On Sunday, November 18, Studzinski Recital Hall’s Kanbar Auditorium and Smith Union’s Morrell Lounge came alive with percussion, brass, woodwinds and singing from the fall performance of the Bowdoin College Concert Band, followed by Maine’s own Burnurwurbskek Singers. The program was organized by Director of the Bowdoin Concert Band John P. Morneau in celebration of Native American Heritage Month.
The event featured pieces centered around moments in Native American history and a performance including both traditional and contemporary Native American songs by the Burnurwurbskek Singers, a Wabanaki group. This performance celebrating Indigenous heritage had been a long time in the making, according to Morneau.
“For years I’ve been wanting to do a program with [and] about Native Americans, and I just hadn’t found the right way to do it,” Morneau said.
After working with music publishers to identify various Native American composers and pieces, Morneau contacted the Maine Arts Commission, who put him in contact with the Burnurwurbskek Singers.
“I contacted [the Singers] and their leader Ronnie Bear, who is the principal person in the group, was very receptive to doing this kind of program,” Morneau said.
Morneau’s intention was to ensure that the performance faithfully conveyed Native stories. He shared readings with the band, familiarizing them with the histories surrounding the pieces that they played. The concert featured elements like the use of stones as percussion and the recitation of a poem upon which one of the pieces was based—all part of Morneau’s goal to convey emotion to the audience.
“One of the things that we discussed quite a bit in rehearsals is how are you going to tell the story without speaking?… [Telling the story] through an instrument is kind of like trying to do it with your hands tied behind your back because you can’t say anything,” Morneau said. “You have to tell the story musically because there’s a difference between playing and just performing with passion. And if you don’t perform with passion, the audience knows.”
Clarinetist Brady Nichols ’24 said that Morneau’s commitment added to the rehearsal process.
“We spent a lot of time in the rehearsal process talking about how to respectfully do the concert and how to tell the stories,” Nichols said. “John was very adamant in getting us to read the stories behind [the pieces] because he always said, ‘you can’t tell a story if you don’t know the story.’”
After the band’s performance ended, audience members migrated en masse into Smith Union for the second part of the concert featuring the Burnurwurbskek Singers. The group is made up of Ron Bear, his sons Nick Bear and Cree Neptune Bear, and Nyle Sockbeson. Later in their program they were accompanied by dancers, including Ron Bear’s daughter, Selena Neptune Bear.
The Wabanaki artists performed both traditional and modern songs, inviting audience participation during many numbers. They welcomed audience questions between songs and emphasized their group’s educational mission. Audience members jumped in with various questions about their traditions, practices, instruments and history.
The Burnurwurbskek Singers sat around their central drum, which Ron Bear said was acquired in the 1970s. The members played rhythms with decorated “beaters” and sang songs ranging from ancient pieces honoring their veterans, to the American Indian Movement (AIM) intertribal song, a product of the 70s.
They ended their performance with a circle dance, inviting everyone in the crowd to participate. They taught participants the steps and danced together in a ring in Morrell Lounge.
Audience member Ben Weintraub ’26 enjoyed the two-part program and how they played off of each other.
“I feel like they were complementary. The Concert Band provided a more ensemble-based approach to storytelling. You have so many different instruments providing a lot of different harmonic and melodic elements, whereas with [The Burnurwurbskek Singers], it’s very focused on the drums and on the voice,” he said.
Attendee Jodee Ristich said the themes that both Morneau and Bear discussed resonated deeply with her.
“Performances like this one are really nice for the community because it teaches and is so powerful,” Ristich said. “Information like this is so important to share because it bridges between people, and right now in this country we are very much not bridged.”
The UAE has long been known for its rapid economic growth and impressive infrastructures. In recent years, the nation has set its sights on fostering sustainability across various sectors, including the art industry. The intersection of art and sustainability is a burgeoning concept gaining traction within the UAE’s vibrant cultural landscape. The local art sector is striving to embrace sustainability and is set firmly on its journey towards a more environmentally conscious and socially responsible future.
The art sector in the UAE has historically been synonymous with opulence and grandeur, showcasing larger-than-life shows and architectural marvels. However, the paradigm is shifting as stakeholders recognise the need to integrate sustainable practices into the art ecosystem. Institutions, galleries, and artists are increasingly embracing eco-friendly approaches to their operations and creations.
Art Jameel, a major art institution in Dubai that partners with international players such as the Metropolitan Museum of Art and the Victoria and Albert Museum, is at the forefront of the movement.
“Culture plays a key role in communicating the complexities of the climate crisis to a broad audience and drawing them in as active participants that can then engage in sustainable practices. At Art Jameel, we’re engaged in new research, looking at how the arts can resist and adapt to climate change from the perspective of the Global South and harnessing the power of the arts to address the climate crisis,” says Antonia Carver, Director, Art Jameel.
“We’ve also been doing carbon footprint studies for a few years now and adapting our own practices and buildings, including Jameel Arts Centre, Dubai’s contemporary hub for arts and ideas, in Jaddaf Waterfront,” she says, adding, “I don’t believe the art market is so involved in environmental awareness, but the not-for-profit and museum sectors are becoming ever more invested and involved.”
Dubai-based Firetti Contemporary is one of the art galleries that has embraced eco-friendly practices as part of its ethos. “Sustainability in the art world transcends canvas and sculptures; it’s a commitment to reflecting and addressing the crucial issues of our time,” says Celine Azam, Gallery Director.
“Contemporary art, as the purest expression of our contemporary world’s feelings and situations, becomes a powerful vehicle for raising awareness on urgent matters like climate change. Artists, as societal mirrors, play a vital role in sensitising the public. The art market becomes a catalyst, amplifying their voices and fostering a collective responsibility towards a sustainable future. At Firetti Contemporary, we believe in the transformative power of art to inspire change and contribute to a more environmentally conscious society.”
Apart from institutions and galleries, there are artists like Anja Bamberg who work mainly with recycled material as a matter of principle.
“Creativity and sustainability are closely linked in my art,” says Bamberg. “As an artist, I have the unique opportunity to use my creative skills to convey messages of sustainability and raise awareness of environmental and social issues. Furthermore, my art is sustainable in that I use eco-friendly materials and techniques. I do this by working mainly with recycled paper.”
She adds: “My favourite material is paper bags. Since there are restrictions on using plastic bags, they are now often replaced by paper bags. In my opinion, this doesn’t make much sense in principle because they are usually only used once before they end up in the trash. Many people are not even aware that a tree had to be felled for this. For more than a year, I have been using almost exclusively recycled paper for my art, mostly in the form of paper bags.
“I asked friends, neighbours, and artist friends to keep them for me, and I gathered a good pool of different colours and shapes of paper bags. My intention was, is and will be to explore the beauty of the water through the use of waste paper, expressing the spirit of sustainability while counteracting the throwaway culture entrenched in today’s society.”
Azam sees the art world channelling its energies towards creating awareness of the situation. “The relationship between creativity and sustainability is deeply intertwined in most of our art. Artists, as societal mirrors, possess a profound ability to articulate the concerns and pain of the society they inhabit. In the face of the significant impact of climate change, many artists within our gallery community are channelling their creativity to express profound concerns about the beauty of nature that we are unfortunately losing. It’s a powerful intersection where art becomes a poignant medium to raise awareness and evoke a sense of responsibility towards the environment.”
Short-term events such as art fairs produce thousands of tonnes of carbon emissions and generate waste in the form of plastic wrapping, discarded crates, and temporary building materials, all for a few days of art marketing and sales. In light of these issues, how can the art market’s responsibility towards sustainability be fulfilled?
“Traditionally, the art market has faced ecological challenges, notably in shipping and packaging. The carbon footprint associated with transporting artworks globally and the waste generated from traditional packaging have been significant issues. The industry must actively adopt sustainable practices. Many in our community are increasingly embracing virtual experiences, reducing the need for physical transportation. We prioritise sustainable packaging approaches and promote recycling initiatives. To ensure a better future for our planet, the art market must continue to shift towards virtual engagement, invest in sustainable packaging alternatives, and advocate for responsible shipping practices,” Azam says.
Carver highlights an important initiative Art Jameel is helming. “We have teamed up with the British Council to launch a grants programme for artists and institutions in the Arab world, inviting artists to create projects that raise awareness and institutions to apply to purchase hardware to reduce their waste and carbon footprints. Grants worth a total of GBP 250,000 are available and the deadline for submission is January 15,” she says.
“Art Jameel has also teamed up with Dubai Culture on a scheme, Research and Practice Platform 2023-24, specifically to encourage UAE-based artists and creatives to address climate change in their work. This also includes grants and additional programmes, in association with Al Quoz Creative Zone. From a museum perspective, there is an increasing awareness of the environment and a sharing of ways that we can collectively address this, for example, through shipping by sea rather than air; through recreating works onsite rather than shipping; through reducing use of water and power,” Carver adds.
It is said that it’s through art that we can envision potential alternatives for sustainability. But does the art world have the power to tackle climate change, and does it have the potential to take a leadership role in building a sustainable future?
Carver believes it can. She says: “At Art Jameel, we’ve staged several exhibitions over the years looking at ideas around the future of food and on water as a precious resource. These exhibitions included original research by artists, writers, and others on how we can address the climate crisis from the perspective of the Global South. Most often, the debate and standards around, for instance, temperature and humidity control in museums and art collections are set by the Global North – by powerful museums in Europe and America.
However, the vast majority of the world lives in different climates and circumstances; we’re discussing with colleagues across Asia how we can build realistic new ways of working that relate to our own environmental conditions and experiences and that help combat climate change. We’ve also recently launched a special fellowship, the first such in the world, inviting researchers to come work with us and our art collection to develop original thinking out of the Gulf on how caring for and displaying art could and should adapt for the age of climate crisis.”
Azam is on the same page. she says the art world possesses immense power to envision and inspire potential alternatives for sustainability.
“Artists, with their unique perspectives, can effectively communicate the urgency of addressing climate change. We firmly believe that the art world should play a leadership role in building a sustainable future. Through thought-provoking exhibitions and advocacy for sustainable practices, the art community can contribute to shaping a collective consciousness that fosters positive environmental action. Art has the potential to ignite change, and it is our responsibility to harness this power for the betterment of our planet.”
Several initiatives and organisations are leading the way in steering the art and cultural sectors towards a sustainable future, says Azam.
“Some notable examples include Julie’s Bicycle, based in the UK, which works with the creative community to integrate sustainability into their work. They provide resources, tools, and certification programmes to help cultural organisations reduce their environmental impact. Likewise, the Green Art Lab Alliance brings together artists, curators, and institutions to explore and promote environmentally sustainable practices in the arts. So also Art to Acres, an initiative by artists and galleries that contribute a percentage of their sales to land conservation projects, linking art sales directly to environmental protection.”
Azam adds, “Locally, I can mention the National Bank of Fujairah’s support for artists focusing on sustainable art is commendable. Initiatives like these play a crucial role in fostering creativity while promoting environmental consciousness. It’s inspiring to see local organisations taking an active part in the intersection of art and sustainability, contributing to a more vibrant and responsible cultural landscape.
“These organisations are fostering sustainability in the art world through various means, such as promoting eco-friendly practices, raising awareness, supporting environmentally focused art projects, and encouraging responsible consumption within the cultural sector. Their efforts contribute to a more sustainable future for the arts and culture.”
Bamberg sounds a note of caution. ”I think the art world can undoubtedly have a significant impact on society, including the way we approach climate change. Art can help us make emotional connections and present complex issues such as sustainability and environmental awareness in a creative way. But, it is important to recognise that art alone cannot solve climate change. Tackling climate change requires a comprehensive commitment from governments, businesses, civil society, and individuals. However, the art world can certainly make a valuable contribution to raising awareness, promoting dialogue, and highlighting alternative paths to sustainability,” she says.
Sealaska Heritage Institute (SHI) is holding a contest to solicit a design for next year’s Celebration, a biennial dance and culture festival that celebrates Tlingit, Haida and Tsimshian cultures.
SHI is seeking a Northwest Coast art design that depicts the theme: “Together We Live in Balance,” which incorporates two significant concepts.
“Southeast Alaska Natives have learned that social and spiritual ‘balance’ is essential to maintain a healthy society and our relationships to past and future generations,” said SHI President Rosita Worl. “We also recognize that this same concept of ‘balance’ applies to living in our environment and to maintaining balance among the animals and fish populations on which we depend.
“The reference to ‘together’ is an acknowledgement of the importance of unity among our peoples and communities to ensure that the strength of our society is maintained.”
SHI is requesting sketches of proposed Celebration art, as opposed to finished pieces. The process is similar to a request for proposals. The sketches must be clear enough that reviewers can understand and interpret the concept.
The winning artist will receive $1,000 and the design will appear on materials, including t-shirts and a program, associated with the event, which is one of the largest Native gatherings in the state, drawing thousands of people to Juneau every even year. SHI will also publish an article about the artist in the Celebration program.
The institute may also purchase additional entries for other uses, such as illustrating programs.
The deadline to apply is Jan. 12, 2024. Celebration 2024 is scheduled for June 5-8. The application link is https://sealaskaheritage.wufoo.com/forms/r4xzdsv1s2qz7w.
Caption: Dakhká Khwáan Dancers, who were named lead dance group for Celebration 2024. Photo by Nobu Koch, courtesy of Sealaska Heritage Institute. Note: Media outlets are permitted to publish this photo for coverage of this story.
Making America: Sameer Makarius and his Photographs of the Feria de América in 1954 in Mendoza
Sameer Makarius was born in Cairo in 1924. In 1933, he immigrated with his family to Berlin. At the age of ten, his father gifted him a camera, marking the beginning of his journey with photography. Following the outbreak of the Second World War, in 1940, they moved to Budapest, where he completed his secondary education, began his artistic training, and connected with the protagonists of the local avant-garde. In 1946, he embarked on his return to Egypt with a prior stop in Zurich. There, he organized an exhibition of Hungarian modern art with the support of Max Bill. Back in Cairo, he worked as a decorative artist for advertising and also for an architecture and construction studio.
His artistic work arrived in the Río de La Plata a few years before he did, through his partner Eva Reiner, who was already living in Argentina with her family. In 1948, she lent one of his works for the MADI art exhibition organized in the workshop of the German sculptor Martin Blaszko. After marrying Eva in Egypt in 1952, they traveled together to Paris, where they worked as pattern designers. They finally arrived in Buenos Aires in April 1953, a city that would become their permanent residence. His migratory journey was marked by the drama of war. At the same time, during these displacements, Makarius built a network of relationships around photography, visual arts, and architecture that allowed him to unfold his work in various territories and formats.
Part of that network was activated after he arrived in Buenos Aires, leading him to Mendoza to participate in the Feria de América in 1954. The exhibition was scheduled during the second Peronist government with a dual purpose: on the one hand, to showcase the advances of industrial development in Argentina, and on the other hand, to stage an idea of America based on the unity of Latin American peoples [1]. The overall organization was led by the industrialist Iván Bacsinszky [2], while the architecture and planning of the event were in the hands of architects César Jannello and Gerardo Clusellas. Although both came from Buenos Aires, the former had settled in Mendoza in the late 1940s to work as a professor of Scenography at the Academy of Fine Arts and later as the Director of the School of Ceramics at the National University of Cuyo. In contrast, Clusellas continued his professional activities in the Federal Capital as a member of the OAM studio [3]. Jannello also invited the artist Tomás Maldonado to develop the visual identity of the exhibition, of which he ultimately only designed the graphic module. Later, local artist René Barbuy took charge of turning it into an extensive system applied to signage, and brochures, among other pieces and objects. It is not clear exactly how Makarius arrived, but his time in Mendoza was documented in the Nueva Visión magazine, affiliated with the organizing group, where some of the photographs he took at the event were published [4]. Additionally, he participated as a decorative artist, designing the stand for the “La Cuerina” company and a combined music and bar furniture piece for another client [5].
Shortly before the seventieth anniversary of the inauguration of the Fair, the Municipal Museum of Modern Art in Mendoza recalls the event in the exhibition “En el futuro esto ya pasó. Makarius en Mendoza,” curated by Wustavo Quiroga. The selection of photographs recovers some views of the best pavilions. Among them stands out the pavilion of the Republic of Chile, whose vaulted structure based on a wooden grid surprised with precision in its technical execution. On the other hand, the provincial pavilions of San Juan and Mendoza adhered to the more understated Miesian lines that dominated most of the ensemble. Pavilions such as those of the Metalúrgicos Luis Pescarmona Workshops, Cinzano, and Federación Textiles Argentinos, representing some of the most thriving sectors of the industry at that time, presented more vibrant proposals characteristic of advertising architecture. Representing the national government, various ministries, such as Public Works and Agriculture and Livestock – among others – also had their exhibition spaces, as did public educational institutions like the National University of Cuyo.
Makarius’s photographs offer different types of records of the event. Some, such as the dance floor on the lake island, allow for the observation of these spaces being inhabited by users, such as musicians and dancers in motion. Others focus on the scenic setups of some stands, like those of textiles and fabrics. The rest concentrate on the architecture of the pavilions, with their modular structures and prefabricated elements. Among the latter, it is worth highlighting the series dedicated to the Allegorical Tower and the one of the MOP Pavilion. Both constructions are also represented in the exhibition by two models located in the center of the room.
The Tower was designed by Jannello and Clusellas as a work of sculptural architecture, located at the entrance of Parque San Martín, between the Caballitos de Marly. It was constructed based on a metal framing system that gave it a light and transparent appearance. The central structure, fifty meters in height, was surrounded by five cubes arranged in a spiral. Inside each cube, two pyramids connected at the vertex were placed, made of metal mesh painted in red and white, emulating the graphic module conceived by Maldonado. At night, the structure was illuminated through a light system synchronized with an electroacoustic music piece composed by Mauricio Kagel, combining instrumental passages with industrial sounds. Through the Tower, its authors reformulated the idea of a monument in a modern key. Additionally, they developed a proposal for the integration of the arts (architecture, sculpture, and music) that engaged with the aesthetic debates of the post-war period.
The Pavilion 24 occupied by the Ministry of Public Works consists of two volumes, one in the shape of a rectangular parallelepiped and another with a circular floor plan, interconnected and linked to the exterior through ramps and stairs. Similar to the tower, the building stood out for its structural approach and technical execution, which simultaneously served as its main aesthetic attributes. This construction is the only vestige that survived the Fair and remained standing, although its use has changed [6]. Thanks to the efforts of a group of architects and designers led by Quiroga, the building was recently declared of heritage interest and is being prepared for restoration. On the other hand, the collective is working on the reissue of the book “Feria de América: vanguardia invisible” [7], incorporating new sources and archival materials found in the last decade, after its initial publication. Additionally, they propose to reconstruct the Allegorical Tower as part of the celebrations for the seventieth anniversary of the event.
Makarius’s exhibition is part of this series of initiatives that seek to recover the modernizing legacy of the Feria de América in broader terms. At the same time, it invites a deeper exploration of a figure recognized in the field of photography but less explored from the perspective of the history of architecture and design. Both the visual arts and architecture, as well as the city, had a relevant and sustained presence throughout his career: as a designer, he worked for firms like Churba; as a photographer, he documented the construction of buildings such as the Siam Di Tella plant (1959-1960), collaborated with Clorindo Testa, and captured the building of the Rudolf Steiner School (1961), the first Waldorf school in Argentina. His trajectory speaks to the artistic and intellectual networks that were woven in the aftermath of the Second World War when America became a refuge and a future horizon for Western culture.
About the author
Cecilia Durán is an architect and holds a Master’s degree in the History and Culture of Architecture and the City. Her thesis, “Arquitectura como arte público” (Architecture as Public Art), was published as a book in 2020. She is a member of the Laboratory of Space, Technology, and Culture at the National University of Quilmes.
Notes
[1] The countries represented in the competition with their own pavilions were Paraguay, Brazil, and Chile. The rest of the participating Latin American countries gathered in Pavilion 23, including Bolivia, Colombia, Cuba, Costa Rica, the Dominican Republic, El Salvador, Guatemala, Haiti, Honduras, and Mexico. [2] Of Hungarian origin, Bacsinszky had experience in organizing exhibitions based on his work for the company Tungsram in his home country. In 1933, he migrated to South America, first to Buenos Aires and then to Mendoza, where he founded the company Only SA dedicated to furniture production (Quiroga, 2012). [3] The Organization of Modern Architecture, created in 1948, brought together a group of young Argentine architects such as Horacio Baliero, Juan Manuel Borthagaray, Francisco Bullrich, Alicia Cazzaniga, Gerardo Clusellas, Carmen Córdova, Jorge Grisetti, among others. The group established relationships with Tomás Maldonado and the artists of the Concrete Art Association “Invention,” with whom they collaborated in the creation of the magazine Nueva Visión (1951) and later the homonymous publishing house in the mid-1950s. In addition to their architectural projects, they also ventured into the design of furniture and objects (Liernur, 2004). [4] “Información. La Feria de América”, Nueva Visión, 6, 1955, pp. 30-34. [5] Information provided by his daughter, Leila Makarius, in conversation with the author. [6] For many years it served as a gymnasium for police personnel. [7] The book, the result of a collective research work, was published in 2012 by the Fundación del Interior.
As the latest addition to the staff, I know I’ve wondered why The Phoblographer is like it is and what makes us work the way we do. Is it the inclusivity? The authenticity? Our commitment to journalism and its core values? The fact that we certainly despise the word content and the devaluation of the arts associated with it? The short answer is a resounding yes. The long answer? The Phoblographer is what it is, thanks to Chris Gampat, founder, publisher, and editor-in-chief. And you can learn more about this by heading to Something New Every Week and listening to Chris’s interview with Jason Groupp and Jackie Tobin.
Head to SNEW at Buzzsprout, Spotify, or iTunes and give it a listen. You won’t regret it.
Starting with a personal overview —including, of course, his legally blind status, which gives him a very different, fascinating view of photography— the episode goes over the fourteen years the Phoblographer has been running and, of course, some insights into what the future may hold for us.
Back in the late 2000s, Chris graduated into a terrible recession and a period where, even with many internships under his belt, he couldn’t secure a full-time job. This led to the creation of the Phoblographer, a job balanced with internships at places like PCMag and Magnum for monetary reasons and the need to learn from more experienced journalists.
In the podcast we also learn about something Chris and The Phoblographer were pioneers at, changing the way the industry approaching gear testing.
Our approach to interviewing photographers has certainly changed over the years, and Chris delves into those changes. From the earliest extended interviews to our new format, focusing on the who, what, when, why, and how, including, of course, the difference between our work and what can be achieved through the use of generative tools.
He also touches on how hard it is to meet deadlines when you’re collaborating with external people who may be late — or very late — at answering.
One of the hardest things about being a freelancer — and I should know — is dealing on your own with what other companies need a whole team for: social media, emails, meetings, public relations, advertising, funding, etcetera. Chris shares with us his approach, based on what the different sides of our brain are good at, and how switching and mixing things up can be quite good at keeping anyone in top shape.
As photographers, we’re going through a major paradigm shift right now, and it’s all about intentionality and connection. We need to go back to thinking about how photography is an art, rather than a quick snap. Chris is more than aware of this trend, of this devaluation, and he talks about how we should ditch the word content and all its variants, as well as how we should know more about our history as artists so we can know about where we might be heading.
To finish with, Chris Gampat talks to us about zines and news that may have been in the making for a while that no one else is telling because of the need to maintain relationships within the industry. Of course, these relationships are no more important than the story, the core of journalism. And there are leads he’s following, dealing with things like child labor and other major problems.
This interview provides you with a particularly interesting insight on the person —no, the driving force— behind this website. Work ethics, performance tips, culture and arts, and of course, the art of blending your own beard oils.
