Creativity and Activism—How We Are Growing the Green New Deal

The Sierra Club put out a call to artists to "translate the tenets of the Green New Deal to help other people contextualize a reality in which sustainable, livable economies and societies are the norm." The "Art of the Green New Deal" garnered over 150 submissions from creatives of diverse backgrounds. This exciting outpouring of artists concerned with the environment was highly positive. However, writer, Ousman Cheek, believes the movement still has more room for intersectionality and the potential to "provide sources of culture shift."

Art and photo by Emily Ching

Art and photo by Emily Ching

Artist, Emily Ching, submitted "The Wrapping Project" to call out wrapping paper's environmentally destructive nature. Ching's work introduces an alternative to traditional paper wrapping by providing an aesthetically pleasing option that is much less harmful to our planet. Her work also draws upon the Japanese tradition of wrapping gifts, called "furokishi." You can find out more about Emily and The Wrapping Project on her website.

Art and photo by Renae Barnard

Art and photo by Renae Barnard

Renae Barnard's work uses recycled materials and natural dyes to "convey texture and dimensionality that make you think of natural elements, when in reality, they're made from post-consumer waste." Barnard helps us take a closer look at society's mass consumption by offering creative alternatives to our waste sitting in landfills.

Both of these works address environmentally harmful practices while offering alternatives, which in turn, best represent the heart of the Sierra Club's initiative. "They also contain an aspect of materiality that indirectly or directly comments on the environmental harm caused by even traditional artistic supplies and mediums." Barnard and Ching creatively inspire moving toward a more sustainable society through their innovative art practices. 

The Sierra Club strongly believes that integrating creatives like Ching and Barnard into discussions surrounding sustainability will create a broader public interest in the topic. Artists can offer creative solutions and progressive ideals that get people excited about saving our environment.

To read the full article by Ousman Cheek, you can find it here.

Source: https://www.sierraclub.org/articles/2019/11/creativity-and-activism-how-we-are-growing-green-new-deal?amp

Materiality & Method: A Small Works Fiber Show

Please join us on Sunday, September 8th from 4 - 6 pm for the opening reception of Materiality & Method a small works fiber show organized by Textile Arts Los Angeles in conjunction with Textile Month in September 2019. The exhibition will be on view at Daniella Carter’s architectural studio Pretty Smart in Long Beach, CA, through Saturday, October 5th, 2019.

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Fiber is a fluid medium that allows artists to approach their work in many ways. This exhibition focuses on the intersection of process and material, and how every artist addresses these ideas in their work. Featuring artists’ work that uses innovative methods that manipulate, re-imagine and transcend our understanding of material.

Renae is pleased to be showing a wall sculpture entitled “The Noise Got Too Loud” made with cheesecloth, sodium chloride, dead sea salts, cardboard, and resin alongside a group of featured textile artists: Peggy Weidemann, Carlyn Clark, Sandy Abrams, Eva Rabin, Susan Maddux, Michael Rohde, Gwen Samuels, Polly Giacchina, Penny Collins, Joanna Stott, Lydia Tjioe Hall, Elise Vazelakis, Anne M Bray, Tamara Tolkin, Anna Zinsmeister, Dellis Frank, Barbara Klare, Claudia Zhao, Jamia Weir, and Brittany Wittman McLaughlin.

The Noise Got Too Loud. 10”W x 9”L x 3.5”D. Cheesecloth, sodium chloride, dead sea salts, cardboard, resin (2019).

The Noise Got Too Loud. 10”W x 9”L x 3.5”D. Cheesecloth, sodium chloride, dead sea salts, cardboard, resin (2019).

For more information about Textile Arts Los Angeles please visit www.textileartsla.org

Dunn-Edwards: Artist Renae Barnard's Eco-Conscious Exploration of Color

ARTISTIC INSPIRATION

Los Angeles artist brings eco-consciousness to forefront with an inspirational palette of Dunn-Edwards’ non-toxic paints.

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A large component of artist Renae Barnard’s work features an emphasis on eco-conscious — a theme that resonates throughout Barnard’s works like her photography, public art, sculpture and paintings. It’s no surprise then that when it comes to the colors for her works of art, the palettes also take inspiration from botanical and geological surroundings. In a recent showcase at her Los Angeles studio, Barnard displayed a series of sculptural paintings with just such a palette, paintings for which she utilized Dunn-Edwards paints. “I love Dunn-Edwards paints because they align with the eco-conscious focus of my art practice,” Barnard explains. “They are eco-friendly, non-toxic and do not off-gas.”

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As a lover of the vibrant colors and textures found in nature, Barnard notes, the color choices for these particular works originated from the “saturated pinks and greens paired from my garden, or a swirling combination of lavender and amethyst hues sourced from my personal collection of minerals and gemstones.”

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Her paintings are made from recycled materials from the furniture manufacturing industry. These include items such as such as foam and fabric scrap, all of which allow her to create the intricate and textured foundations upon which she paints. “I create my paintings horizontally, allowing for a more fluid and sculptural process [...] I combined hundreds of pounds of table salt with the paint. The salt draws moisture away from the pigment in an evaporative process, resulting in a crystalline-textured surface,” explains Barnard. She created the series over a period of three months, working her intricate painting process. “Each piece is constructed of multiple layers, each taking more than a week to dry. The lengthy dry time allows me to spread the workflow across multiple paintings at a time."

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Barnard continues to share her work and explore color through curated art exhibitions and lectures, including a recent talk at the Textile Arts Summit at the historic Helms Bakery district, one of Los Angeles’ premiere design destinations. To learn more about Barnard, her upcoming work, and events check out her website at renaebarnard.com. And to learn more about Dunn-Edwards selections of environmentally-conscious paints, VOC-free paints please visit us here.

All photos courtesy of Renae Barnard

Open Studio Showcase Review

Open Studio Showcase Review

Fine artist Renae Barnard opened the doors to her private studio location in Los Angeles for an exclusive showcase Sunday, May 27th. Invitees were the first to preview recently completed works by the artist.

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Working through a variety of mediums, Barnard's studio is thoughtfully curated with paintings, sculptures, and installations. Her latest work includes paintings and sculptures made with salt. This mineral inclusion creates natural formations and crystalline surface qualities when combined with paint.

Throughout the event, Barnard generously shares insights into her artistic process and material explorations with guests.

Her multi-media works incorporate recycled materials from the furniture manufacturing industry to create sculptural foundations for painting. The organic formations and layered textures reference natural earthen elements and minerals. A gem-like color palette of low-VOC paints was specially provided by Dunn-Edwards in support of this eco-conscious project.

The artist displays her collection of gemstones; a personal vignette of inspiration for these new works.

"Many of my sculptures are worked within inches of collapse and reflect my attraction to the imperfect and aged" says Barnard. This is a recurring theme seen throughout the artist's body of work. Her latest sculptures also experiment with paint and salt, and are displayed in crumbling volcanic formations. The fractured surfaces reveal saturated colors and tectonic layering.

Illuminated installations by Renae Barnard add ambiance to the intimate studio space. Made from recycled plastic sheeting, the artist knots and drapes the materials into cloud-like sculptures. The lightweight material floats above guests heads with a soft glow.

The event was well attended by private collectors, local journalists and close colleagues of the artist. A quick walk-through of the studio showcase featured artworks at every turn. The diversity of media and artistic process reveal Barnard's pleasure of the hand-made.

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Mauveine State a paper sculpture on display by the artist was meticulously dip dyed by hand to reveal the delicacy of each layer. Barnard often pushes the limits of materials in her own works to reveal their delicacy and transience. Her intrinsic approach delights in the tactility and decadence of making in a way that viewer's are immediately drawn to.

Barnard has a Master of Fine Arts degree from Claremont Graduate University and is a recipient of the Sue Arlen Walker and Harvey M. Parker Memorial Fellowship, the Armory Center for the Arts Teaching Artist Fellowship, the Ahmanson Annual Fellowship, the Lincoln Fellowship Award and the Christopher Street West Art & Culture Grant.

Barnard has created site specific, socially engaged works and exhibited at local and international galleries/film festivals including Shoshana Wayne Gallery, Los Angeles Municipal Art Gallery, Rutgers University, Towson University, Drake University, Harriet & Charles Luckman Gallery, SOMArts Gallery, Pete & Susan Barrett Gallery, LGBT Film Festival Boston, Long Beach LGBTQ Film Festival, Tampa International LGBTQ Film Festival, and the Bergamot Station Arts Center in Santa Monica among others. To learn more about Renae Barnard, please visit:

www.renaebarnard.com

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