View allAll Photos Tagged Nine
This Nine-banded Armadillo, Dasypus novemcinctus, was photographed in Panama, as part of a research project utilizing motion-activated camera-traps.
You are invited to go WILD on Smithsonian's interactive website, Smithsonian WILD, to learn more about the research and browse photos like this from around the world.
Setlist:
1,000,000
Letting You
Discipline
March of the Pigs
The Frail
Closer
Gave Up
The Warning
Vessel
Ghosts 5
Ghosts 25
Ghosts 19
Ghosts Piggy
The Greater Good
Wish
Terrible Lie
Survivalism
The Big Come Down
Only
The Hand that Feeds
Head Like A Hole
Echoplex
Hurt
In this Twilight
This Nine-banded Armadillo, Dasypus novemcinctus, was photographed in Panama, as part of a research project utilizing motion-activated camera-traps.
You are invited to go WILD on Smithsonian's interactive website, Smithsonian WILD, to learn more about the research and browse photos like this from around the world.
Post box #9 at Harborview Grande.
I thought it would be a good addition to Terry's the One Letter - One World group icon
One Letter - One World group.
This Nine-banded Armadillo, Dasypus novemcinctus, was photographed in Panama, as part of a research project utilizing motion-activated camera-traps.
You are invited to go WILD on Smithsonian's interactive website, Smithsonian WILD, to learn more about the research and browse photos like this from around the world.
Summit of Blue Ridge Mountain, Virginia, 9 April 1998
From the series Nine Year Rituals, 1995–2003
Fern Shaffer
Photograph by Othello Anderson
Archival inkjet pigment prints
Over the course of nine years at locations across North America, Fern Shaffer performed private healing rituals at sites affected by the industrial-agricultural complex and impending extinction. Shaffer performed these self-designed spiritual performances at places including Big Sur, on California’s Pacific Coast; a cornfield outside Mineral Point in Wisconsin; on the summit of the Blue Ridge Mountain in Virginia; and at the Cache River basin in Illinois, among others. Photographed by her collaborator Othello Anderson in sequential images, Shaffer is pictured twisting and twirling in a handmade garment that conceals her bodily form and face, rejecting a human-centred and individualistic relationship to nature.*
From the exhibition
RE/SISTERS: A Lens on Gender and Ecology
(October 2023 — January 2024)
A major group exhibition that explored the relationship between gender and ecology, and highlighted the systemic links between the oppression of women and the degradation of the planet.
Featuring around 50 international women and gender non-conforming artists, RE/SISTERS featured work from emerging and established artists across photography and film.
Works in the exhibition explored how women’s understanding of our environment has often resisted the logic of capitalist economies which place the exploitation of the planet at its centre. They were presented alongside works of an activist nature that demonstrated how women are regularly at the forefront of advocating and caring for the planet.
Reflecting on a range of themes, from extractive industries to the politics of care, RE/SISTERS viewed environmental and gender justice as indivisible parts of a global struggle. It addressed existing power structures that threaten our increasingly precarious ecosystem.
...RE/SISTERS surveys the relationship between gender and ecology to highlight the systemic links between the oppression of women and Black, trans, and Indigenous communities, and the degradation of the planet. It comes at a time when gendered and racialised bodies are bending and mutating under the stresses and strains of planetary toxicity, rampant deforestation, species extinction, the privatisation of our common wealth, and the colonisation of the deep seas. RE/SISTERS shines a light on these harmful activities and underscores how, since the late 1960s, women and gendernonconforming artists have resisted and protested the destruction of life on earth by recognising their planetary interconnectedness.
Emerging in the 1970s and 1980s, ecofeminism joined the dots between the intertwined oppressions of sexism, racism, colonialism, capitalism, and a relationship with nature shaped by science. Ecofeminist scholars have long critiqued feminised constructions of ‘nature’ while challenging patriarchal and colonial abuses against our planet, women, and marginalised communities. Increasingly, feminist theorists recognise that there can be no gender justice without environmental justice, and ecofeminism is being reclaimed as a unifying platform that all women can rally behind.
Uniting film and photography by over 50 women and gendernonconforming artists from across different decades, geographies, and aesthetic strategies, the exhibition reveals how a woman-centred vision of nature has been replaced by a mechanistic, patriarchal order organised around the exploitation of natural resources, alongside work of an activist nature that underscores how women are often at the forefront of advocating for and maintaining our shared earth.
Exploring the connections between gender and environmental justice as indivisible parts of a global struggle to address the power structures that threaten our ecosphere, the exhibition addresses the violent politics of extraction, creative acts of protest and resistance, the labour of ecological care, the entangled relationship between bodies and land, environmental racism and exclusion, and queerness and fluidity in the face of rigid social structures and hierarchies. Ultimately, RE/SISTERS acknowledges that women and other oppressed communities are at the core of these battlegrounds, not only as victims of dispossession, but also as comrades, as protagonists of the resistance.
[*Barbican Centre]
Taken in Barbican Centre
Set List:
Pinion
Love Is Not Enough
Terrible Lie
1,000,000
Letting You
March of the Pigs
Piggy
The Frail
The Wretched
The Collector
Survivalism
Reptile (with Peter Murphy)
Closer
Discipline
The Beginning of The End
Ghosts 31
Wish
Head Down
Gave Up
The Line Begins To Blur
Only
God Given
Down In It
Hurt
Starfuckers Inc.
The Hand That Feeds
Head Like A Hole
This Nine-banded Armadillo, Dasypus novemcinctus, was photographed in Panama, as part of a research project utilizing motion-activated camera-traps.
You are invited to go WILD on Smithsonian's interactive website, Smithsonian WILD, to learn more about the research and browse photos like this from around the world.
This Nine-banded Armadillo, Dasypus novemcinctus, was photographed in Panama, as part of a research project utilizing motion-activated camera-traps.
You are invited to go WILD on Smithsonian's interactive website, Smithsonian WILD, to learn more about the research and browse photos like this from around the world.
This Nine-banded Armadillo, Dasypus novemcinctus, was photographed in Panama, as part of a research project utilizing motion-activated camera-traps.
You are invited to go WILD on Smithsonian's interactive website, Smithsonian WILD, to learn more about the research and browse photos like this from around the world.