When I started at the Parrish Art Museum in 2011, I sensed that the Museum had to operate both inside and outside of its walls to have an impact on community. Having founded and run a regularly nomadic theater, Aurora Picture Show, I knew that site-specific projects attract participants that might not otherwise cross the threshold of the institution. Artist Jon Rubin, who I had collaborated with in the past, and who cofounded the artist-run storefront restaurants Conflict Kitchen and The Waffle Shop, demonstrates this very well with his contextual art courses that bring Carnegie Mellon University art students and their collaborative projects into neighborhoods.

This desire to reach out beyond the institution’s walls was the genesis of Parrish Road Show, an offsite creative summer series that launched in 2012 and features temporary projects by East End artists. Now in its fourth year, Parrish Road Show is designed to deeply connect creativity to everyday life by presenting exhibitions and programs at unexpected places—from public parks to historic sites—across the region. I am excited this August to be working with Saskia Friedrich and Tucker Marder on two new commissions. Sites and dates to be announced.

Cellist Richard Vaudrey performing inside Maziar Behrooz's RDMU (Rapid Deployment Meditation Unit) at Parrish Road Show 2012, East Hampton, NY. Photo: Jenny Gorman

What was also clear is that artists should be invited into the museum with loose parameters for what they would do there. I often say, “Artists are life’s greatest product testers,” and I believe they can help any industry or institution innovate and see the future. My 20 years of friendship with artist Mark Allen of Machine Project—who is often the resident artist in museums and arts organizations— was a big influence. So in 2012, the Parrish launched the Platform series, an open-ended invitation to a single artist per year to present a project within the building and grounds of the Parrish Art Museum. Platform invites artists to consider the entire Museum as a potential site for new works, encouraging alternative ways to experience art, architecture, and the landscape. In 2015, Platform will feature Tara Donovan, who creates large-scale installations and sculptures made from everyday objects. Known for her commitment to process, Donovan has earned acclaim for her ability to discover the inherent physical properties of a material and transform that material into art. In her hands, accumulated objects such as drinking straws, pins, toothpicks, index cards, or wire springs, take on forms that appear geological, biological, or otherwise naturally occurring. Her new site-specific installation will be on view at the Parrish July 4—October 13.

Both Platform and Parrish Road Show fall under the heading of “Special Projects,” and operate between curatorial, programming and educational areas of the Museum.


    We do a lot of “liking” on social media. We like pictures of people, vacations, meals, places, quotations, experiences, and art. My friend, the artist Almond Zigmund and I decided that “liking” should take a little more effort, so when we “like” a work of art now, we regram it on our joint Instagram account (@ExtendedCaptions) with a caption that includes the artist, title, date, medium, dimensions, and collection, along with a longer explanation of what we know about the work (associated movements, biographical information, the artist’s contemporaries, current exhibitions, and so forth). In this way, we are attempting to counteract the fast consumption of images with a slower, more delicate savor.

    In his 2013 book, Thinking Fast and Slow, author and psychologist Daniel Kahneman describes dual cognitive processes at work in the human mind as System 1 and System 2; the former is an intuitive, automatic process of judgement (think gut reaction, mental shortcuts, and liking), the latter an analytical, rules-based slow process (think Math problems, SAT questions, and writing longer captions). These two systems work in concert to arrive at answers. @ExtendedCaptions is an effort to be accountable for what we like by spending a little extra time to process an image. Follow us?

    @extendedcaptions on Instagram

      I’m on day five of a nine day cultural exchange in Japan for media arts curators thanks to the generosity of  The Japan Foundation. With me are Kitty Scott, Curator of Modern and Contemporary Art, Art Gallery of Ontario; Steve Dietz, President and Artistic Director, Northern Lights.mn; Kathleen Forde, Artistic Director/Independent Curator, Borusan Contemporary (Istanbul); Adriel Luis, Curator of Digital and Emerging Media, Smithsonian Asian Pacific American Center; Christiane Paul, Curator/Associate Professor, Whitney Museum of American Art and The New School for Public Engagement, Nora Burnett Abrams, Associate Curator, Museum of Contemporary Art, Denver; and Luis Camillo Osorio, Chief Curator, Museum of Modern Art of Rio de Janeiro.

      Fresh pictures posted daily on Instagram













      So far we’ve visited NTT InterCommunication Center; the Yokohama Triennale (guest curated this year by artist Yasumasa Morimura); National Museum of Modern Art, Tokyo; the art studios of TeamLab and Rhizomatiks; the newly launched Sapporo International Arts Festival; and Moerenuma Park designed by Isamu Noguchi. With much more still to come.


        The Waterpod Project at Brooklyn Bridge Park Pier 5, 2009, by Mary Mattingly, an artist slated for the exhibition, Radical Seafaring. Photo: Mike Nagle


        WATER MILL, NY 5/9/2014—Parrish Art Museum Curator of Special Projects, Andrea Grover, was awarded a 2014 Emily Hall Tremaine Exhibition Award to realize the upcoming, 2016 exhibition, Radical Seafaring, scheduled to be on view at the Parrish Art Museum from April through July, 2016. Radical Seafaring was one of only three exhibitions to receive this prestigious biennial award, announced recently by the Emily Hall Tremaine Foundation. In addition to the $150,000 grant, the Museum will receive a living artist stipend to compensate artists whose existing work will be included in the exhibition.

        The Exhibition Award—established in 1998 to honor art collector Emily Hall Tremaine—rewards innovation and experimentation at the curatorial level by supporting strong thematic exhibitions that challenge audiences and expand the boundaries of contemporary art.

        Radical Seafaring will survey the practice of artist-initiated projects on the water from its roots in conceptual and performance art of the 1960s and 70s, to an abundance of recent phenomenological research and site-specific works that involve relocating the studio, the laboratory, or the performance space to the water. The exhibition and publication will feature approximately 25 artists with works that range from artist-made vessels, to documentation of creative expeditions, to speculative designs for alternative communities at sea, dating from the 1960s to the present day. Public programs will make up a critical component of the exhibition, with on- and off-site commissions, boat trips, and artist-led excursions around East End waterways.

        Parrish Art Museum Director Terrie Sultan comments, “The Museum Board of Trustees and I are extremely proud of Andrea for her highly original concept for the exhibition. Radical Seafaring is a perfect example of how the Parrish Art Museum’s programming responds to the natural setting and artistic life of Long Island’s East End in its commitment to illuminating the creative process.”

        Andrea Grover states, “I am extremely grateful to the Emily Hall Tremaine Foundation for their support of this adventurous exhibition that is especially timely as climatologists anticipate the effects of rising sea levels, changes in weather patterns, and the associated impact on coastal zones. The Parrish Art Museum on the East End of Long Island, surrounded by water in a community steeped in its own maritime tradition, is a perfect setting for Radical Seafaring.”

        About the Emily Tremaine Foundation and Exhibition Award
        The Emily Hall Tremaine Foundation, headquartered in New Haven, Connecticut, was founded by Emily Hall Tremaine, a life-long collector of contemporary art. Since 1992, the Foundation has been active in the arts as well as the fields of learning disabilities and the environment. The Foundation’s selection of Emily Hall Tremaine Exhibition Award winners was determined through a three-person jury including Jennifer Gross, Deputy Director for Curatorial Affairs and Chief Curator at deCordova Sculpture Park and Museum, Lincoln, Massachusetts; Kristine Kuramitsu, Independent Curator based in California; and Steven Matijcio, Curator at the Contemporary Art Center, Cincinnati, Ohio. The other winners in 2014 were Ruth Estévez and Sohrab Mohebbi receiving $115,800 for Hotel Theory to be mounted at REDCAT, California Institute of Arts, Los Angeles, California; and Christian Larsen receiving $150,000 for Philodendron: From Pan-Latin Exotic To American Modern to be mounted at The Wolfsonian at Florida International University, Miami Beach, Florida

        About the Parrish Art Museum
        The Parrish Art Museum is the oldest cultural institution on the East End of Long Island, uniquely situated within one of the most concentrated creative communities in the United States. The Parrish is dedicated to the collection, preservation, interpretation, and dissemination of art from the nineteenth century to the present, with a particular focus on honoring the rich creative legacy of the East End, celebrating the region’s enduring heritage as a vibrant art colony, telling the story of our area, our “sense of place,” and its national—even global—impact on the world of art. The Parrish is committed to educational outreach, to serving as a dynamic cultural resource for its diverse community, and to celebrating artistic innovation for generations to come.

        T 631 283 2118 PARRISHART.ORG

        CONTACT: Susan Galardi
        631-283-2118 x122

          This is a repost of an interview I conducted with Phil Ross, the originator of “mycotecture” (fungal architecture), for Glasstire in September 2012. Phil’s research and process extends back nearly two decades and is now being appropriated without attribution by architects and corporations.

          Phil's recent body of work includes mushroom furniture like this "Yamanaka McQueen" chair on view in the exhibition "Intimate Science" through April 14, 2014 at Sheila C. John Center for Design | Parsons The New School for Design

          Phil Ross (San Francisco) works in the realm of “biotechniques.” He makes sculptural and architectural works from plants and fungi, and videos about live cultures. As the founder and director of CRITTER – a salon centered-around DIY biology events, he has organized events like “Enormous Microscopic Evening” at the Hammer Museum (2010). His multi-decade research into mushrooms has led to his “mycotecture” series, an experiment in using reishi mushrooms as a sustainable construction material (International Patent Pending). Ross is presently designing and prototyping fungal furniture. His work is part of the touring exhibition, “Intimate Science,” which I curated for Carnegie Mellon’s Miller Gallery, and opens next at Real Art Ways in Hartford Connecticut, November 3, 2012.

          ANDREA: In addition to being an artist, you’ve worked in restaurants, in roles from dishwasher to chef; and you’ve also served as a hospice caregiver during the AIDS crisis, where you learned about the benefits of “reishi” mushrooms for the immune system. Did these experiences lead you to working with living materials as an artist?

          PHIL: Yes, but I’d go back a little bit further. I grew up in New York City, and like a lot of urban people, I felt highly alienated from nature. I wanted to connect, but I didn’t really know how. The experiences you mention kind of unlocked the “how.” Food and mushrooms were the materials that were in my proximity, so they were the entry point. It became apparent to me that you can connect to nature through pretty much anything or any kind of activity that’s close to you.

          ANDREA: Where did you work as a chef?

          PHIL: One of the places I worked for four or five years was in upstate New York, at this place called the Omega Institute, which is a kind of a new age retreat center. I spent part of the year there, and in San Francisco, and also traveling around the world. It was at Omega that I was introduced to mushroom hunting from some of the other chefs. It’s in the Hudson Valley and there are all these hardwood forests around there, making it a great habitat for mushrooms.

          ANDREA: I think it’s interesting how you describe mushroom hunting as “an esoteric skill” that “bridges delicacy and poison.”

          PHIL: Yeah. If you learn to motorcycle race, there’s that tension of having to know what you’re doing and remain in control. I’m not a high testosterone kind of person like that, but I still enjoy the notion of a real world education– and the threat of death is a pretty good one. Choosing the right mushroom is not a theoretical proposition; you have come to a place of certainty, not through posturing, but actually knowing. It’s partially about sensation, but it’s also a science.

          ANDREA: At what point did you have the impulse to start working with mushrooms, not as food or medicine, but as a sculptural material?

          PHIL: It was when I started to learn how to grow mushrooms. The initial impulse was to figure out how to grow reishi mushrooms as medicine, but when I started cultivating them and learned their growth habits, I immediately wanted to work with them as an art material– a casting material. It was a casting material that could be altered as it was setting. In casting, the amount of time you can work with the material before it sets is called “open time.” In plaster that might be five minutes, and in cement it might be a couple hours. But with mushrooms, the open time is almost as long as you can keep them alive. You can start to think about plasticity and forming things through much more subtle encouragement. The shapes can be controlled via the environment: the temperature, the position in relation to gravity, all these things that we take for granted, but are profound shapers of the world. You can begin to play with these factors and use them as non-physical tools of manipulation. Light, gravity, heat and the cleanliness of the environment determine the form, as opposed to a chisel or a drill or something like that.

          ANDREA: So you were “casting” mushrooms in your studio? And how did you maintain a sterile, laboratory-like environment in a domestic space?

          PHIL: I knew how to do canning and beer making, and the techniques involved in mushroom growing aren’t all that different. And then I ultimately learned how to build air filters (a really critical aspect was creating clean air). Off-the-shelf laboratory air filters are ridiculously expensive, and so is much of the other commercial equipment you need to do this, so I created my own.

          ANDREA: Was it trial and error, or were there particular sources of information that you used as reference?

          PHIL: It was pre-Internet, you know. So, the resources I had were primarily books, clubs, individuals, and trial and error. And a lot of people who grow mushrooms are kind of secretive; it’s not the most open culture. I think it just began to be practiced here in the Bay Area in a more open way maybe before other places because of the culture of open-source and a particular history of political/environmental activism.

          Read the rest of this post on Glasstire.org

            This is a repost of a blog entry I wrote for the NEA on May 3, 2012

            NA/SA Booksprint at CMU's STUDIO for Creative Inquiry

            For four months in the fall of 2010, I worked at a cozy desk in the STUDIO for Creative Inquiry at Carnegie Mellon University (CMU) as a curatorial research fellow, hosted jointly by the Miller Gallery and the STUDIO. On a daily basis, students, faculty, and visiting artists would stop by my front-row seat at this frenetic concourse of technoscience dispatches.

            The initial focus of my research was artists working in scientific or technological environments during the last five decades. The mid 1960s marked an explosion of interest in cross-disciplinary projects—the paring of artists with engineers, or the placement of artists in scientific or industrial environments—as exemplified by Nine Evenings: Theater and EngineeringArt & Technology at the Los Angeles County Museum of Art, and the Artist Placement Group, all initiated in the mid 1960s.

            As I met with more visiting artists, faculty, and students at CMU, I began to uncover a new narrative—a tactile shift in discourse and practice between that moment and this one. While artists two generations ago were dependent on access to technicians, labs, computer time, or manufacturers to realize works of scientific or technological complexity, those I was presently meeting had far greater agency to conduct this kind of work themselves. Even ambitious endeavors such as independent biological experiments, materials research, and micromanufacturing can be conducted by today’s working artist—and not at a naive or removed distance.

            Take for instance, the hallmark group Experiments in Art and Technology, founded in 1967 by artists Robert Rauschenberg and Robert Whitman with Bell Labs engineers Billy Klüver and Fred Waldhauer to “match make” artists with engineers with whom they could realize projects of an ambitious technological nature. Projects that took these pioneers collectively months to accomplish—creating responsive environments or radio-controlled robotic devices—might now be done by an autonomous artist in a matter of days with a microprocessor and access to open source communities like openFrameworks. Likewise, the present-day proliferation of home-based and shared laboratories such as Genspace, a community biolab in Brooklyn, and hacker spaces like NYC Resistor  make it possible to bring once industrial or scientific endeavors into the domestic realm.

            Contemporary artists working in scientific domains are heirs to the throne of the 1960s interdisciplinary milestones, and have much in common with the prevailing spirit of the 1960s avant-garde: the desire to incorporate everyday materials and include untrained and non-professionals in the creative process, and the refusal to participate in mainstream culture of mass production and consumption. It follows logic then that the practice has mostly moved outside rarified institutions and industries (the relationships were too complex and tied to capitalism and product-oriented economics), and into the hands of individuals and collectives (facilitated by networked communication which gave agency to maker culture, the open source movement, peer-to-peer sharing, crowdsourcing, etc.). From there, the types of activities exploded and yielded a variety of subtypes of Artists/Scientists/Technologists.

            And unlike the rare polymath of the Renaissance, contemporary artists who operate across disciplines employ the expertise of the network: the network, not the individual, is encyclopedic. The Internet has provided unprecedented access to shared knowledge assets, materials, fabrication processes, microfunding, and audiences. Networked communication and open source culture have contributed to this shift from artists aiding science to doing science, and will ultimately impact the way scientific knowledge is acquired, utilized, and disseminated.

            When I proposed my thesis to STUDIO Director Golan Levin he suggested I form a network of my own to test this out and told me about a newly developed technique for collaborative authoring called a “book sprint.” After reading up on the first book sprint, Collaborative Futures, which took place at transmediale in 2010, and speaking with one of the participants, Michael Mandiberg, I began whittling down a list of people I’d like to spend a week writing with—my dream team.

            I ultimately had the good fortune to form a week-long hive mind with writers Claire Evans (musician, artist, and science blogger), Régine Debatty (we-make-money-not-art blogger on hybrid and technological art), and Pablo Garcia (architect and art history buff), and architecture-trained designers Luke Bulman and Jessica Young of Thumb. Each person brought a different strength to the table: Claire was a fast and competent writer who could digest and popularize scientific information; Régine had encyclopedic knowledge of more artists working in this domain than anyone on Earth; and Pablo could contextualize it all within a long view of art history. It was dumb luck that Luke and Jessica had seen a mention of the forthcoming “sprint” and offered up their services to design the book during the sprint (in essence, to “design sprint”). This final item was essential as it turns out to completing the book. Thumb’s ability to immediately synthesize our ideas into visual form fueled our writing and helped us organize a wildly divergent mass of materials.

            All the while, Miller Gallery Director Astria Suparak, and STUDIO staff Marge Myers, Jonathan Minard, and Amisha Gadani, along with some dozen work-study students, provided us near around-the-clock feedback and companionship on our “research outings.”

            We started the week with a graph and taxonomy that I presented, breaking down the various methodologies as I saw them at work in today’s art/science/technology projects. Each of these areas (more or less) became the subject of a chapter in the book. We used the simplest solution possible for collaborative writing: Google Docs, and for images we went directly to the artists or Wikimedia Commons and stored them using Dropbox. At the close of each day Jessica and Luke showed us “design rushes” of the content taking shape.

            We tackled Maker Culture, Hacking, Artistic Research, Citizen Science, and Computational Art, wrote about more than 60 artists, and created a gigantic timeline that includes everything from the establishment of Radio Shack to Creative Commons and Kickstarter. We did this in seven days, with little sleep and lots of instant feedback from faculty and students at CMU, as well as artists who generously skyped into the conversation at a moment’s notice. The product of the sprint, New Art/Science Affinities is now out in the world and available as a free download or you can purchase a hard copy.

            Our collective writing experiment mirrored the tactics used by many artists working across disciplines today, largely fueled by the Internet and access to once rarified information. We observed that artists are no longer operating on the periphery of research but conducting research themselves. And when artists become scientists, the lines of inquiry pursued become quite expansive.

            - See more at: http://arts.gov/art-works/2012/new-artscience-affinities#sthash.1RUze5pm.dpuf

              I am taking this opportunity to declare April 28 (Yves Klein’s birthday) “International Klein Blue Day.” Please mark your calendar and plan to wear what approximates the color ultramarine that day. For more on IKB, please see below.

              International Klein Blue

              From Wikipedia, the free encyclopedia
                (Redirected from International Klein blue)
              For the Australian rock band named after this color, see Yves Klein Blue.

              International Klein Blue (IKB) is a deep blue hue first mixed by the French artist Yves Klein. IKB’s visual impact comes from its heavy reliance on Ultramarine, as well as Klein’s often thick and textured application of paint to canvas.


              International Klein Blue (or IKB as it is known in art circles) was developed by Yves Klein as part of his search for colors which best represented the concepts he wished to convey as an artist. IKB was developed by Klein and chemists at the French pharmaceutical company Rhône Poulenc to have the same color brightness and intensity as dry pigments, which it achieves by suspending dry pigment in polyvinyl acetate, a synthetic resin otherwise marketed in France at the time by Rhône Poulenc as Rhodopas M or M60A.[1]

              In May 1960, Klein deposited a Soleau envelope,[2] registering his paint formulation under the name International Klein Blue (IKB) at theInstitut national de la propriété industrielle. The patent was published in April 1961.

              In March 1960, Klein patented a method by which he was able to distance himself from the physical creation of his paintings by remotely directing models covered in the color.[3]

              Usage in Yves Klein’s art

              Although Klein had worked with blue extensively in his earlier career, it was not until 1958 that he used it as the central component of a piece (the color effectively becoming the art). Klein embarked on a series of monochromatic works using IKB as the central theme. These included performance art where Klein painted models’ naked bodies and had them walk, roll and sprawl upon blank canvases as well as more conventional single-color canvases.

              International Klein Blue in culture

              • In the novel Zero History by William Gibson, the character Hubertus Bigend has a suit made of material in IKB. In the novel he states that he wears this because the intensity of the color frequently makes other people uncomfortable, and because he is amused by the difficulty of reproducing the color on a computer monitor.
              • Yves Klein Blue, an Australian rock band, take their name from the color.
              • In 1982 Danish rock band Kliche released an instrumental named International Klein Blue.[4]
              • Elijah Blue c/o American synth rock band Deadsy boasts International Klein Blue as an official color or entity added to his character/persona.

              See also

                “In an interesting new development in the art world, a generation of artists is now collecting data about their world using technological instruments but for cultural purposes. Shared tool-using leads to overlapping epistemologies and ontologies. These artists both make powerful art and help make science intimate, sensual, intuitive.” —  Roger Malina, physicist, astronomer and executive editor of Leonardo

                Intimate Science
                February 6–April 15, 2014
                Sheila C. Johnson Design Center
                Anna-Maria and Stephen Kellen Gallery
                2 West 13th Street, New York
                Curator’s talk: February 6, 5:30 p.m.; Opening reception: 6:30 p.m.
                Learn more >

                I am thrilled to report that after five previous venues in two years, Intimate Science is coming to my home state of New York in February. Intimate Science is the exhibition I organized while I was a Warhol Curatorial Research Fellow at Carnegie Mellon University’s STUDIO for Creative Inquiry/Miller Gallery in 2010-2011 (thanks to the support of long time friend and ally, Astria Suparak). Exhibiting artists Phil Ross and Rich Pell will be in attendance at the opening on Thursday, February 6 (along with Astria Suparak, Tesar Freeman and the whole LAMA family); and I’ll be giving a gallery talk that night at 5:30PM. Machine Project will be offering their brilliant workshop, “Mind Reading for the Left and Right Brain” on April 5; and Phil Ross will be presenting the mind-expanding lecture “Mycotecture: architecture grown out of mushrooms” on April 8.

                Exhibiting Artists

                BCL, Common Flowers

                BCL (Tokyo)

                In Common Flowers/Flower Commons (2009), BCL (Georg Tremmel + Shiho Fukuhara) bio-hacks Suntory’s genetically-modified “Moondust™” cut flowers — carnations bio-engineered to have a blueish purple petal color — back into living plants with the intention of creating an “open source” population of these flowers.


                Center for PostNatural History, Pittsburgh, PA

                Center for PostNatural History (Pittsburgh) is a project spearheaded in 2008 by Rich Pell with the objective to advance “knowledge relating to the complex interplay between culture, nature, and biotechnology.” It is a singular natural history museum that is concerned with “PostNatural” varieties of life normally excluded from scientific taxonomy, i.e., transgenic organisms that have been altered by humankind via selective breeding, genetic engineering, or other methods of biological tampering.


                Markus Kayser, Solar Sinter

                Markus Kayser (London) takes notions of sustainable micromanufacturing to the extreme through projects like his Solar Sinter (2011), which combines a custom-made 3D printer with solar power to transform sand, on site in the Sahara, into glass forms, and Sun Cutter (2010), a low tech ‘laser cutter’ that makes objects by focusing sunlight into a beam powerful enough to cut through plywood.


                Allison Kudla, Capacity for (urben eden, human error)


                Allison Kudla (Seattle) combines computer fabrication technologies and plant tissue culturing to make living installations. In Capacity for (urban eden, human error) (2009) she uses a custom-built computer controlled four-axis positioning table to “print” seeds and algae into a delicate architectural pattern, which she describes as biological material in collaboration with an engineering mechanism.



                Mind Reading for the Left and Right Brain, Machine Project with Krystal Krunch and Chris Kallmyer


                Machine Project (Los Angeles) is a “not-for-profit arts organization and community event space dedicated to making specialized knowledge and technology accessible to artists and the general public.” Machine describes its terrain as encompassing “art, technology, natural history, science, music, literature, and food,” and more. Machine’s style of presenting promotes hands-on engagement and engineers atypical collisions between different branches of knowledge.




                Philip Ross, Yamanaka McQueen (chair grown from reishi mushrooms)


                Philip Ross (San Francisco) works in the realm of “biotechniques.” He makes sculptural and architectural works from plants and fungi, and videos about micro-organisms. His “mycotecture” series is an experiment using reishi mushrooms as a sustainable construction material. He is also the facilitator of DIY biology events via CRITTER — a salon he founded for the natural sciences.






                Andrea Grover was the 2010 Andy Warhol Foundation Curatorial Research Fellow at Carnegie Mellon’s Miller Gallery and STUDIO for Creative Inquiry.

                A densely illustrated publication, New Art/Science Affinities (2011), accompanies the exhibition. Co-authored by Grover, Régine Debatty, Claire Evans and Pablo Garcia, and designed by Thumb, the book features more than 60 international artists and collaboratives.


                  Click to view 221 of 4,469 photos taken in 2013

                    Every few months as I’m sitting at my desk, I receive an email from clam digger and wampum artist Albie Lester, aka “Swampa.” Albie’s family has been fishing on the East End for three centuries, and his clam pie is sublime. He works outside daily, makes customized clam rigs and rakes, and loves what he does and does what he loves. His emails are always succinct and accompanied by a single picture from the great outdoors. It’s as if he knows that I need to take a break from my computer, to look outside and see what’s happening in the real world. To release my inner clam digger.

                    "Preparing to leave the office."

                    "Stewart caught a spider crab."

                    "Swallows preparing to migrate."

                    "These birds know where to catch a fish."

                    Albie's wampum jewelry