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A five year artist residency with Amanda Leigh Evans and Tia Kramer developed in partnership with students, teachers, and staff at a preK-12 public school in rural Eastern Washington. A collection of multi-media, permanent public artwork in the form of a river that winds throughout the entire indoor and outdoor school campus. The project utilizes artistic and scientific inquiry to examine local ecology and watersheds, agriculture, and migration and belonging.

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2021-Now[this work is in progress]

DeepTime Collective (Amanda Evans + Tia Kramer)

Collaborative, interdisciplinary public artwork developed in partnership with students, staff, and families of Prescott School District, Prescott, WA; Initiated and Administered by Carnegie Picture Lab

Project Overview

When the River Becomes a Cloud / Cuando el río se transforma en nube is a multi-year, radical public artwork that Tia Kramer and I are developing in partnership with students, teachers, and staff at a preK-12 public school in rural Eastern Washington. Since December 2021, we have been long-term artists-in-residence at Prescott School. During this five-year residency, we are creating a multi-media, permanent public artwork in the form of a river that winds throughout the entire indoor and outdoor school campus. The project utilizes artistic and scientific inquiry to examine local ecology and watersheds, agriculture, and migration and belonging.

This ongoing work is commissioned by Carnegie Picture Lab as part of their Rural Art Initiative. The residency was co-initiated by Prescott School District and Carnegie Picture Lab as a mutually beneficial, reciprocal relationship that addresses the unique opportunities, challenges, and relevancy of rural contemporary art education.

How is this funded?
The 2022 6-month pilot was funded by a grant from Sherwood Trust and Blue Mountain Community Foundation. The 2022-23 school year was funded by an SEL in Action grant from Education First. The 2023-24 school year was funded by an ArtsWA Arts in Education (AIE) and a mini-grant from Cornell Lab of Ornithology. The 2024-25 school year is funded by an NEA Artists Projects Grant, ArtsWA Arts in Education (AIE), and funding provided by Prescott School District. The project is directed and administered by Carnegie Picture Lab.

Context, Values and Approach

A majority of Prescott School families work in Washington's agricultural industries. Approximately 80% of our students live in a predominantly Spanish-speaking farmworker housing community that serves one of Washington's largest apple orchards. The remaining 20% of our students live in the small town of Prescott (pop 377), which consists mainly of white working class families who support our region's dryland wheat farming economy.

Through this project, we ask: Is contemporary art relevant to rural communities? What is missing when contemporary art fails to account for rural perspectives? How does contemporary art reproduce class-based elitism in rural contexts? How do we create our own criteria for defining meaningful artwork within a rural context, rather than replicating urban-centric systems of artistic production?

A Collaborative, Co-Authored Rural Contemporary Artwork

The closest regional art museum is more than two hours away from Prescott. Until this project began, most students had never seen artwork made by working artists in person.

We wholeheartedly believe that rural students, especially students from low-income households, deserve equitable access to innovative, context-responsive contemporary art education. This value has led to the development of this unique rural artist residency model. Students collaborate with us and invited visiting artists on projects that are made by/with/for our school community.

As part of this unique partnership, we engage Prescott School's burgeoning agriculture program to develop site-responsive, experiential learning projects that connect culturally-relevant contemporary art practices with agriculture and local ecology.

Within Our Rural Community

When the River Becomes a Cloud initiates process-oriented projects that promote social-emotional learning and trauma-informed design. We recognize how crucial it is for young people to see their cultures and identities represented in leadership, which means we prioritize visiting artist-scholars whose lived experiences align with the experiences of our students.

Through collaboration and co-authorship, the project challenges notions of who is considered an expert by blurring the boundaries between authors, producers, and audience members. This approach rejects the traditionally individualistic, singular-author approach to artmaking and instead presents a model for responsive artmaking in a rural context.

Project Learning Outcomes

Creative Risk Taking: Students learn to embrace risk-taking as an integral part of the creative process.

Collaboration with Peers: Students develop collaborative skills by actively participating in group projects that have public outcomes.

Self Empowerment: Students cultivate leadership abilities by making artistic decisions that directly influence project outcomes.

Social-Emotional Growth: Students engage in creative practices that encourage attunement to their full selves, lives, and stories.

Culturally-Relevant Research: Students study and emulate a diverse canon of historical and contemporary interdisciplinary artists.

Visiting Lecture Series
Throughout the course of the project, in addition to large-scale artworks, we have hosted artist/research lectures by Zoemiel Henderson, Joel Gaytan, Juventino Aranda, Fanny Julissa Garcia, Mark Menjívar, and the PSU Art + Social Practice MFA Program.

Our region produces apples, canola, onions, and dryland wheat.

A majority of Prescott School families work at one of Washington's largest apple orchards.

A view of Prescott School District from the Touchet River. The school is adjacent to large-scale dryland wheat production fields.

A USGS image of the water cycle. Like water, we are part of circular systems. We cycle back and forth to our places of work and school each day. The river becomes the cloud and the cloud becomes the river.

︎︎︎ Scroll down to take a virtual tour of the project ︎︎︎

Part 1: Embodying The River

When The River Becomes A Cloud officially launched in June 2022 following a six month exploratory pilot period. For the launch event, we collaborated with high school students from the Prescott School Associated Student Body (ASB) to create an all-school performance.

During the performance, more than 300 students, teachers, and staff moved across the school's campus as an embodied river. The river's path included indoor and outdoor immersive art experiences, all designed by the students to conceptually engage water. Participants wore a rainbow of monochromatic shirts featuring a logo created by first-grade students. The walk concluded with the entire school sitting in the shape of a cloud on a baseball field.

Photos by Allyn Griffin (drone pilot), Kyle Peets and Tara J Graves

A line-by-line poem was printed as wayfinding signage for the launch event

An image of the performance was later installed on a baseball dugout at the field where the performance took place.

Part 2: Mapping our Watershed

WHAT Large-Scale wall drawing on Prescott's Agriculture Science building

WHO
Developed in collaboration with first grade students and their art instructor, Jessica Johnson, and high school art students and their teacher Mark Grimm

In September 2022, we moved into the second phase of the project, which is to create permanent, collaborative public artworks that connect like a river throughout the school's campus. The first permanent artwork was a large-scale drawing on three sides of the Ag Science building, which depicted the school's metaphorical watershed.

In the water cycle, rain falls onto the hills and trickles into streams, rivers and lakes before eventually evaporating into clouds. Similarly, each morning, students walk out their front doors, ride the bus to school, and gather in the school hallways and classrooms before returning home at the end of the day. The cycles are mirrors. When you enter the Ag building, you enter our collective watershed.

Over the course of four months, we met weekly with first grade and high school students to develop a design. The black and white drawings, made by first-grade students, reference the disparate but connected communities that make up our school: Prescott (town), Prescott (school), Eureka, Vista Hermosa, the apple orchards, and the wheat fields. When the first grade students completed the drawings, the high school art class chose images they felt best represented the school's metaphorical watershed. The drawings were then scanned and arranged as a digital design before being projected and traced with permanent paint pens onto the walls of the building. The drawing incorporates color block aerial tracings of significant landmarks along the Touchet River, which flows through the school's campus.

This project was installed with the support of local artists Zoemiel Henderson and Joel Gaytan.

Part 3: Collective Weather

A ceramic cloud being delivered by the school's Ag tractor.
Each student at Prescott School created a fist-sized singular cloud with high fire stoneware clay. The cloud expressed the emotional weather the student experienced that morning on their way to school.

We used the small clouds as collage material to build two enormous ceramic clouds that will live permanently outdoors and will perform simultaneously as sculptures and benches. The once ephemeral internal weather, like a cloud, becomes eternal, like a stone, through its translation into a ceramic material.

Since 1914, each graduating class at Prescott School District has posted a frame with graduate photos in the school hallway. This 110-year and counting archive of the school is a literal and metaphorical river. We worked with the class of 2023 to design a frame that articulates the flow of time and graduates through the school.

Part 5: The Cosmic Swamp

WHAT
Building façade for middle school portable buildings

From December 2022 to June 2023, we met each Thursday morning with 6th grade students. Our meetings cumulatively worked toward developing a design for a hybrid painted and digitally-printed building façade that covers the middle school portable buildings.

Students selected an aspect of the watershed that best referenced their middle school experience. The students decided the concept of swamp was the perfect representation of the in-between, murky unknown of middle school.

As we developed this project, we presented weekly artistic research prompts alongside field trips to local wetlands, swamp-related contemporary artworks, and texts like Mary Oliver's poem Crossing the Swamp.

Part 6: A Celestial Game

WHAT
Digital photo collage printed on UV-resistant vinyl and mounted on Dibond panels

Using the school's communication app, we sent a community-wide message to parents, staff and teachers to solicit sunrise and sunset photos from the Prescott area. We used their photos to create digital collages for the backboards of two basketball hoops facing east (sunrise) and west (sunset).

The Mesoamerican ballgame, a similar but ancient game of balls and hoops, has been symbolically linked to the movement of celestial bodies. Historically, Mesoamerican ballgame hoops were oriented in opposition to each other, either on a north-south or east-west axis.

Part 7: La Misma Canción (The Same Song) and Migratory BirdFest with Mark Menjívar

Drawing Workshops
La Misma Canción (The Same Song) is an ongoing project by San Antonio-based artist Mark Menjívar that works with primarily Latinx communities by making connections with birds that

migrate from their home countries to where they are living now. The project started when Mark Menjívar imagined if the bird songs he was hearing near his home in Texas were the same bird songs his family in El Salvador could have heard. The drawings on this banner are of ten birds that migrate annually between Eastern WA and places to which our students have connections across the Americas. The drawings on Prescott's banner include 10 birds that migrate annually between Eastern Washington and places to which our students have connections across the Americas.

Migratory BirdFest
A school-wide festival to welcome migrating birds created in collaboration with Prescott School students, teachers and staff, Walla Walla Immigrant Rights Coalition, Blue Mountain Audubon Society, and the Pioneer Park Aviary. The event took place on April 11, 2024.

Exhibition
Drawings by 4th, 8th, and HS students were exhibited in Prescott's main hallway

Bird Posters
Using student drawings, we produced a set of educational posters with information about each of the migratory birds studied in this project. These are available as a free downloadable pedagogical tool.

Making Sky Visible: A Study of the Color Blue (7th Grade)

We began our research by studying how the color blue has been used throughout history and around the world. We also studied natural occurrences of blue, the rarest color in nature. Although blue has been significant in many cultures since ancient times, in many instances, the color blue went unnamed often until blue pigments could be manufactured reliably in the culture using that language.

We studied why the sky is blue. When looking at the sky away from the direct incident sunlight, the human eye perceives the sky to be blue. This is because the earth's atmosphere scatters short-wavelength light more efficiently than that of longer wavelengths. This led us to study the invisible forces making the sky visible to us.

Our research ended with a permanently-installed cyanometer, painted in shades of blue mixed by individual students, that measures the blueness of the sky above Prescott's soccer field. A cyanometer is an instrument for measuring the color intensity of blue sky. It is attributed to Horace-Bénédict de Saussure and Alexander von Humboldt.

Making Wind Visible: A Study Of Movement (6th Grade)
All artwork points to something. An artist's role in society is to make things that are less visible more visible.

We began this project by collectively composing a long list of things that are invisible. The list ranged from intestinal gas to radioactivity to sadness. The list grew over the course of four months while we developed this project with 6th Grade students. The list remained in their classroom and anytime they thought of something invisible, they were encouraged to write it on the list.

We then discussed strategies to make the wind visible. Students had the idea to make kites, so we started with roughly designed kites using materials we could find around the school.

In subsequent workshops, we considered a location to permanently make wind visible. It was decided that we should hang wind chimes in the school's heritage apple tree.

Once we found the location, we initiated a writing exercise on clay. Students wrote about aspects of themselves that are invisible. Then students transformed these slabs into shapes that could become wind chimes.

Continually in progress...

When the River Becomes a Cloud / Cuando el río se transforma en nube is actively in progress. Stay tuned!

We encourage you to check back periodically on this page to witness new project developments.

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When the River Becomes a Cloud - Amanda Leigh Evans

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When the River Becomes a Cloud / Cuando el río se transforma en nube 2021-Now [this work is in progress] DeepTime Collective (Amanda Evans + Tia...

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Rocks, Stones, Dust- UofT Art Gallery (Show) 

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Rocks, Stones, Dust- UofT Art Gallery (Show) 

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A show at UofT art gallery 2015. A collection of artists, writers working with the geological.

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Contemporary art devoted to rocks and their relations.

CURATOR'S TOUR

with JOHN G. HAMPTON

Wed., Nov. 11, 6:30-7:30pm

University of Toronto Art Centre

Join John G. Hampton as he speaks

about the stories behind the stones,

and the beingness of rocks.

Web Publication

Editor John G. Hampton

Authors Jane Bennett, David Garneau, John G. Hampton,

Lindsay Lawson, Elder Betty McKenna, Marcelo

Moscheta, Egill Sæbjörnsson, Hugh Raffles

Designer Chris Lee

Copyright

Publication © 2015 The Justina M. Barnicke Gallery
and the University of Toronto Art Centre

Texts © The authors

Artwork © The artists

Images © Toni Hafkenscheid unless otherwise noted

Notes on the Design

The Glyphs featured on this site design are derived from markings that can be found on ancient Mesopotamian clay tablets that record economic activities, such as tax obligations and payment receipts. One of the primary technologies and skills assembled into the earliest printing presses in China and Korea was bronze casting for coinage. The digital typography displayed on this website is transmitted via the Internet, whose physical infrastructure echoes the network of submarine cables established to facilitate commerce and administration across the British Empire.

Exhibition

Organized and presented by the Justina M. Barnicke Gallery

and University of Toronto Art Centre

October 28-December 18, 2015

Curated by John G. Hampton

Curator's Acknowledgements

I would like to extend my sincerest gratitude to the following people: to the staff of JMB/UTAC for all of their assistance and guidance, Barbara Fischer, Sarah Robayo Sheridan, Christopher Régimbal, Rebecca Gimmi, Maureen Smith, Heather Pigat, and Marsya Maharani; to Amber Christensen for walking with me each step of the way, indulging my redirection of all of our recent travels towards rocks and stones; to Dax Morrison and Phil Skot for their precision and professionalism in installing the exhibition; to all of the authors for their insightful words as well as their feedback into the planning of this exhibition its publication; to Chris Lee for designing this beautiful website; to William Huffman, Mark Cheetham, my parents (Eber and Mary Hampton), Jan Mackie, Jim Kuellmer, Micah Lexier, and everyone else who spoke to me of stones over the past year, each of those discussions has played some role in helping to shape my thinking about this project; and, most of all, to all of the artists, who offer endless inspiration. I am humbled and grateful to have worked with all of you. Thank you.

Rocks, Stones, and Dust is supported by the Ontario Arts Council, Manulife Financial, the Jackman Humanities Institute, and the Goethe-Institut.

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Contemporary art devoted to rocks and their relations. A digital publication examining rocks in contemporary art. Texts contributed by Jane Bennett, David Garneau, John G. Hampton, Lindsay Lawson, Marcelo Moscheta, Betty Mckenna, Hugh Raffles, and Egill Sæbjörnsson.

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A collaborative project between Justy Phillips and Margaret Woodward. This duo combines geology with literature as they collaborate with community, look deeper into their environments and speculate on being human during this time.

Favourite projects include

1) Erratic Ecologies (2019-)

Question: How might one begin to field guide the erratic?Tracing the history and etymology of the word ‘erratic’, which comes from the Latin errare, to wander or stray, A Published Event find the first notation of the idea in the ‘erratyk’ stars of Chaucer’s 16th century poem Troylus and Cressida.

2) Lost Rocks (2017-2021)

A library of forty three books,
by forty six artists over five years. A unique
seam of mineralogical and metaphysical
telling unfolds.

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This 'field station'- is an apparatus for viewing and recording erratic activity, glacial movements and materialities of the body. It records the activities, experiences and feelings of A Published Event during their 31-day Ruth Stephan Research Fellowship at the Beinecke Rare Book & Manuscript Library at Yale University, and associated fieldwork in the post-glacial landscapes of New England, USA.

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​Entangled voices of geological ancestry, deep time and ever-turning matter Contributions by: Aliaskar Abarkas; Oreet Ashery; Appau Jnr Boakye-Yiadom; Bo Choy; Mary Helena Clark; Shezad Dawood; Tori Herridge; Daisy Hildyard; Karen Lloyd; Myung Mi Kim; Mark Nuttall; Okwui Okpokwasili; Flora Parrott; Himali Singh Soin; Kathryn Yusoff; Chandra Wickramasinghe; and others unfolding.

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Glacial Hauntologies - Collaborative Project

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Glacial Hauntologies - Collaborative Project

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Glacial Hauntologies is an interdisciplinary collaboration between early-career scientists from the International Thwaites Glacier Consortium (ITGC) -Elizbeth Case and Andrew Hoffman - and two New England-based environmental artists - Tyler Rai.

Interweaving glaciology with artistic practice, we translate, subvert, and repurpose tools from many disciplines to explore geophysical data and glaciological archives. On Thwaites Glacier - one of West Antarctica's vulnerable outlet glaciers - scientists record radar, seismic, magnetotelluric, and gravity data about the ice and bed. In New England, on the bed of the Laurentide Ice Sheet, we look up through the spectre of ice that last covered the landscape 10-18,000 years ago. We are interested in how ice - past ice, current melt, and future glacial disappearances - reoccurs as a persistent hauntology across 21st century landscapes, scientific data, and day-to-day life.

Working across print, sound, textile, movement, and math, our work confronts male-dominated, colonial histories of Antarctic research by centering expansive, embodied, collaborative practices that create alternative relationships to, histories of, and ways of doing research about glacial change. This work includes recordings of dripping meltwater overlayed with sonified seismic data, large-scale, sewn cyanotype fabric collages, zines of body outlines for recording deep field experiences, and other multimedia work.

We are funded by NSF OPP #1738934.

Contact

If you want to get in touch about our work, collaborations, synergies, future projects, ideas, similar projects, funding, or anything else please email us atglacialhauntologies[@]gmail.com.

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Glacial Huantologies is an experiment in co-production of processes and outcomes between two scientists and two artists. We are focused on Thwaites Glacier, its (tele)connections to coastlines, and the ways ice haunts landscapes.

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Article written by Anna-Maria Hallgren,

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Un steady as a Rock Believing in Times of Make-believe

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Big Rock Candy Mountain- Artist Collective

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Big Rock Candy Mountain- Artist Collective

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Hannah Jickling and Reed Reed's collaborative project Big Rock Candy Mountain works with elementary school students, where the school becomes a candy factory that is a incubator for thinking about the world around them, flavours, language and what is possible.

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big rock candy mountain - big rock candy mountain

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In the Big Rock Candy Mountain you never change your socks⁋And little streams of apple juice come a bubbling down the rocks⁋There's no such thing as homework⁋It's your birthday all the time⁋You can stay up late and your folks don't care⁋You can come to lunch in your underwear⁋In the Big Rock Candy Mountain

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A Billion Black Anthropocenes or None (Book) 

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A Billion Black Anthropocenes or None (Book) 

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A Billion Black Anthropocenes or None, Kathryn Yusoff, PHD in geography. Challenges the way we think about the Anthropocene, arguing it ignores the violent histories of slavery, colonialism, and racial exploitation that shaped our modern world. She highlights how these histories are tied to the extraction of resources and labor, showing that the Anthropocene isn’t a universal experience but one rooted in inequality. Asks to rethink humanity’s impact on the planet through a more inclusive and critical lens.

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Why has art taken a geological turn? (Article) 

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Why has art taken a geological turn? (Article) 

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Article written by :

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Let’s Rock! Why Has Art Taken a Geological Turn?

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From minerals to tektites, artists have a newfound fascination with everything stone, says Hettie Judah

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EXHIBITION: GROUNDWORK May 10, 2021 - August 15, 2021 Critical Distance Centre for Curators (CDCC) – Core Exhibition Featured Exhibition at the 2021 Scotiabank Contact Photography Festival, Tkaronto/Toronto, ON

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Public Art (2020-ongoing) – Michael Belmore

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Why an awareness of Earth’s temporal rhythms is critical to our planetary survival

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Video, 25 minutes 2018 See this link for Gems and Minerals on VIMEO In Gems and Minerals , museum guides discuss the hidden worlds of rock and mineral specimens in the Teck Suite: Earth’s Treasures galleries at the Royal Ontario Museum in Toronto.    With expressive per

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welcome to www.ilanahalperin.com. ilana halperin volcanos hotsprings art earthquakes glasgow new york ilanahalperin as a key word and many other unexpected things are featured on this site

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welcome to www.ilanahalperin.com. ilana halperin volcanos hotsprings art earthquakes glasgow new york ilanahalperin as a key word and many other unexpected things are featured on this site

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Erratic Behaviour - Kitchener Waterloo Art Gallery (Show) 

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Erratic Behaviour - Kitchener Waterloo Art Gallery (Show) 

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Erratic Behaviour | Kitchener-Waterloo Art Gallery

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Catherine Telford Keogh, Diane Borsato, Kelly Jazvac, Laura Moore, Meghan Price, Robert Hengeveld, Tahir Carl Karmali, Tsēmā Igharas

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"There are exceedingly few texts like this that ask from an Indigenous perspective: how might we consider relations between science and land and water and still practice 'good' science? Pollution Is Colonialism is at the leading edge of a significant turn in science and technology studies toward thinking with settler colonialism as a structure and terrain, and by bringing Indigenous studies into conversations with pollution, plastics, and lab sciences, this book makes a major contribution." - Candis Callison, author of How Climate Change Comes to Matter: The Communal Life of Facts

"One of the most original and compelling books I've read in a long time, Pollution Is Colonialism is a truly exciting intellectual achievement. It argues for, and most importantly models, a decolonial scientific practice. A must-read book for anyone concerned about land relations." - Joseph Masco, author of The Future of Fallout, and Other Episodes in Radioactive World-Making

"This important book challenges the very sense of what pollution is, demonstrating its deep entanglements with settler colonialism, and then generously offers us anticolonial feminist methods that might better take up pollution's colonial form. This book is a model of what engaged feminist anticolonial STS research looks like." - Michelle Murphy, author of The Economization of Life

"To read Liboiron is to constantly be surprised, reeducated, alarmed, and moved to practice anticolonial methodologies and interrogate everything we know.... Liboiron has written a text for the ages." - Kerri Arsenault, Orion

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" Pollution Is Colonialism provides desperately needed analytic clarity on this settler colonial present.... This book invites readers first and foremost to look at knowledge practices and forms of knowledge creation, to think about their land relations, and to recognize colonial land relations in their familiar, seemingly benign practices and techniques." - Anna Stanley, Antipode

"[ Pollution Is Colonialism] should be required reading for researchers who are working in any type of laboratory setting.... I also believe that a more general audience will find this work interesting and thought provoking." - Jacqueline Stagner, International Journal of Environmental Studies

"Although the book will likely be of particular interest to the fields of social studies of science and Indigenous studies, Liboiron offers an open invitation for readers from broader audiences to engage, reflect on and change the colonial relations, technologies and infrastructures operating in their own lives. This offer is especially timely in the context of growing antiracist social justice movements globally." - Liam Fox, Social & Cultural Geography

"Max Liboiron demonstrates how science can and should be informed by Indigenous ethics and ways of understanding relations. The result is a beautifully written text that is both a handbook on method and a call to rethink how we live our lives on occupied land." - Joshua Bell, Smithsonian Magazine

"Although the book focuses on plastic pollution, it is relevant to all areas of science, because it illustrates the ways that colonialism can show up in the sciences. . . . I predict that it will inspire pragmatic yet profoundly ethical action during a time of dire news and institutional soul-searching. Untangling and resisting the Gordian knot of justifications, manipulations, and traditions that enable colonialism takes hard work and humility. I am grateful that Liboiron has written a primer to get us all started. It is rare that I read a book that so fundamentally shakes up my thinking." - Katie L. Burke, American Scientist

"Engaging, provocative, and compelling.... [ Pollution Is Colonialism] engages with practices that will be useful to researchers across sciences and humanities disciplines." - Madison Jones, Environmental Communication Division of the National Communication Association blog

" Pollution Is Colonialism is an intriguing read, written in a clear and sometimes joking language. . . . [It] is an essential read for those interested in Science, Environmental Activism, STS, Pollution, Colonialism (including decolonialism/anticolonialism), Indigenous Studies, and Discard Studies, to mention a few." - Rasmus Rodineliussen, Anthropology Book Forum

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"Liboiron's creative, lively, and passionate text refuses theories of pollution that make Indigenous land available for settler and colonial goals. Liboiron demonstrates that anticolonial science is not only possible but is being practiced in ways that enact more ethical modes of being in the world." - Michael Svoboda, Yale Climate Connections

" Pollution is Colonialism is a generative, life-giving, critical text. . . . Students inside and outside of the academy, from diverse backgrounds across university, community, and government circles, must all pick up this book and learn from it." - Sarah Marie Wiebe, Environmental Politics

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"Thinking at the intersections of Indigenous studies, feminist science and technology studies and discard studies, the book confronts the environmental sciences with myriad challenges and critiques that are grounded in a feminist anti-colonial orientation for doing research within the specificities of particular land relations." - Alexandra Berry, Postcolonial Studies

Pollution is Colonialism teaches readers about the inherent colonial nature of research and the methodologies it entails. . . . [The book's] challenges to what has become common-sense thinking in science is precisely what is so beneficial about Liboiron's contribution." - Ellen Ahlness, Atlantis

"I cannot remember the last time I read a scholarly book more compelling, persuasive, enjoyable, helpful, or important than Pollution Is Colonialism by Max Liboiron. . . . When you read it, you will have a honed sense of how you fit into the urgent collective work of unmaking colonial worlds, and an invigorated sense of how to get started." - Eugenia Zuroski, ISLE

"Provocative and highly readable, Pollution Is Colonialism challenges readers, specifically whites and settlers and particularly those who like to think of themselves as supportive of Indigenous people's struggles, to consider how seemingly innocent or well-intentioned research methods, techniques, and modes of dissemination can reproduce dominant science. . . . Liboiron's contribution is of great value for STS and adjacent fields." - Miriam Tola, Tecnoscienza

"There are hunches you might have about the bad agents around whose interests the climate crisis appears to have aligned, but they're rarely more than that. Liboiron here takes on the project of unearthing the discreet connections, establishing a heroic cause and effect that leads us to the depressingly simple origins of the horrors we all are facing." - Sumanth Prabhaker, Literary Hub

" Pollution is Colonialism is an enlightening and potentially challenging book for readers across multiple disciplines. While scientific audiences will likely benefit the most from its practical implications for anti-colonial lab practices, its theoretical contributions make it an interesting read for those in the social sciences (broadly defined) as well." - Leah Mernaugh, Anthropologica

"Amidst growing discussions about how to mitigate the current climate and pollution crisis, Max Liboiron presents a stunning critique of colonial practices in Western scientific research methodologies." - Karl Nycklemore, Environment and History

"Taken together, these additions to the anthropology and social science of discards and pollution not only provide new concepts through which to think through waste on our damaged and unequal planet, they also point us in the direction of how we might live our lives, organize our economies, and conduct research differently." - Patrick O'Hare, JRAI

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"There are exceedingly few texts like this that ask from an Indigenous perspective: how might we consider relations between science and land and water and still practice 'good' science?

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​Solo Exhibitions
2023
The Harvesters, Bass Museum, South Beach, Miami, Florida, USA

2022
The Harvesters, Bass Museum, South Beach, Miami, Florida, USA
In an Ocean of Air, permanent installation, Port of Miami, Florida, USA
Eltanin, Broadway, New York, USA

2021
DADA Holdings, Nina Johnson, Miami, Florida, USA
The mountain sings underwater, Momenta Biennale, PHI Foundation for Contemporary Art, Montreal, Canada

2020
Observations: Selected Works by Jamilah Sabur, University of Maryland Art Gallery, Maryland, USA

2019
Memory Palace, Crisp-Ellert Art Museum, St. Augustine, Florida, USA
Stream Gradient, Nina Johnson Gallery, Miami, Florida, USA
Un chemin escarpé / A steep path, The Hammer Museum, Los Angeles, USA

2018
Ibine Ela Acu/Water Sun Moon, Cornell Fine Arts Museum, Winter Park, Florida, USA
The Rhetoric of the Living, Emerson Dorsch, Miami, Florida, USA

2017
If defined, then undefine, Dimensions Variable, Miami, Florida, USA

Group Exhibitions
2024
Scrawlspace, supported by Shelly & Donald Rubin Foundation, New York, USA
Storm Cloud: Art, Science, Nature, and the Industrial Age, The Huntington, San Marino, California, USA (current)
Wade, Kaplan Gallery, Maryland, USA
​
2023
Visions, Museum Krona, Uden, The Netherlands
This Land, The Contemporary Austin, Austin, Texas, USA
Transatlantic Connections: Caribbean Narratives in Contemporary Art, presented by 1-54, Christie's, London, UK
Fruits of Labour, Museum Dhondt-Dhaenens, Belgium
Sinking Feeling, Or Gallery, Vancouver, British Columbia
Here and Now: Recent Acquisitions, University of Maryland Art Gallery, Maryland, USA

2022
Phraseology, The Bass Museum of Contemporary Art, Miami, USA
Boil, Toil, Trouble, Art in Common, curated by Zoe Lukov, Miami, Florida, USA

2021
Prospect 5, New Orleans: Yesterday we said tomorrow, New Orleans, Louisiana, USA
Worldmaking Tentacles, Momenta Biennale, Fonderie Darling, Montréal, Québec, Canada
Here there And Everywhere, Foley Gallery, New York, USA
Des Tentacules Façonnant Le Monde, Fonderie Darling, Montreal, Canada

2020
Mending the Sky, New Orleans Museum of Art, New Orleans
House to House: Women, Politics, and Place, Frost Art Museum, Miami
The Willfulness of Objects, curated by Silvia Karman Cubiñá and Leilani Lynch, The Bass, Miami, Florida, USA
Time Share, Performa, New York, USA
Open Justice, University of British Columbia, Vancouver, Canada

2019
The Last Supper, Faena Art, Miami Beach, Florida, USA
The Other Side of Now, Pérez Art Museum, Miami, Florida, USA
Parallels and Peripheries, Museum of Contemporary Art, Detroit, Michigan, USA

2018
Deconstruction, Frost Art Museum, Miami, Florida, USA
Augmented sunrise beneath the skin, Gr_und, Berlin, Germany
Études conviviales, SBC galerie d'art Contemporain, Montréal, Canada
Between a view and a milestone, ArtCenter South Florida, USA
SCORCHED EARTH, Current Projects, Miami, Florida, USA
The World's Game: Fútbol and Contemporary Art, Pérez Art Museum Miami, Florida, USA

2017
Sunrise, Sunset, Emerson Dorsch Gallery, Miami, Florida, USA
baby boy, Transmission Gallery, Glasgow, Scotland
MemoryLab, History Museum, Miami, Florida, USA

​
Collections include:
Pérez Art Museum Miami
New Orleans Museum of Art
Bass Museum of Art
University of Maryland
TD Bank Group
Collection of the National Bank of the Netherlands

​

The Willfulness of Objects, The Bass Museum of Contemporary Art, Miami, USA (until 2022) Beneath the rivers, there are no borders, Future of Demonstration, Vienna, Austria
A derivation of time, Cornell Fine Arts Museum, Winter Park, Florida, USA
Beneath the rivers, there are no borders, Little Haiti Cultural Center, Miami, Florida, USA

2017
Black Radical Imagination in partnership with LUX Scotland, Glasgow School of Art, Glasgow, Scotland
Black Radical Imagination in partnership with LUX Scotland, ICA London, London, UK Latinoamericano Cine Del Nuevo International Festival in Havana, Cuba
EXiS Festival, Busan Corner Theatre, Busan, Korea
Black Radical Imagination, The Art Institute of Chicago, USA
Crater-Lab, Barcelona, Spain
(S8) Mostra de Cinema Periférico, A Coruña,Galicia, Spain
Los Angeles Film Forum, Spielberg Theatre at the Egyptian, Los Angeles, USA
San Francisco Cinematheque/Crossroads Film Festival, San Francisco, California, USA

Performances
2018
Beneath the rivers, there are no borders, Future of Demonstration, Vienna, Austria
A derivation of time, Cornell Fine Arts Museum, Winter Park, FL
Beneath the rivers, there are no borders, Little Haiti Cultural Center, Miami, FL

2016
My Queen before you go tell my horse, Maggie Knox, Miami, FL

2015
Actual Infinity, Berkshire, Reese and Paul Galleries, Herron College of Art, Indiana University
Voleur (thief), performed in collaboration with Andy Robert, Dimensions Variable, Miami, FL

2014
Convoluted Shape, Bakehouse Art Center, Miami, FL

2013
Choreographer, designer, and performer for "Congo River God," composed and conducted
by Joshua Charney. Conrad Prepys Theater, Uni-versity of California San Diego, CA

2012
Zinnia and the whitefly, Summer Salon Series, San Diego Museum of Art, San Diego, CA

Lectures
2019
The Other Side of Now, Perez Art Museum - Nov. 15, 2019
Jamilah Sabur in conversation with Micheal Queenland, Hammer Museum - Apr. 18, 2019 Contemporary Art Production in the Carribean, Tout-Monde Festival, ICA Miami - Mar. 17

2017
Design Miami "Performative Representation and Black Aesthetics" - Dec. 7, 2017
"Sheltering Survivors and Boundaries" Coral Gables Museum - Nov. 15, 2017
Keynote talk, MICE: Ghost Intimacies Symposium - Innis Town Hall, University of Toronto - Nov. 4, 2017
Jamilah Sabur in conversation w/ Dr. Lori Lee: race, memory, and negotiation of spaces - Flagler College, St. Augustine - Oct. 17, 2017

2016
Intersectional Feminism, Museum of Contemporary Art North Miami -Aug. 2, 2016

2012
Perspectives: Made With Words (John Baldessarri: A Print Retrospective from the Collections of Jordan D.Schnitzer and Family Foundation), Museum of Contemporary Art San Diego, La Jolla, CA. -Feb. 16, 2012

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