Art That Matters to the Planet: Interconnectivity, Roger Tory Peterson Institute-closing Oct. 8

untitled 5 + 62015
59″ W x 89″H

Curated by Maria Ferguson

Inspired by the emerging science and insights of Suzanne Simard (Finding the Mother Tree) and Peter Wohlleben (The Hidden Life of Trees), Art that Matters to the Planet 2023: Interconnectivity, explores the underground network of tree roots, and how communication and nutrient sharing helps trees to thrive. Highlighting the connectivity of trees serves as an analogy for interconnected relationships in creating strong communities. With anthropomorphic roots, paintings of lively underground societies, and reflections on the important role of trees in our lives, the exhibition will encourage us to discover connections between our own relationships and those within the natural world.

Artists featured in this exhibit include: George Lorio, Jack Elliott , Brendan Quirk, Sallie Lowenstein, Pamela Casper, Kelsey Gilmore, Gayle Fichtinger, Cynthia Martinez, Susan Martin Maffei, Margaret LeJeune, Michele Brody, Ian Campbell, elin slavick, Ellen Driscoll, Laura Ahola-Young, Pamela Sloan, Meredith Nemirov, Neshama Roash, Audrey Dowling, Wendy Bale, Noah DiRuzza, Cyrena Nouzille, Trine Bumiller, Bette Kauffman, Kaycee Colburn.

Healthy tree cover creates many important benefits for cities, including cooler temperatures, cleaner air, higher property values, and healthier residents. For the past 42 years, Jamestown’s commitment to maintaining the city’s tree cover has been recognized by the Arbor Day Foundation through designation as a Tree City USA. This demonstrates the city’s commitment to growing and tending to these valuable public assets, and prioritizing the long-term health of the tree canopy. As part of Art that Matters to the Planet: Interconnectivity, the Roger Tory Peterson Institute is accepting donations for a special project to plant trees in our community. The area where Roger Tory Peterson grew up has been identified for neighborhood revitalization by the Jamestown Renaissance Corporation (JRC). Funds raised by RTPI will support tree planting in Roger’s old neighborhood. To make a greater impact, donations to RTPI in support of this project will be matched by the Chautauqua Region Community Foundation’s Urban Forestry Fund.

Mend: New Drawings Planthouse Sept. 9-Oct.14, 2023

Untitled 57, 2023 44″ W x 60 “H, ink and collage on paper, Photo by Etienne Frossard

Mend-to make (something broken, worn, torn, or otherwise damaged) whole or sound by repairing, to set right, make better, to progress toward recovery.

The drawings in the larger room of the gallery all focus on plants used in a process known as phytoremediation. Each of these plants is able to absorb and transform ecological degradation in water and earth. Sunflower, mustard, vittata, pennycress, poplar, phragmite, indiangrass, and willow are variously used to remediate nitrogen, phosphorus, radiation, lead, cadmium, trichlorethene, and more. The drawings explore the contemporary alchemy of this important transformative biological process in a time of ongoing environmental crisis.

The drawings in the second room of the gallery are self portraits which have been cut into weft, which is then woven into a warp cut into a landscape. Each landscape image depicts a scene of global warming: a melting glacier, dead trees, and more. The structural matrix of the woven paper connotes the inextricable connection of each individual to the larger fate of our one warming planet.

Sunflower: Radioactive waste, Zinc, Copper, Cadmium.  Poplar: Tricloroethylene, Chlorinated Solvents.  Mustard: Zinc, Cadmium, Lead, Nickel, Willow:  Arsenic, Cadmium, Zinc, Copper, Lead, Nickel. Indiangrass: Agrochemical residues. Phragmite: Nitrogen and Phosphorus in water. Pennycress: Cadmium, Zinc. Water Lettuce: Copper, Iron, Mercury. Vittata: Cadmium, Arsenic

The 36th Parallel, Track 16 Gallery, LA Aug. 12-Sept. 9, 2023

Self Portrait 21, 2023
16″ W x 12″H
digital print, ink on paper

Curatorial Statement “The 36th Parallel” explores the cross sections of conscious and unconscious landscapes informed by visual navigations guided by historic, domestic and economic compasses. The 36th parallel north in particular has been defined as is a circle of latitude that is 36 degrees north of the Earth’s equatorial plane that crosses Africa, the Mediterranean Sea, Asia, the Pacific Ocean, North America and the Atlantic Ocean. In the ancient Mediterranean world, its role for navigation and geography was similar to that played by the Equator today. Featuring select works by seven interdisciplinary practices artists, “The 36th Parallel” opens the conversation with various entry points of our social and cultural geography through material, image and assemblages. Curated by Los Angeles artist Beth Davila Waldman, “The 36th Parallel” is a global platform of geographic and cultural connective tissues that speaks to the root of her own artistic practice as well as those of fellow participating artists from San Francisco to Los Angeles, Brooklyn to Berlin, India to Iran. Waldman has found inspiration for this exhibition in exploring liminal realms through terrains of ground and water, industry and economy, sanctuary and prosperity. Fellow Wellesley College graduate of Waldman’s Cathy Simon recently published book Occupation: Boundary, Art, Architecture and Culture at the Water which defines idea the of liminal realms as “transitional places, combinations of people and goods, events and structures, habitats of interaction between ideas, things and territories; sites for exchange and shipping, making and taking.” This Book along side those of Italo Calvino’s Invisible Cities and Rebecca Solnit’s A Field Guide to Getting Lost as well as Thomas Cole’s Series “The Course of Empire” have been of service in developing the concepts of this exhibition. As Waldman walks the grounds of the Hudson Valley during her monthly visits to her Kingston studio as well as frequent family visits to Charlottesville where she has frequently toured Jefferson’s Monticello as well as the downtown alley where Heather Heyer was run over and killed during the Unite the Right protest in 2017, the charged role of landscape throughout time continued to ignite for her. In this exhibit, the current atmosphere of the Anthropocene is considered on macro and micro levels, across our great oceans as well as within a hands reach.

Participating Artists
Ellen Driscoll, New York
Uma Rani Iyli, San Francisco / Los Angeles
Liz Miller Kovacs, Berlin
Katie Murken, Oakland
Alex Nichols, San Francisco
Beth Davila Waldman, Los Angeles / New York
Minoosh Zomorodinia, San Francisco

Writers & Books Ellen Driscoll Artist Talk

October 7 @ EST 6:30 pm – 7:15 pm
Artist in Residence | Gallery Talk with Ellen Driscoll
Writers and Books
Rochester,  New York

Behind the Curtain: View Eyechart, then join us for artist Ellen Driscoll’s talk on her creative process.

Admission is free. Gift donations are appreciated.

The gallery talk will also be streamed via Zoom.

Writers & Books Event Page


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May 5— June 23
Reception Friday, May 5th 6—9pm
Wed-Fri 1-5pm
Sat-Sun 11am- 4 pm
or by appointment
Rafius Fane Gallery

The Rafius Fane Gallery is pleased to present “Thicket”, a solo exhibition of
recent sculptures and drawings by Ellen Driscoll. In her sculptures, Driscoll
combines cloth that typically covers the body as clothing or blanket with larger
abstractions of maps and diagrams, or the wilds of tangled forest branches . The
scale of the singular and intimate body is set against the much larger scale of cities,
forests, wind currents and continents.

In her drawings, exquisite plants and birds inhabit dystopian wildernesses–freshly
minted worlds emerging from post-industrial landscapes. The artist removes the
ink with water to reveal the silhouettes of both plants and birds. These ghost
images within the drawings are palimpsests of what survives and adapts in spite of
environmental adversity.

In her sculptures, the single body is situated within a much larger sense of drift,
migration, and realignment. In her drawings, the plants and birds are caught in
webs of rapidly evolving ecological shift where what is indoors and what is
outdoors are in visual flux.

In both media, the artist shifts our perception and destabilizes our vantage point,
creating openings for new perspectives to emerge.

Telescopic Tea Table


The Olana Partnership and Wave Farm’s WGXC 90.7 FM are pleased to present Groundswell, a new iteration of their award winning event. From 2-6, visitors will explore contemporary works sited throughout the grounds of Frederic Church’s historic Hudson Valley estate, Olana. “Telescopic Tea Table” created with Daniela Gomez, is a mirrored table upon whose surface float countries where Church painted during his international travels, and mirrored tea pots which directly mirror sculpted ornamentation on the historic house on the hill above. During the day, over 100 cups of mint tea were served to visitors as a gesture of hospitality–at the tea table.