

Amos Paul Kennedy, Jr. Collection, Rare Book & Manuscript Library, University of Illinois at UrbanaChampagne, Urbana-Champagne, IL kennedyprints.com

Patty Kennedy-Zafred

Born: Springfield, OH, 1952

Lives: Murrysville, PA

Education

B.A., Journalism & Communications, Point Park University, Pittsburgh, PA, 1984

Selected Exhibitions

2021

Intersect Chicago: The Future of SOFA, Studio Art Quilt Associates (SAQA) Special Exhibition, Chicago, IL

Primal Forces: Earth, National Quilt Museum, Paducah, KY (traveling)

Women’s Votes, Women’s Voices, Women’s Rights, William J. Clinton Presidential Library and Museum, Little Rock, AR

2020

Art of the State: Pennsylvania The State Museum of Pennsylvania, Harrisburg, PA

Art Quilt Elements, Wayne Art Center, Wayne, PA

Deeds Not Words: The Power of Persistence, National Quilt Museum, Paducah, KY (traveling)

The Implications of the Camera Southern Alleghenies Museum of Art, Altoona, PA

2019

CraftForms, juried exhibition, Wayne Art Center, Wayne, PA

Fiberart International, Fiberarts Guild of Pittsburgh, Contemporary Craft, Pittsburgh, PA

Interpretations: Rhapsody, Visions

Art Museum, San Diego, CA

2018

Quilts=Art=Quilts, juried exhibition, Schweinfurth Memorial Art Center, Auburn, NY

2017

Form, Not Function: Quilt Art at the Carnegie, Carnegie Center for Art & History, New Albany, IN

Shifting Landscapes, form & concept, Santa Fe, NM

Selected Grants and Awards

2019 Honoree, Master Visual Artists VII, Senator John Heinz History Center, Pittsburgh, PA

2019 Scholarship Award, Ohio Designer Craftsmen, Best of 2019, Ohio Craft Museum, Columbus, OH (traveling)

2018 Master Award for Innovative Artistry, Quilts: A World of Beauty, International Quilt Festival, Houston, TX

2018 Paul J. Smith Prize for Excellence in Fiber, Excellence in Fibers, San Jose Museum of Textiles, San Jose, CA

2013 The Heartland Award, Quilt National ’13, Dairy Barn Cultural Arts Center, Athens, OH

Selected Collections

International Quilt Museum, Lincoln, NE

San Jose Museum of Quilts & Textiles, San Jose, CA

Senator John Heinz History Center, Pittsburgh, PA

The State Museum of Pennsylvania, Harrisburg, PA

The Textile Museum, Washington, DC pattykz.com

Anna Metcalfe

Born: Apple Valley, VA, 1978

Lives: Minneapolis, MN

Education

M.F.A., University of Minnesota, Minneapolis, MN, 2009

Post Baccalaureate, Nova Scotia College of Art and Design, Halifax, Nova Scotia, Canada, 2003

B.A., English, College of William and Mary, Williamsburg, VA, 2001

Selected Exhibitions

2020

Flow: Journey Through the Mississippi River Watershed, group exhibition, Dubuque Museum of Art, Dubuque, IA

2019

Upstream, group exhibition, Minnesota Marine Art Museum, Winona, MN

Selected Grants and Awards

2020 McKnight Research and Development Grant, Forecast Public Art, St. Paul, MN

2018 Open Studio Fellowship, Franconia Sculpture Park, Franconia, MN

2017 Artist Initiative Grant, Minnesota State Arts Board, St. Paul, MN

2017 Art Residency and Fellowship, Camargo Foundation/Jerome Foundation/St. John’s Pottery

Environmental, Cassis, France

2015 Artist Initiative Grant, Minnesota State Arts Board, St. Paul, MN

2013 Travel Grant, Jerome Foundation, St. Paul, MN

2013 Artist Initiative Grant, Minnesota State Arts Board, MN

Selected Collections

Flint Institute of Art, Flint, MI

Minnesota Marine Art Museum, Winona, MN

Summer Arts Discovery, Permanent Public Art Installation, The Landmark Center of Minnesota, St. Paul, MN

annametcalfe.com

Xena Ni

in collaboration with Mollie Ruskin

Born: Hangzhou, China, 1988

Lives: Washington, DC

Education

M.F.A., Interaction Design, School of Visual Arts, New York, NY, 2014

B.S., Engineering (Product Design), Stanford University, Stanford, CA, 2010

Selected Exhibitions

2021 DC 2121, Rhizome, Washington, DC

We Are Home, HOMME Gallery, Washington, DC

2020

Art and Activism, The Cheshire, Washington, DC

2019

The Lottery, solo exhibition and residency, Hole in the Sky, Washington, DC

NaN—Not a Number, Data x Design group exhibition, Newlab, Brooklyn, NY

Transaction Denied, solo exhibition, Bread for the City, Washington, DC

Umbrella, group exhibition, Pakke Gallery, Washington, DC

2018

Group Exhibition, Dwell, Washington, DC

Visionary Responders, Artist-in-residence, The Sanctuaries, Washington, DC

Selected Grants and Awards

2019, DeCapital Grant, Washington, DC

Selected Publications

Capps, Kriston. “When Tech Makes Food Insecurity Worse.” Bloomberg CityLab, digital ed., 17 Apr. 2019.

Ni, Xena. “Transaction Denied.” Georgetown Law’s Color of Surveillance Conference, 7 Nov. 2019, Washington, DC. Conference session.

Wofford, Benjamin. “This DC Artist’s New Show Takes on a ‘Racially Motivated Wealth Test for Immigrants.’”

The Washingtonian [Washington, DC], digital ed., 8 Nov. 2019

madebyxena.com

Mollie Ruskin in collaboration with Xena Ni

Born: Baltimore, MD 1986

Lives: Brooklyn, NY

Education

B.A., Media Studies, Pomona College, Claremont, CA, 2008

Selected Exhibitions

2020

Light Me Up, solo exhibition, Liebre Gallery, Brooklyn, NY

2019

NaN—Not a Number, Data x Design group exhibition, Newlab, Brooklyn NY

Transaction Denied, solo exhibition, Bread for the City, Washington, DC

Umbrella, group exhibition, Pakke Gallery, Washington, DC

Selected Grants and Awards

2019, DeCapital Grant, Washington, DC

Selected Publications

Capps, Kriston. “When Tech Makes Food Insecurity Worse.” Bloomberg CityLab, digital ed., 17 Apr. 2019.

ru-design.org/art

Jeff Schmuki

in collaboration with Wendy DesChene as Plantbot Genetics, Inc.

Born: Phoenix, AZ, 1969

Lives: Statesboro, GA

Education

M.F.A., Ceramics, New York State College of Ceramics at Alfred University, Alfred, NY, 1998

B.F.A, Studio Art, Northern Arizona University, Flagstaff, AZ, 1993

Selected Exhibitions

2020

Biophilia, solo exhibition, Eleanor D. Wilson Museum, Hollins University, Roanoke, VA

2018

PlantBot 2.0, solo exhibition, McMaster Gallery, School of Visual Art and Design, University of South Carolina, Columbia, SC

2016

PlantBot Genetics: The Moth Project solo exhibition, Augustana Teaching Museum of Art, Augustana College, Rock Island, IL

2014

Artists Respond, solo exhibition, Oulu Museum of Art (Taidmuseo), Oulu, Finland

2012

Monsantra, solo exhibition, The New Gallery, Calgary, Alberta, Canada

Selected Grants and Awards

2015 NEA Artworks Grant, The Moth Project, St. Norbert College Department of Art, De Pere, WI

2014 St. Louis Program Grant, Marfa Dialogues, The Pulitzer Arts Foundation, St Louis, MO

Selected Publications

Brunner, Brigitta R., editor. Creating Citizens (pp. 117-28). University of Alabama, 2016.

Burr, Ty. “What’s Under the Domes? Hopes for a Future.” Boston Globe, 14 Oct. 2017.

Shields, Kathryn M., and Sunny Spillane. Creative Collaboration in Art Practice, Pedagogy, and Research (Chapter 1.2, pp. 33-346, cover image, and color plate 1.2). Cambridge Scholars Publishing, 2018.

Zimmerman, Patricia R. Thinking Through Digital Media: Transnational Environments and Locative Places Palgrave Macmillan, 2015. plantbotgenetics.com

Logan Woodle

Born: Conway, SC, 1987

Lives: Conway, SC

Education

M.F.A., Visual Arts, Jewelry and Metalsmithing, Edinboro University of Pennsylvania, Edinboro, PA, 2012

B.F.A., Visual Arts, Sculpture, Jewelry and Metalsmithing, Winthrop University, Rock Hill, SC, 2009

Selected Exhibitions

2021

[Re] Constructing Home, The Reeves House at Elm Street Arts, Woodstock, GA

2020

Materials: Hard and Soft, Greater Denton Arts Council, Denton, TX

New Horizons: Landscapes 2020, 3 Square Art Gallery, Fort Collins, CO SouthWorks, juried exhibition, Oconee Cultural Arts Foundation, Watkinsville, GA

2019

40 Under 40: The Next Generation of American Metal Artists, The Metal Museum, Memphis, TN

Arm Candy—The Art of Wearable Food, The Arts and Crafts Cooperative, Inc. (ACCI), Berkley, CA

2018

Appetites and Objects, Baltimore Jewelry Center, Baltimore, MD

Celebrating American Craft: Southern Style, Sarratt Gallery, Vanderbilt University, Nashville, TN

Fixins: The Work of Amber Eckersly and Logan Woodle, Bertha Lee Strickland Cultural History Museum, Seneca, SC

2017

20/20 Exhibition, Marion Cage Gallery, New Orleans, LA

Going Solo: Logan Woodle, Foundry Arts Center, Saint Charles, MO

2016

Blessed Burdens, Franklin G. Burroughs-Simeon B. Chapin Art Museum, Myrtle Beach, SC loganwoodle.com

ADDITIONAL IMAGES

COVER: STEFANIE HERR

Alcampo—Butcher Bob’s Garden

2012 (detail)

Photographic relief sculpture, cardboard, paper

2" x 10" x 7"

Photo: Stefanie Herr

INSIDE FRONT COVER: PATTY KENNEDY-ZAFRED

Heart of the Home, 2019 (detail)

Hand-pulled silkscreened images, vintage feed sacks; image transfer text; machine pieced and quilted 68" x 57"

Photo: Larry Berman

PAGE 3:

ANNA METCALFE

Pop Up Pollinator Picnic, 2016– 2021 (detail)

Porcelain, glaze, transfer prints

Installation, dimensions vary; .5" x 6" x 7"(one plate)

Photo: Renee Yamada

PAGE 6: MICHAEL AUSTIN DIAZ/ HOLLY HANESSIAN

New Histories: The Gadsden

Farm Project,2019 (detail)

Digitally printed tablecloth, ceramic plates, photographs, seed bombs, alfalfa hay, audio loop 1" x 10" diameter (one plate)

Photo: Michael Austin Diaz

PAGE 8: LOGAN WOODLE

Clabber Ladle, 2016 Sterling silver 15" x4" x4"

Photo: Keith Alan Jacobs

PAGE 26: LOGAN WOODLE

The House Built on Chicken Legs, 2019 Sterling silver

14" x10" x8"

Photo: T.J. Roth

PAGE 27: GEORGE BOWES

Prep Bowl, 2019

Porcelain, underglaze, glazes

4" x5" x5"

Photo: George Bowes

BACK COVER: ANNA METCALFE

Pop-up Pollinator Picnic, 2016– 21 (detail)

Porcelain, glaze, transfer prints; flower drawings in collaboration with artist Laura Corcoran

Installation, dimensions vary; 3" x 3" x 3" (one cup)

Photo: Renee Yamada

Dimensions are in inches—height preceding width preceding depth.

Board of Directors

Lisa Krieg, Chair

Albert D. Donnenberg, Ph.D., Vice Chair

Alexander Neal, Secretary

Kimberly Griffith, Treasurer

Margaret McCormick Barron

Lisa Belloli

Melanie Claxton

Domenic Dozzi

Mark Flaherty

Gretchen Givens Generett, Ph.D.

Susan Golomb, Emeritus

Emma Wallis Jones

Susan Gromis Kaplan

Christine McCray-Bethea

Michele O’Leary

Clyde Wilson Pickett, Ed.D.

Patricia A. Sheahan, Ph.D.

Patty Silberstein

Hilary Tyson

Lorene Vinski

David Zeve

Rachel Saul Rearick, Executive Director

Crafting Our Future Donors ($10,000+)

Anonymous

Clark R. Nicklas

Eden Hall Foundation

The Heinz Endowments

The Commonwealth of Pennsylvania, Honorable Thomas Wolf, Governor

Allegheny County Executive

Rich Fitzgerald

Redevelopment Authority of Allegheny County

Mayor William Peduto, City of Pittsburgh

Urban Redevelopment Authority of Pittsburgh, Streetface Renovation Program

Cathy Raphael and Alexandra Raphael

Elsa Limbach

Hillman Foundation

Marianne Bokan-Blair and David Blair

The Fine Foundation

PJ Dick & Trumbull (Clifford R. Rowe, Jr.)

Windgate Foundation

Allegheny Regional Asset District

Opportunity Fund

The Mars Family Charitable Foundation

Bridgeway Capital, Inc.

The Jack Buncher Foundation

Beverlynn B. and Steven Elliott

Jan Myers-Newbury

Larry and Sandy Rosen

John R. Tomayko

Hilary Tyson Porter and Charles Porter

Alexander and Tillie Speyer Foundation

The Raphael Family Fund of The Pittsburgh Foundation

Edward F. Rockman and Mary Ellen Johnson

Mark F. Flaherty and Mary McKinney Flaherty

Anonymous

Beth Wainwright

Susan Golomb

Lorene and Denis Vinski

Maggie McDonald and Russ Schuh

Anonymous

Judy & Michael Cheteyan Educational & Charitable Foundation

The Anne L. and George H. Clapp

Charitable and Educational Trust

Lisa Krieg

Karen Krieger and David Montgomery

Janet L. McCall and Jeffrey G. Boyd

Juliet Lea Hillman Simonds Foundation

Susan Harris Smith and Philip E. Smith

The Burkholder Foundation

Julie Kant

Judy Kelly

Heart of Craft Circle Donors ($5,000+)

Marianne Bokan-Blair and David Blair

Michelle L. Browne

John A. and Martha S. Burkholder

Tracy and Nick Certo

Judy and Michael Cheteyan

Dawn and Chris Fleischner

Vera and Albert Donnenberg

Leland and Janice Faller Schermer

Mark F. Flaherty and Mary McKinney Flaherty

Lucine Folgueras

Susan Golomb

Michael and Kimberly Griffith

Carolyn and Paul Hrach

Julie Gibson Kant

Lisa Krieg

Karl F. Krieger

Elsa Limbach

Kate L. Lydon

Peter and Wendy Mars

Janet Lee McCall

Margaret McDonald and Russell Schuh

Heather A. McElwee and Chris T. Clarke

Marilyn Meltzer

Diane Mohr

Amy B. Morgan

Janice L. Myers-Newbury

Risë and Daniel Nagin

Clark R. Nicklas

Demetrios and Kathe Patrinos

Catherine Raphael

Edward F. Rockman* and Mary Ellen Johnson

Larry and Sandra Rosen

Patty and David J. Silberstein

Lorene and Denis Vinski

Beth Wainwright

David Zeve

Legacy Circle (Bequests)

Anne Bokan Charitable

Remainder Trust *

Donna Hollen-Bolmgren

Gerri Kay*

Elizabeth Rockwell Raphael

Clark R. Nicklas*

*deceased

We acknowledge with appreciation the following staff and volunteers for their contributions to Food Justice: Growing a Healthier Community Through Art

Rachel Saul Rearick, Executive Director

Kate Lydon, Director of Exhibitions & Programs

Yu-San Cheng, Director of Operations and Finance

Jim Ebbert, Retail Sales Manager

Kirsten Ervin, Volunteer

Kate Fitzgerald, Program Assistant

Lindsay Anne Herring, 2021 M.A. Food Studies Intern, Chatham University

Allison Jones, Education Manager

Liz Lenthe, Development Manager

Janet McCall, Emeritus Director

Rebecca McNeil, CFO—Art Finance Cohort

Aaron Martin, Director of Development

Pam Morrison, Volunteer

Marissa Murin, 2021 Cheteyan Scholar

Trish O’Connell, Director of Business Development

Karen Roberts, Volunteer

Tammy Schweinhagen, Volunteer

Zoe Trexel, Volunteer

Mandy Wilson, Director of Marketing

ISBN 978-0-9960989-4-6

5645 Butler Street

Pittsburgh, Pennsylvania 15201

PHONE:412-261-7003

contemporarycraft.org

DESIGN: PAULSCHIFINO, SCHIFINODESIGN COM