Sally Buck creates photomontages, in which the subjects and objects of climate change collide and transform. The series is called Climate Collisions and Canny Conversions. Collisions because juxtaposed are the objects and subjects of climate change. Environments for living beings are under sress as their conditions change, placing increasing demands on earths life forms. Waves break across the tips of cherry trees. Ice quickens to filaments like the spikes of neighbouring cacti. Ginkgo leaves radiate ancient light above earthy, sedimentary rock, auguring the speed of change to come. And yet we see adaptations, Conversions as wildlife and plants find ways to thrive. A lupin dances with animated fire, fortifying the soil it will leave behind. A hydrangea absorbs aluminum from its environment, rendering it a canny survivor and climate remediator. Source materials she researched, sought out and photographed in Vancouver, British Columbia and North America.

Result #1

Sally Buck creates photomontages, in which the subjects and objects of climate change collide and transform. The series is called Climate Collisions and Canny Conversions. Collisions because juxtaposed are the objects and subjects of climate change. Environments for living beings are under sress as their conditions change, placing increasing demands on earths life forms. Waves break across the tips of cherry trees. Ice quickens to filaments like the spikes of neighbouring cacti. Ginkgo leaves radiate ancient light above earthy, sedimentary rock, auguring the speed of change to come. And yet we see adaptations, Conversions as wildlife and plants find ways to thrive. A lupin dances with animated fire, fortifying the soil it will leave behind. A hydrangea absorbs aluminum from its environment, rendering it a canny survivor and climate remediator. Source materials she researched, sought out and photographed in Vancouver, British Columbia and North America. While the show was on view at the Solomon R. Guggenheim Museum in New York, the Museum of Contemporary Art in Philadelphia became home to another in-depth exploration of the interests and practices of alternative and alternative-energy technologies. A demonstration project, currently running at the Institute for Advanced Studies in San Francisco, commissioned by the Guggenheim, incorporates the experience of a range of such artists and organizations. The series of eighty-five photographs presented in the exhibition, spanning two years, was organized by Michael Beasley, who researched the immediate and critical issue of renewable energy. He surveyed an extraordinary array of research about the potentials of solar, wind, or geothermal energy technologies and the efficacy of the various forms of transportation.He selected a dozen photographs that could be traced to their provenance, to their factual record in photographs. In three cases he selected photographs that showed the path of a solar power plant. The results, which were executed in the geometrically determined colors of an industrial photogrammetry system, were shown at the Guggenheim. In the case of the largest photo in the show, for example, the trace of a solar installation runs along the wall of a unit of concrete beneath the asphalt surface of a meter square tract. Here, solar energy is linked with the immediate environment, where the electric power generated by the power plant is converted to heat and released into the atmosphere.This connection was indicated by the photogrammetry: The instrument which enables the measurement of solar energy during the life of a photowatt-meter device is used to measure the temperature of the Earth; therefore, the temperature of the Earth can be measured. From the photogrammetry results, the scientists can calculate the thermal properties of the Earth, using the relationship between temperature and geothermal energy. They then convert these results to an image: a geologic map of the earth.

Result #2

Sally Buck creates photomontages, in which the subjects and objects of climate change collide and transform. The series is called Climate Collisions and Canny Conversions. Collisions because juxtaposed are the objects and subjects of climate change. Environments for living beings are under sress as their conditions change, placing increasing demands on earths life forms. Waves break across the tips of cherry trees. Ice quickens to filaments like the spikes of neighbouring cacti. Ginkgo leaves radiate ancient light above earthy, sedimentary rock, auguring the speed of change to come. And yet we see adaptations, Conversions as wildlife and plants find ways to thrive. A lupin dances with animated fire, fortifying the soil it will leave behind. A hydrangea absorbs aluminum from its environment, rendering it a canny survivor and climate remediator. Source materials she researched, sought out and photographed in Vancouver, British Columbia and North America. Vancouver is a huge city, twice the size of the United States. We inhabit it, and the structures that surround us are meant to sustain us. Her study of the city is just one part of a series that has involved writing, drawing, and observing, and which has explored themes ranging from the relation of domesticity to nature, to the relationship of the natural environment to the human world. In this show, she looks at nature in its natural state, ignoring the social and political contexts that surround us.One of the aspects of human existence she explores is the problem of returning to nature. What Ive described in the past is a return to the natural world. This is not an object, this is not a computer-generated, computer-controlled product. Nature is an organic form, one that lives, and in the city there are people who return to it, to the parks, to the beaches. Nature is a human experience, and they are able to retain and adapt it to the new circumstances they find. We also have the power to adapt and recreate it. Nature does not disappear, but rather continues to evolve.Nature is both an inheritance and a curse. The fate of the natural world, as in the case of the modern urbanite, is a curse to be taken care of. The problem is not to be deprived of it, but to have the right to return to it. In fact, nature, as a form of social order, is a form of revenge. The returns we make are the revenge we must enjoy. This is our duty.A wonderful show of drawings was a key element in this exhibition. This series of drawings deals with nature and society, the ways in which we return to it, and how we create our own form of society. In this series of drawings, the society we create is the society of nature. The way we make nature our own is a way of life, one that is unique to our time.

Result #3

Sally Buck creates photomontages, in which the subjects and objects of climate change collide and transform. The series is called Climate Collisions and Canny Conversions. Collisions because juxtaposed are the objects and subjects of climate change. Environments for living beings are under sress as their conditions change, placing increasing demands on earths life forms. Waves break across the tips of cherry trees. Ice quickens to filaments like the spikes of neighbouring cacti. Ginkgo leaves radiate ancient light above earthy, sedimentary rock, auguring the speed of change to come. And yet we see adaptations, Conversions as wildlife and plants find ways to thrive. A lupin dances with animated fire, fortifying the soil it will leave behind. A hydrangea absorbs aluminum from its environment, rendering it a canny survivor and climate remediator. Source materials she researched, sought out and photographed in Vancouver, British Columbia and North America. Most of her photographs are painted, taken in New York and elsewhere. It is she who is the artist, as in the age of Lincoln, who is the master. As in many of her earlier photographs, the artist uses the same beautiful inky-black, white or pink that she paints; the images always seem to be set in the ground or in an elevated light source, making the portraits seem to float. I want to be a master, she says, she says, she says. This desire to be a master is present in every one of her works. Although she is not a close-minded, objective photographer, she is able to concentrate on her subject and her details without being sentimental, but in a very different way. She can be joyful, even jubilant, in these photographs.She was an accomplished painter, with a strong work ethic, as were many of the others in the show, who showed a special sensitivity to nature and to her own face. Paint is both a medium and a matter of daily life. In a work entitled New York Portraits, 1987, she paints her own head, which is as much about the way it relates to the city as it does to the other photographs.In her early photographs of animals, her work is all about creating a harmonious environment, a perfect balance between human and animal life. She wanted to create a sort of spirit of harmony in her life, a place of communication, a place where the human being and the animal could not be the same. So she put a couple of pictures of her own head on the wall next to her camera. The head in the first image was of her own head, the head in the second, of a giraffe that she had met in Canada. Ive always felt so special here, she says.

Result #4

Sally Buck creates photomontages, in which the subjects and objects of climate change collide and transform. The series is called Climate Collisions and Canny Conversions. Collisions because juxtaposed are the objects and subjects of climate change. Environments for living beings are under sress as their conditions change, placing increasing demands on earths life forms. Waves break across the tips of cherry trees. Ice quickens to filaments like the spikes of neighbouring cacti. Ginkgo leaves radiate ancient light above earthy, sedimentary rock, auguring the speed of change to come. And yet we see adaptations, Conversions as wildlife and plants find ways to thrive. A lupin dances with animated fire, fortifying the soil it will leave behind. A hydrangea absorbs aluminum from its environment, rendering it a canny survivor and climate remediator. Source materials she researched, sought out and photographed in Vancouver, British Columbia and North America. Pyrotechnics and the art of the atomic age were both subjects and studies in that same mutual confrontation of knowledge and imagination. The scientific method was not only the medium of this show but also the subject of its text. Nuclear devices are both objects and tools to carry out a scientific experiment, and an artist such as Andy Warhol is a master at using them as both devices and means. Despite their use as weapons, Atomic weapons also seem to have a spiritual dimension.Warhols interest in atomic bomb-making came from the work of Henry D. Lawrence, the scientist who first experimented with nuclear explosives during the War to abolish the need for war. The original atomic bomb is still in the process of being made, as was Lawrence in particular, but the atomic bomb can be seen as a symbol for man. Warhols artwork explores the cosmic significance of nuclear war, while his art—including the One Hundred Atomic Explosions, 1960—the earliest works of this work, explores the issue of spiritual significance. Warhols works are made of old materials such as lead, steel and glass, which he transformed into the atomic explosions they depict. In these works, lead is used as a fuse to create an explosion of atomic energy. The atomic weapons are exhibited in the form of vast collages. Warhols work is a homeopathic medicine to other, not necessarily atomic, objects. Both the atomic bomb and his atomic collages are matter, representing the divine order of nature. The atomic collages reveal the fundamental plan of nature, a fundamental law of physics.In these paintings, Warhols point of departure is the atomic atomic explosion, in that the explosion is part of a cosmic plan. Warhols attempt to visualize the cosmos is best symbolized by a sculpture in which a star, a fireball, a comet, and a cloud are fused in a monstrous eruption of red energy.

Result #5

Sally Buck creates photomontages, in which the subjects and objects of climate change collide and transform. The series is called Climate Collisions and Canny Conversions. Collisions because juxtaposed are the objects and subjects of climate change. Environments for living beings are under sress as their conditions change, placing increasing demands on earths life forms. Waves break across the tips of cherry trees. Ice quickens to filaments like the spikes of neighbouring cacti. Ginkgo leaves radiate ancient light above earthy, sedimentary rock, auguring the speed of change to come. And yet we see adaptations, Conversions as wildlife and plants find ways to thrive. A lupin dances with animated fire, fortifying the soil it will leave behind. A hydrangea absorbs aluminum from its environment, rendering it a canny survivor and climate remediator. Source materials she researched, sought out and photographed in Vancouver, British Columbia and North America. Source materials she researched, sought out and photographed in Vancouver, British Columbia and North America. In the show, a dizzying array of images were meticulously and richly detailed. She explored the permutations of the ice that affects our bodies, and the environmental effects that affect ecosystems. Sausages of Nature, a direct survey of the dynamics of the global climate, offered viewers a fresh look at the global issue of global warming. The work was inspired by a number of cultures and traditions that adapt to climate changes, but here, the focus was on the planet. The same was true in the series of large-scale panoramas on wheels that made up the main portion of the show. The largest of the panoramic photographs was called for the largest, the most complex to represent the total global climate change. It was executed by a team of experts from the United Nations Environment Program, the Intergovernmental Panel on Climate Change, and the University of California, Berkeley. The work was shown in conjunction with a large presentation of the panoramic photographs at the Los Angeles County Museum of Art in September.The study of how glaciers, ice sheets, and oceans operate in relation to global warming posed problems that were not addressed in the main portion of the show. In the panoramic photos on wheels, the earth appears as a kind of land, not as a solid core. As glaciers melt, their water will start to migrate. The panoramic photos on wheels, on the other hand, seemed to seem more like a moving target, like a gun. The ice covered the panoramic photos on wheels, as if it were the ice on the ice that had melted. The melting ice, however, does not seem to dissolve into the earth, as a picture on a stationary globe might. Instead, the melting ice appears as an object caught in time, and not the earth itself.The photograph shown here was one of the most compelling panoramic photos on wheels.