LUNA Banner: Robin & Crabapple
LUNA Banner Painting: Sankofa Community Garden
LUNA Banner Painting: Frick Environmental Center
LUNA Banner: FEC Native Plant Garden Fauna
Ginkgo Branch & Tree
Bloomfield Bridge and Magnolia
Pawpaw (Asimina triloba)
Watermark - Installation (American Jewish Museum)
Watermark (Panels 3 & 4) - "Oil" & "Gas"
Tree: The Numazu Suite (Numazu, Japan)
Tree: The Numazu Suite
River Vernacular - Installation (Hudson River Museum)
River Vernacular (Postcard detail) - "Smith Carpet Company"
Steffi Domike, Maya Guerin
|Experienced With||Collaboration, Commissions, Leading workshops, Lectures, Public art, Speaking engagements, Teaching engagements|
Just as groups of people have been objectified throughout our human history, which has justified their extermination (as in the case of the holocaust), so too has nature been reduced to raw material for human culture. For change to be sustainable, it must first occur in the mind and heart. Thus my work raises more questions than answers, prompting my audience to dive deep and reconsider our relationship with one another and the non-human others with whom we share this fragile earth.
My work is informed by social and deep ecology and ecofeminism, which interrogate what has brought us to the Anthropocene epoch. This geologic designation reflects the lasting impact humans are having on the planet, altering the course of evolution in ways that will last tens of millions of years—a distinction formerly reserved for natural geologic events, such as earthquakes or volcanic eruptions. I derive courage from the civil rights, women’s and environmental struggles of the last century. I know change is possible from the bottom up, because those before me have done it. The aims of social and environmental justice drive me forward.
I work primarily in 2D media, using both tactile and digital formats. The form and media is chosen to best communicate the content. My roots are in painting, drawing, and printmaking, which I am returning to after a decade of digital explorations. My works are may be composed into installations, where various visual elements dialog with one another. I also work in communities and with youth, reconnecting them to their local landscapes and waterways. I have recently returned to printmaking, combining time-honored traditional techniques with more experimental and painterly approaches.
Much of my work has been collaborative, which allows me to expand my technical and conceptual scope. Beyond the practical, however, I collaborate to model what I believe is essential to our survival. As artist Sister Corita states in a print that I own: “We must either become a community or we will die.” My collaborative work over the last few years has largely been through a community-focused ecoliteracy and art program I developed: LUNA (Learning Urban Nature through Art). Please see lunapittsburgh.org for details. I am also active on local arts boards, including Creatives for Climate; the Land Art Generator Initiative; and Remembering Hiroshima, Imagining Peace. I am an early member of the 20-year, international Ecoart Network listserve, and am currently one of four editors of a "field guide" comprised of our members' ecoart practices.
Ann Rosenthal brings to communities over 30 years’ experience as an artist, educator, and writer. She examines the intersections of nature and culture through timely issues, including climate change, nuclear waste, biodiversity, and biophilia. Ann’s work has been shown locally at the Andy Warhol Museum, the Mattress Factory, SPACE, and several area universities and colleges, and has been featured in exhibitions across the U.S. and internationally.
Ann’s essays on eco/community art have been published in several journals and anthologies, including “Redefining Beauty in the Context of Sustainability” in Regenerative Infrastructures, New York: Prestel, 2013. She is currently co-editing a “field guide” on ecoart practices, featuring the work of an international group of ecoartists.She teaches mixed media, collage, visual journaling, and printmaking workshops in her studio, and art history and studio courses through Osher Lifelong Learning Institute/University of Pittsburgh.
In 2018, Ann participated in four exhibitions, including “For the Love of Nature,” which she curated for the John A. Hermann Art Museum in Bellevue, PA featuring herself and four botanical and natural history artists; and a solo exhibition at the School of Environment and Sustainability, University of Michigan, Ann Arbor. In May, she co-chaired and presented her work on the panel “At the Confluence of Freshwater Science and the Humanities” for the Society for Freshwater Science annual conference in Detroit. In the fall, Ann was an artist in residence at HJ Andrews Experimental Forest and received professional development support through the Artist Opportunity Grant program, Greater Pittsburgh Arts Council.