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	<title>Dornith Doherty</title>
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	<description>The work of Dornith Doherty: 1997 - Present</description>
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		<title>Home</title>
		<link>http://www.dornithdoherty.com/featured/home/</link>
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		<pubDate>Thu, 10 Feb 2011 00:36:37 +0000</pubDate>
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		<title>Archiving Eden: The Vaults (2008 &#8211; Present)</title>
		<link>http://www.dornithdoherty.com/gallery/vault/</link>
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		<pubDate>Sun, 28 Nov 2010 03:51:42 +0000</pubDate>
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		<guid isPermaLink="false">http://www.dornithdoherty.com/option2/?p=680</guid>
		<description><![CDATA[Archiving Eden: The Vaults (2008 &#8211; Present) Spurred by the impending completion of the Svarlbard Global Seed Vault, I initiated Vault in 2008 to explore the role of seed banks and their preservation efforts in the face of climate change, the extinction of natural species, and decreased agricultural diversity. Serving as a global botanical backup system, these privately and publicly funded institutions assure the opportunity for reintroduction of species should a catastrophic event or civil strife affect a key ecosystem somewhere in the world. Taken at the world’s largest and most comprehensive collections including the National Center for Genetic Resources Preservation in Fort Collins, Colorado; the Millennium Seed Bank, Royal Botanic Gardens, Kew, Wakehurst Place in Sussex, England; and the Svalbard Global Seed Vault in Norway, these view camera photographs trace in precise detail the spaces and technology of involved in this important effort. Special thanks go to the USDA-ARS National Center for Genetic Resources Preservation; to the Millennium Seed Bank, Royal Botanic Gardens, Kew; to the Desert Legume Program, University of Arizona/Boyce Thompson Arboretum; to the Lady Bird Johnson Wildflower Center;  to the USDA-ARS National Clonal Germplasm Repository for Pecans and Hickories; and to the Svalbard Global Seed Vault.]]></description>
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		<title>Archiving Eden (2008 &#8211; Present)</title>
		<link>http://www.dornithdoherty.com/gallery/archiving-eden/</link>
		<comments>http://www.dornithdoherty.com/gallery/archiving-eden/#comments</comments>
		<pubDate>Sun, 19 Sep 2010 15:48:05 +0000</pubDate>
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				<category><![CDATA[Altered Terrain Exhibition]]></category>
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		<guid isPermaLink="false">http://www.dornithdoherty.com/option2/?p=433</guid>
		<description><![CDATA[Archiving Eden (2008 – Present) Since 2008 I’ve worked in an ongoing collaboration with renowned biologists at two of the most comprehensive international seed banks in the world: the United States Department of Agriculture, Agricultural Research Service’s National Center for Genetic Resources Preservation in Colorado, and the Millennium Seed Bank, Royal Botanic Gardens, Kew in England.  In this era of climate change and declining biodiversity, by collecting, researching seed biology, and storing seeds in secure 0º F vaults, seed banks play a vital role in ensuring the survival of genetic diversity in wild and agricultural species. Utilizing the archives’ on-site x-ray equipment that is routinely used for viability assessments of accessioned seeds, I document and subsequently collage the seeds and tissue samples stored in these crucial collections. The amazing visual power of magnified x-ray images, which springs from the technology’s ability to record what is invisible to the human eye, illuminates my considerations not only of the complex philosophical, anthropological, and ecological issues surrounding the role of science and human agency in relation to gene banking, but also of the poetic questions about life and time on a macro and micro scale.  I am struck by the power of these tiny plantlets and seeds (many are the size of a grain of sand) to generate life and to endure the timespan central to the process of seed banking, which seeks to make these sparks last for two hundred years or more. The black and white photographs are presented as archival pigment on paper. Lenticular animations created from the collages present still-life images of an archive that appears to change color or move when viewed from different angles. This tension between stillness and change reflects my focus on the elusive goal of stopping time in relation to living materials, which at some moment, we may all like to do.]]></description>
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		<title>Constructed Landscapes (1997 &#8211; 2001)</title>
		<link>http://www.dornithdoherty.com/gallery/constructed-landscapes/</link>
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		<pubDate>Thu, 05 Aug 2010 22:05:58 +0000</pubDate>
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				<category><![CDATA[Constructed Landscapes]]></category>
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		<description><![CDATA[Constructed Landscapes (1997 &#8211; 2001) By combining the precise detailing of photographic realism with the extravagant exaggeration of the still life, my photographs navigate the border between nature and artifice in order to explore my interest in the human presence in the environment. I am fascinated with the tensions inherent in a &#34;wilderness&#34; that is circumscribed, managed, and manipulated by humans. Therefore, for several years, I have been photographing the landscape of national parks and nature preserves in the Southwestern United States and Central America. I create my artwork by projecting these photographic images of the protected landscapes onto assemblages of natural history specimens taken from their environment. I then rephotograph this assemblage with a view camera to produce an image of a newly created imaginary landscape. Rather than approach these managed natural spaces from a documentary perspective, these constructed photographs employ a personal, expressive stance to explore the anxiety inherent in contemporary culture as we confront new scientific possibilities of manipulating our environment. By mirroring the creative possibilities of the current biotechnological juncture, still life becomes a particularly apt form of expression. Absent of traces of tragic sentiment or nostalgia, these images are meant to explore, like expeditionary photographers of the 19th century, the possibilities and menace of this unfamiliar and uncharted territory.]]></description>
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		<title>Temporal Screens (2003 &#8211; 2005)</title>
		<link>http://www.dornithdoherty.com/gallery/temporal-screens/</link>
		<comments>http://www.dornithdoherty.com/gallery/temporal-screens/#comments</comments>
		<pubDate>Thu, 05 Aug 2010 22:05:02 +0000</pubDate>
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		<category><![CDATA[Temporal Screens]]></category>

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		<description><![CDATA[Temporal Screens (2003 &#8211; 2005) In the spring of 2003, I received a Japan Foundation Grant to live and photograph in Kyoto. My interest in Japan stemmed from the body of photographs I was working on at the time; I was exploring the complex relationship between the natural and human environment in preservationist parks in Costa Rica and a restorationist park in southern California (Constructed Landscapes). My interest in Japan is focused on two aspects of the Japanese landscape; the profound aesthetic difference in the design of the landscape and the scale of the time span that is represented in temple and private gardens. The historic gardens of Kyoto represent a relationship between humans and nature that is so enduring that it is not possible to find anything in the United States that approaches it. As a first time visitor to Japan, I was interested to see the result of centuries of artistic interaction with the landscape. In contrast to the &#34;wilderness&#34; landscapes I had been using as a basis of my photographs, each component of the Japanese landscapes contained a nuanced meaning. Exemplifying a profound aesthetic difference in design, this sense of order was present in Kyoto’s public spaces as well, including the greenway along the Kamo-gawa River, and rice paddies on the northern edge of the city. Similar to my methodology in other residencies, I made photographs using specimens placed in a still life immediately after collection. I collected small pieces of vegetation, antique kimono fabric, and other artifacts, illuminated them with projected slides I had previously taken, and then rephotographed the assemblage using a view camera.]]></description>
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		<title>Rio Grande: Burnt Water/Agua Quemada (2002 &#8211; 2008)</title>
		<link>http://www.dornithdoherty.com/gallery/rio-grande-burnt-water-agua-quemada/</link>
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		<pubDate>Mon, 02 Aug 2010 21:41:44 +0000</pubDate>
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		<category><![CDATA[Rio Grande: Burnt Water/Agua Quemada]]></category>

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		<description><![CDATA[Rio Grande: Burnt Water/Agua Quemada (2002 &#8211; 2008) I’ve been invaded by a kind of lucid languor, a sense of imminence; with every moment I become increasingly aware of certain perfumes peculiar to my surroundings, certain silhouettes from a memory that formerly was revealed in brief flashes but today swells and flows with the measured vitality of a river. Carlos Fuentes, Agua quemada, 1981¹ As a place where the cultures of the U.S. and Mexico simultaneously meet and diverge, the Rio Grande exists as a watery margin of subtle and dense histories. It is a river infused with memory, charged with the presence of past lives at every bend, and yet flowing through a complex twenty-first-century passage. As the Rio Grande runs its course from Colorado to the Gulf of Mexico, it traverses landscapes ranging from managed recreational forests and agricultural land, to the densely populated urban areas around the maquiladores of northern Mexico. It crosses the land of the Pueblo and Navaho Nations and passes under border bridges in south Texas. As one might imagine, to navigate the river is to steer through a host of critical contemporary concerns. Dornith Doherty’s photographic series Burnt Water/Agua Quemada addresses the cultural landscape of the Rio Grande and reflects therein a complicated relationship between human agency and the natural environment. She began her investigations in 2002, photographing along the banks of the Rio Grande and exploring its immediate topography, from mountain source to coastal mouth. The resulting images metaphorically reveal a natural region that is being reconfigured by a host of crucial and sometimes violent forces, including environmental politics, immigration, and economic inequities. And while they exist as re-visioned landscapes, her works are in fact straight photographs—a delicious secret that Doherty skillfully masks through a studio practice that eschews traditional documentary or expeditionary modes in favor of merging fact with aesthetics in a complicit reinvention of nature. After photographing on the Rio Grande, Doherty returned to her studio and started to project photographic images of the river landscape onto assemblages of natural history specimens and cultural artifacts collected from her onsite work. She incorporated prickly pear plants, corn husks, soil, clothing, vinyl car seats, needles, and other found objects into the still-lifes to invoke the complexity of human experiences she had witnessed along the river, as well as refer to the immediacy of her personal experience within this landscape. Doherty then rephotographed the still-lifes, illuminated by the projected imagery, using a view camera. Presented here in mural size, reflecting the large scale of the landscapes portrayed, Doherty’s photographs are exuberant, yet elegiac vignettes that trace and exhale the contemporary life of the Rio Grande, akin to the perfumed breath of memory expressed in Carlos Fuentes’s poetic vision of Burnt Water. ¹ Carlos Fuentes, Agua quemada: Cuarteto narrativo (México City: Fondo de Cultura Económica, 1981), page 17. Essay by Sara-Jayne Parsons, Exhibitions Curator, Bluecoat, Liverpool, England Published in FotoFest 2006: The Earth/Artists Responding to Violence pps104-107]]></description>
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		<title>Altered Terrain (2007)</title>
		<link>http://www.dornithdoherty.com/gallery/altered-terrain-exhibition/</link>
		<comments>http://www.dornithdoherty.com/gallery/altered-terrain-exhibition/#comments</comments>
		<pubDate>Mon, 02 Aug 2010 21:39:40 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Altered Terrain Exhibition]]></category>
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		<description><![CDATA[Altered Terrain (2007) Doherty investigates the contemporary landscape while also commenting on critical issues affecting it. Her fascination with the environment and the way humankind manages wild areas has driven her work through travels to Costa Rica, Japan, Scotland, and Iceland. Her enigmatic tableaux of multi-layered imagery speak volumes about the natural world and humanity’s stewardship of it. Using collected specimens and found objects from the surrounding terrain, she arranges a still life, illuminated by other imagery, and then the entire assemblage is re-photographed with a view camera. The artist’s exploration of areas closer to home such as Caddo Lake, the San Juan Mountains in Colorado, and the Rio Grande continue in her work today. Holly Johnson Holly Johnson Gallery]]></description>
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		<title>Featured Work</title>
		<link>http://www.dornithdoherty.com/featured/featured-work/</link>
		<comments>http://www.dornithdoherty.com/featured/featured-work/#comments</comments>
		<pubDate>Sun, 25 Apr 2010 20:33:10 +0000</pubDate>
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