Jenny Yurshansky

    Card Catalogue and Cards: Blacklisted
  • Catalogue – Blacklisted

    Blacklisted: A Planted Allegory (Recollections) is an artist edition, which contains distinctly textured components. It is a box that contains original images, short poetic narratives, a plastic-coated index sheet, an introductory essay by Glenn Harcourt, and an interview with the Jenny Yurshansky and Ciara Ennis. It is a record of the 133 invasive plant species that make up this project’s collection and is the final result of four years of research. This publication was developed as the last component tied to the exhibition, Jenny Yurshansky: Blacklisted: A Planted Allegory, curated by Ciara Ennis, Director and Curator, Pitzer College Art Galleries, it took place January 24 to March 26, 2015.
    ISBN: 978-0-9966445-3-2
    Catalogue design by Stephanie Estrada
    Photography by Jenny Yurshansky

    This catalogue was printed in an edition of 200 copies, with special edition of 15 with blacklisted plant (Placeholder), is available through Jenny Yurshansky at  PayPal or Venmo.



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    Blacklisted: A Planted Allegory (Incubation), 2014
  • Blacklisted: A Planted Allegory

    Emerging Artist Series #9: Jenny Yurshansky

    January 24 – March 26, 2015
    Lenzner Family Art Gallery

    Blacklisted: A Planted Allegory investigates the distinction between native versus invasive species as determined by the California Invasive Species Advisory Committee, a scientific organization charged with creating a statewide “living list” of invasive species since late 2009. The discourse surrounding a list of “invasive” or “alien” flora and fauna species has interesting and fruitful correlations to policies regarding immigration, multiculturalism and evolving ideas about national identities that are inherently tied to the identity of border cultures. The project allows viewers to engage in a meaningful and nuanced way with how these issues are thought of in direct and applicable terms.

    Jenny Yurshansky: Hot House
    Hot House

    Blacklisted: A Planted Allegory takes a number of forms, including a comprehensive index of the invasive species found on-site; a large-scale projection—a portrait of all the plants collected and a record of their growth during June 2014; and a light-box image of their incubated sequestration. The exhibition also features two sculptural works, one of which is an index of the more than 100 plants collected, in the style of a classic botanical herbaria rendered in detailed handmade paper silhouettes. The second sculpture refers to the Harvard Museum of Natural History’s Ware Collection of Glass Models of Plants, which is a window into the common presence in 1892 of what are now rare California native plants. This piece, which features a seemingly empty vitrine, is a nod to the fears of the ultimate disappearance of natives in the wake of the encroachment by alien species that fuels the discourse around this issue.

    Related Programming

    The Botany Seminar Series at Ranch Santa Ana Botanic Garden
    Friday, March 6

    Dr. Peter Del Tredici, Senior Research Scientist, Arnold Arboretum at Harvard University
    and Adjunct Associate Professor of Landscape Architecture, Harvard Graduate School of Design
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    Logos - Konstnarsnamnden, art+environment, ghr

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    Blacklisted: A Planted Allegory­ has been produced with support by Konstnärsnämnden / Swedish Arts Grant Committee.

    The exhibition is also generously supported by the GuestHaus Residency, Kungliga Konsthögskolan / Stockholm Royal Institute of Art, and art+environment – an interdisciplinary program at Pitzer College funded by the Andrew W. Mellon Foundation.

    With very special thanks to:

    Pitzer College

    • Joe Clements, Arboretum and Grounds Manager, Pitzer College
    • Ciara Ennis, Director/Curator, Pitzer College Art Galleries
    • Dr. Paul Faulstich, Professor of Environmental Analysis, Pitzer College
    • Nicolas Galindo, Lead Groundskeeper, Pitzer College
    • Cheukwa Jones, Curatorial/PR Coordinator, Pitzer College Art Galleries
    • Rachel Kessler ’14, Assistant to the artist, Pitzer College
    • Dr. Muriel Poston, Vice President/Dean of Faculty, Pitzer College
    • Lance Neckar, MLA, MALA, Director, Robert Redford Conservancy for Southern
      California Sustainability and Professor of Environmental Analysis, Pitzer College
    • Angelica Perez, Preparator, Pitzer College Art Galleries

    Pomona / BFS

    • Dr. Wallace M. Meyer III, Assistant Professor of Biology, Pomona College and Director of the Bernard Field Station, Claremont, CA
    • Ronald Nemo, Lead Groundskeeper, Pomona College

    Harvey Mudd / BFS

    • Dr. Nancy V. Hamlett, Visiting Professor of Biology, Harvey Mudd College; Volunteer Researcher and Habitat Coordinator at the Bernard Field Station, Claremont, CA

    Keck Science Department, Claremont Colleges

    • Dr. Susan M. Schenk, Biology Laboratory Instructor/Coordinator and Lab Lecturer of Biology, W.M. Keck Science Department, Claremont Colleges

    Scripps College

    • Fred Carlson, Lead Groundskeeper, Scripps College
    • Lola Trafecanty, Director of Grounds, Scripps College
    • Liv Townsend ’14, Documentation Photographer, Scripps College

    Rancho Santa Ana Botanic Garden

    • Dr. J. Travis Columbus II, Research Scientist; Professor of Botany, Claremont Graduate University
    • Nick Jensen, Master’s Student, Claremont Graduate University Botany Department
    • Evan P. Meyer, Seed Conservation Program Manager, Rancho Santa Ana Botanic Garden
    • Dr. Jeffery Morawetz, Postdoctoral Researcher, Rancho Santa Ana Botanic Garden
    • Dr. Mare Nazaire, Herbarium Collections Manager, Rancho Santa Ana Botanic Garden
    • Irene Holiman, Library Specialist, Rancho Santa Ana Botanic Garden

    Other Affiliations

    • Jenny Brown, Collection Manager, Ware Collection of Blaschka Glass Models of Plants, Harvard University Herbaria
    • Dr. Peter Del Tredici, Senior Research Scientist, Arnold Arboretum of Harvard; University and Adjunct Associate Professor of Landscape Architecture, Harvard Graduate School of Design
    • Lisa DeCesare, Head of Archives and Public Services, Botany Libraries, Harvard University Herbaria
    • Mary Anne Hamblen, Special Collections & Archives Librarian, Juliette K. and Leonard S. Rakow Research Library, The Corning Museum of Glass
    • Dr. Chris MacDonald, Desert Natural Resources Advisor of Cooperative Extension San Bernardino County, University of California Division of Agriculture and Natural Resources
    • Robert Perry, FASLA, USC School of Artchitecture Adjunct Professor, Professor Emeritus at California State Polytechnic University
    • Nisreen Azar, Habitat Restoration Specialist at Glenn Lukos Associates, Inc.
    • Noreen Murano, President of Wildscape Restoration, Inc. and the CEO of Resource Conservation Partners, Inc.
    • Bill Neill, Desert Protective Council
    • Drew Ready, Sustainable Landscape Program Manager at the Council for Watershed Health


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    Wunderkammer Catalog Cover
  • Wunderkammer

    January 24–March 26, 2015
    Nichols Gallery, Broad Center
    Curated by Ciara Ennis

    Stephanie Syjuco, Cargo Cults (Head Bundle) (2013/2014), C-print, 40 x 30 inches Studio portrait using mass-manufactured goods, purchased on credit and returned for full refund after photoshoot. Courtesy of the artist and Catharine Clark Gallery
    Stephanie Syjuco, Cargo Cults (Head Bundle) (2013/2014), C-print, 40 x 30 inches Studio portrait using mass-manufactured goods, purchased on credit and returned for full refund after photoshoot. Courtesy of the artist and Catharine Clark Gallery

    Joshua Callaghan, Chris Cobb, Michael Decker, José Clemente Orozco Farías, Clare Graham (MorYork), Nina Katchadourian, Alice Könitz, Elana Mann, Rachel Mayeri, Melanie Nakaue, Jenny Perlin, Steve Roden, Vivian Sming, Stephanie Syjuco, Chris Wilder, Jenny Yurshansky and First Street Gallery Art Center artists: Herb Herod, Evan Hynes, Joe Zaldivar

    In contrast to current museological models that derive their practices from their nineteenth century counterparts, the wunderkammer—generally regarded as a prototype for the first museums—can provide an alternative. Distinguished by their eclectic and all-encompassing collections, these early museums celebrated heterogeneity and difference as accolades—objects collected ranged from functional everyday artifacts to biological anomalies. Their interdisciplinary and all-inclusive practice resulted in a non-hierarchical approach; value was assigned according to the object’s polyvalent signifying power, its ability to be endlessly interpreted rather then categorically determined. As their name suggests, these museums championed wonderment as a vital tool for knowledge acquisition.

    By providing a different rubric, these early models can offer an alternative lens to critique prevailing exhibitionary practices by calling attention to the codes and conventions of current display strategies, chronological placements, and exhibition typologies. By interrogating these classificatory norms it is possible to examine how these taxonomic structures dictate behavior in other areas of our lives—labor, leisure, culture—and by extension their impact on how we self identify or are identified by others—race, class, sexuality, gender. As a result, the wunderkammer model provides an opportunity to examine how knowledge is produced and disseminated, controlled and manipulated.

    Steve Roden …I listen to the wind that obliterates my traces: Music in Vernacular Photographs, 1880-1955 (2011) Found photograph, Dimensions variable
    Steve Roden …I listen to the wind that obliterates my traces: Music in Vernacular Photographs, 1880-1955 (2011) Found photograph, Dimensions variable

    Through the objects and installations, the artists and practitioners in the exhibition explore these ideas through the production of archives—fictional and real; via unique and eclectic cosmologies; by privileging the mundane and forgotten above the conventionally celebrated; the historical as a part of the contemporary; and the nonprofessional versus the established. Furthermore, through the use of specific representational systems these artists reveal and critique established ideological constructs that govern issues of inclusion and exclusion within the contemporary museum.

    Wunderkammer is a set of connected exhibitions at Pitzer College’s Nichols Gallery and Barbara Hinshaw Gallery, and the First Street Gallery Art Center of the Tierra del Sol Foundation.

     



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