art in the middle of nowhere

here and gone

  • Ephemeral Installations
  • Jennifer Rife: Statement & Bio
  • On Exhibit
  • Résumé
  • Thoughts
  • Road trip snapshots
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Email: jennifer.rife.art@gmail.com
  • Like Thomas Moran (snapshot)

  • Power Switch (snapshot)

  • Sublime Tetons v2 (snapshot)

  • badlands (snapshot)

  • 1988 (panorama snapshot)

  • Footprints on a beach (snapshot)

  • Oasis (snapshot)

  • Grand Wyo Tour

  • Bubbling (snapshots)

  • Yellowstone (snapshots)

  • Sublime Tetons (snapshot)

  • Boars Tusk, WY (snapshot)

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Like Thomas Moran (snapshot)

Michaela and I spent the last night of our road trip in Green River, a town like many in Wyoming that came to be because of the railroad. The following morning we found the view we were looking for by the Mining Memorial Park. Like Thomas Moran didn’t include any of the surrounding civilization or the railroad in his painting, Green River Cliffs, I purposely didn’t either in this snapshot.

Our next stop was to seek out another hub of transportation, the Greater Green River Intergalactic Spaceport south of town. The sign is gone, and I wonder who took it, earthlings or aliens? Since the sign is gone, will extraterrestrials know where to land?

 

 

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Power Switch (snapshot)

Continuing on the summer road trip (Hey, it’s now really cold out and I’m willing to spend time with my technology instead of being outside!)…

Our stop at Power Switch (visible in the center of the photo) outside Daniel, WY, was a highlight of the road trip for me and Michaela. Power Switch is land art created by three members of the Pipeline Art Project, Sue Sommers, David Klarén, and JB Bond, to encourage dialogue about energy use in the wake of the removal of Carbon Sink from the University of Wyoming campus in 2012. Both pieces fit within Michaela’s research and she wrote a post for the Center for Art + Environment about Power Switch, following up her previous posts for CA+E on Carbon Sink. (Read all posts on the CA+E site.)

Because of the smoke from the wildfires in the Northwest, the view that gives art historical context to Power Switch was hazy, and the sunlight was diffused on the late summer day making it quite chilly, but our visit to the site and discussion with Sue was not diminished at all. Basking in the intellectual stimulation, I mostly listened to Michaela and Sue discuss the piece. Before leaving, I requested permission from Sue to install objects on Power Switch (images to come later) and appreciate being able to incorporate my ephemeral installation that left little trace of its presence on land art that is visible via Google Earth.

Since our visit, Sue, David and JB participated on a panel discussion with noted art writer Lucy Lippard at UW. Because I don’t take a side in my own environmental installations, I found it to be fascinating how difficult it was for audience participants (mostly artists, art professors and students) to accept the premise that Power Switch was created to encourage dialogue amongst people of differing opinions and not to take a pro or con stance on energy use. Is encouraging dialog not an accepted purpose? Must art take an activist stance for one extreme or the other?

Photo courtesy of Sue Sommers

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Sublime Tetons v2 (snapshot)

The Grand Wyo road trip I took with Michaela was in the opposite direction of the road trip Fred and I took earlier in the summer. A common stop was to view the Tetons north of Jackson. The majestic peaks are in this snapshot, but the smoke from the wildfires in Washington state had blown in and shrouded them in a thick haze. The image below was taken at a similar distance on the earlier road trip, a few miles south, on a crystal clear day.

Summers in the West are marked by these starkly opposite views. Since wildfires are part of the circle of life out here, what we see (or can’t see) depends on which way the wind is blowing.

image

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badlands (snapshot)

The sublime Tetons don’t inspire me near as much as the stark badlands. The colorful striations in the hills from eons of geological layering tell stories, as do their shadows, and their abstract nature is visually stimulating to me. The often dismissed places – badlands, plains, grasslands – are where I feel most connected to all that is bigger than me.

Wyoming has a few areas of badlands. On both of my road trips this summer I was able to experience a couple and create installations. I get pretty excited when I see an area alongside the highway and I MUST stop! (Fred says I had an “earthgasm” when we happened upon the Gooseberry Badlands on a side highway.)

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1988 (panorama snapshot)

It was an eventful year – late in the summer of ’88 Fred and I brought Michaela into the world, then a couple of weeks later we evacuated our apartment in Corpus Christi, Texas, to escape hurricane Gilbert. We strapped our newborn baby girl into her car seat in our new red Subaru wagon with Dagwood and Louie (Golden Retriever and Black Lab) watching over her from the back hatch and headed out. Gilbert went south and hit Mexico, we returned and moved a week later to coastal North Carolina by way of southern Colorado to visit family. Meanwhile, much further to the north, Yellowstone was burning.

Entering Yellowstone from the east via Cody on our Grand Wyo Tour brought back memories of ’88 as the fire’s wrath is still very evident. There’s not much replacement tree growth like there is in other parts of the park. Now 27, Michaela commented on how surprised she was to see scorched tree stalks for miles, and how it felt like we were driving through a post-apocalyptic scene. Contributing to the eerie feeling was the haze of smoke from the wildfires burning in Washington and Oregon that had blown into Wyoming.

We stopped at a Yellowstone Lake overlook, and I created a few installations. The stunning view of the Tetons I’d seen just a couple of months before was hidden. We took in the views of the tree stalks, and I’ve since sketched some ideas inspired by them.

We climbed back into our red Subaru wagon (a newer one) and headed on down the road around the lake and on to Jackson Hole.

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Footprints on a beach (snapshot)

Big feet run in my family, but I never thought I would walk amongst dinosaur tracks left by feet smaller than mine! These prints are on a prehistoric beach at the Red Gulch Dinosaur Tracksite in a desert area of Wyoming that was once tropical.

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Oasis (snapshot)

Wyoming has an arid climate with areas of desert – it’s not all mountains and geysers as is often promoted. As Michaela and I were driving through one of the deserts between Sheridan and Greybull, we happened upon the oasis of Shell Falls.  The water tumbles onto 2.9 billion-year-old Pre-Cambrian rocks – a period way before my arrival on the planet! This perspective of time makes me feel very small in the vast universe, but at the same time significant and grateful to be included.

This rock formation on a neighboring cliff (image below) reminded us of a famous female figure in art history from many millennia ago. Any guesses who?

image

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Grand Wyo Tour

This past week my daughter Michaela and I took a road trip around our state of Wyoming, mostly on paved highways but occasionally on dirt roads. We traveled more than 1000 miles and saw geological wonders, historical sites, Native American objects, masterpieces of Western art and contemporary land art. We walked amongst dinosaur tracks on a prehistoric beach and where Buffalo Bill Cody auditioned acts for his wild west show. We drove through natural gas fields, oil fields, vast coal mines, and abandoned gold mines; past massive mansions in Jackson Hole and run-down trailer houses in towns suffering the bust effects of the boom cycle inherent in an energy state.

Since before she was a year old and could hold a crayon, Michaela has been my art buddy. We’ve drawn, painted and made stuff together, gone to museums, exhibits and lectures together, and have had too many art discussions to even consider counting. We feed off each other and inspire each other. She’s introduced the work of artists unknown to me that have informed my work. She left me in the dust intellectually a few years ago, and now that she’s working on her Ph.D. in Art History at the University of Toronto (focusing on environmental art history), I learn even more from her and am challenged to be more mindful in my work.

image

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Bubbling (snapshots)

Of all we experienced in Yellowstone National Park, the Artist Paint Pots were my favorite. I could have watched the hypnotic bubbling and oozing action for hours.

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Yellowstone (snapshots)

“Double, double toil and trouble;
Fire burn and caldron bubble.”

I’m sure Shakespeare wasn’t thinking of Yellowstone when he wrote this song of the witches in Macbeth, but I couldn’t help think these words while traveling through the park, knowing we were on top of a volcanic cauldron.

image

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Sublime Tetons (snapshot)

Entire books have been written on the meaning of sublime, so I’m not going there. I’ve heard the work of Albert Bierstadt described as sublime. “Sublime!” was the word that popped into my mind when we rounded a bend and saw the view. This pixelated snapshot from the side of the road captures it a bit – the diffused light made the mountain view awe-inspiring.

What I like most about this snapshot is not the majestic mountain scene, but the utility lines running through the foreground. Modern life.

The panorama image below captured the Tetons as we like to imagine in the romanticized version of the past, but if you look really closely, there’s a mansion in view.

image

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Boars Tusk, WY (snapshot)

Boars Tusk is really out in the middle of nowhere on a county road between Rock Springs and Farson. Fred and I were the only people out there, and time stood still.

Striking geological formations such as this tempt me to create installations that incorporate them into the image, but they come out contrived. I’ve learned that I don’t want to compete with natural wonders, and the experience of simply being there is transcendent.

image

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