Geologic Dialogues now through June 2024
Part VII - Writing / Documentary
Thursday, May 16
United States: 10am HDT, 1pm PDT, 2pm MDT, 3pm CDT, 4pm EDT
Europe: 21:00 GMT
Australia: Friday, May 17, 6:00am AEDT
The Geologic Dialogues series is organized around our recently launched annual online exhibition + printed book The New Geologic Epoch. For each event, member/artists included in the exhibition who are engaged with similar or complimentary mediums/topics, will present their work. For this seventh event in May, we feature artists who write about and document the built environment and lands they co-inhabit with the more than human world.
Emily Budd, Kellie Bornhoft, Kim V. Goldsmith, Perdita Phillips
Each presenter will have approximately 15 minutes to discuss/present their work, with Q&A to follow.
Gif Images: ©Emily Budd, The Atlantis of Lake Mead, St. Thomas, Nevada, 2022, iPhone photograph; ©Kellie Bornhoft, Tremors, 2023 , speakers, amplifier, monitors, sand, porcelain, Python/ ObsPy code, Max patcher, and cables, 10 x 18 x 3 feet; ©Kim V. Goldsmith, Wambuul bila (still), 2023, soundscape and animated HD video, 15 mins; ©Perdita Phillips, Wheatbelt anticipatory archive III, 2023, digital inkjet print on Dryandra soil prepared paper, 11 x 16 inches (each).
Member presenters
Emily Budd’s multidisciplinary practice seeks queer place-making through reformative monuments, artifacts, fossils, and memorials. A background in paleontology and bronze-casting informs work that engages geologic time, land use, queer archives, and material transformations to explore an imagined fossil record, create monuments to lost histories, capture moments of radical remaking, and document the volcanic movement of imminent forces towards change. Budd explores disturbed landscapes and abandoned structures to pursue the potential for Queer Renewal. Her project, Memorial for Queer Rhyolite, marks an AIDS-era queer utopian effort in a Nevada ghost town and has been recognized by Nevada Humanities, The Washington Post, and Discovery Channel’s Mysteries of the Abandoned: Hidden America. Her essay for The New Geologic Epoch, Cruising the Monuments of the Outskirts of Las Vegas (After Smithson), seeks transformation after abandonment through the lens of expanded cruising culture and queer futurity to challenge the apocalyptic implications of entropy. emilybudd.com
Kellie Bornhoft's practice seeks tangible and poetic narratives needed in an ever-warming climate. Bornhoft utilizes sculpture, installation, and video to delve into the whelms and quotidian experiences of our precarious times. Scientific data and news headlines do plenty to evince the state of our warming planet, but the abject realities of such facts are hard to possess. Through geological and more-than-human lenses, Bornhoft sifts through shallow dichotomies (such as natural/unnatural, here/there, or animate/inanimate.) Bornhoft lives in Ogden, Utah, where she is an Assistant Professor/Coordinator of Foundations at Weber State University. Bornhoft’s work has exhibited internationally in museums, galleries, and film festivals such as the Contemporary Art Museum in Raleigh, North Carolina, Kulturanker in Magdeburg, Germany, and the Athens International Film and Video Festival. Bornhoft’s work has been reviewed in many publications, including Frieze Magazine, Burnaway, and Southwest Contemporary. www.kelliebornhoft.com
Kim V. Goldsmith is a multidisciplinary artist, writer and creative producer based on Wiradjuri Country in Central West, New South Wales, Australia. Since 2008, her interdisciplinary practice has encompassed community engagement, field recorded sound and video, story-gathering, writing and public programming, in a creative, process-driven approach to better understanding the existential issues faced by rural, regional and remote communities. Goldsmith’s work explores layers of nuance and complexity, seeking the hidden elements that make these places vibrate. ‘Wambuul bila’ is primarily a sound narrative that follows the Wambuul Macquarie River through the ancient traditional Wiradjuri lands seized by European colonisers in the early 1820s, transforming the form, function, and soundscape of the river forever. Signature sounds of the river today are defined by its degraded state and the many built structures that cross and contain her waters—structures of human convenience and extraction for towns, farming, mining and industry. kvgoldsmithart.com
Dr. Perdita Phillips was born and raised on unceded Wadjak Nyoongar boodja, Australia, and has worked with environmental issues and social change since 1991. Notably wide-ranging in form, underlying her practice is a general concern with imagining environmental futures. Current explorations centre upon geoaesthetics and the consequences of extraction. Originally trained in environmental science, she has a Masters from Goldsmiths (London) and her PhD, fieldwork/fieldwalking, explored being and walking with Country. Artworks have featured in the Northern Beaches 2023 Environmental Art & Design Prize (Sydney), Underfoot: sTrAtA (Gallery152, York), Bunbury Biennale: A Cultural Ecology, BIRD (Climarte), Make Known: The Exquisite Order of Infinite Variation (UNSW Galleries) and Here&Now2018 (Lawrence Wilson Art Gallery). Writings include Lithic Love (for The Architectural Review), Wingenretnuh (BookMachine), Fossil III (Lost Rocks project), and Tectonics: Bringing Together Artistic Practices United by Lithic Thinking Beyond Human Scales and A simple rain (with Vivienne Glance) with Lethological Press. www.perditaphillips.com
This event is free for members + one guest. $5 for non-members. All participants MUST REGISTER.
