The Weather Diaries: The Live Performance

Stories are at the heart of every culture. They enshroud our memories of the past and become our crystal ball predicting the future. Brought to life through spoken word, image, craft and sonic landscapes, artist Judy Natal joins SLOW, the sonic laboratory of musician and sound artist David Zerlin as collaborator to perform live, for the very first time, a selection of stories from The Weather Diaries, which is a part of the current exhibition[un]Certain Futures, currently on view at newARTSpace.

Repeatedly traversing the island landscapes of Hawai’i, the Faroe Islands, and Iceland, Judy Natal probes the emotional, moral, ethical, spiritual, and intellectual implications of climate action and inaction utilizing the imaginative power of written and spoken word, craft, sonic landscapes and the descriptive immediacy of images.

Judy Natal is a Chicago-based, hybrid photographic artist, curator, writer, and Professor Emeritus in the Photography Department at Columbia College Chicago.  An archive of her environmentally focused work was established at The Center for Art + Environment at the Nevada Museum of Art in 2012. Her videos and photographs have been exhibited nationally and internationally including the São Paulo Biennial in Brazil and FotoFest Biennial “Changing Circumstances: Looking at the Future of the Planet” in Houston, TX. Her work is included in the permanent collections of the California Museum of Photography, Center for Creative Photography, International Museum George Eastman House, Museum of Contemporary Photography and Museum of Contemporary Art in Chicago, among others. She has received numerous commissions most recently collaborating with Houston FotoFest and the Center for Energy and Environmental Research in the Human Sciences (CENHS) at Rice University, among others. Awards and fellowships include Fulbright Travel Grant, Polaroid Grants, New York & Illinois Photography Fellowships and significant artist residencies in Iceland, the Faroe Islands, Biosphere 2, and the Robotics Institute, and Santa Fe Art Institute.

SLOW is the sonic laboratory of musician and sound artist David Zerlin. While playing in alternative rock bands in the late 80's, Zerlin also composed music for Chicago's theater scene. Recognizing the creative potential of sound in dramatic performances, he started applying compositional techniques and theatrical audio, eventually earning two prestigious “Jeff” awards. He went on to formally study the interaction of sound with other time-based media, including creations and collaborations in film, video, performance, and installations. He taught sound design at the University of Arizona, and the School of the Art Institute of Chicago. Applying compositional strategies to sound, and infusing sonic, traditionally non-musical elements to his creations, Zerlin attempts to break down the distinction between sound and music.

Marion Belanger

Biography

Marion Belanger photographs the cultural landscape where geology and the built environment intersect. She is the author of Rift/ Fault, (Radius Books, 2016) and Everglades: Outside and Within, (Center for American Places at Columbia College Chicago, 2009). Belanger was awarded a John Simon Guggenheim Fellowship in 2002. She earned a M.F.A. from the Yale University School of Art a B.F.A. from the College of Art & Design at Alfred University. Her work is held in the National Gallery for Art, the New Orleans Museum of Art, the Library of Congress, and the Yale University Art Gallery, among others. Exhibitions include From Here to the Horizons: Photographs in Honor of Barry Lopez at the Sheldon Art Museum; Photography and America’s National Parks, George Eastman Museum, Rochester, NY; Eye on the West: Photography and the Contemporary West, Yale University Beinecke Rare Book & Manuscript Library, On the Arctic Edge, The American-Scandinavian Foundation, New York, NY. She was nominated twice for the Prix Pictet Award, and was a 2016 honoree for the Shpilman Photography Prize.  The artist lives in Guilford, Connecticut. 

Lost Lake Project Statement

You should lie down now and remember the forest,

for it is disappearing--

no, the truth is it is gone now

and so what details you can bring back

might have a kind of life.

- from The Forest by Susan Stewart

Lost Lake is a meditation upon fragility and beauty, discovery and disorientation.  The series originated during the pandemic when walking the forest became a refuge from the surreal quality that everyday life had assumed.  This series also reflects the influence of time spent with my young grandchild who is blind. Glimpses of light, and shades of color slip in and out of her perceptual field, but it is the tactile and aural that inform and shape her understanding of the world.  Lost Lake reflects my effort to understand her experiences as she walks the forest with me, and as such I have embraced the use of the photographic glitch, abstraction, and applied color fields. The abstracted patterns are suggestive of scientific recordings (weather, earthquakes, climate records and hearts), or the textures of tree bark and other patterns of nature.  They might also mirror the movement of fingers, touching and exploring (she sees with her hands).  Lost Lake is also a lament.  The forest bears many scars of anthropogenic disruption, especially the fallen trees, so fragile and vulnerable seeming.  There is much to mourn, yet there is also so much to do in this time of precarity.  Reflecting this need for action, I have incorporated photographs of hands and earth at the moment of touch. 

Dana Fritz

Biography

Dana Fritz uses photography to investigate the ways we shape and represent the natural world in cultivated and constructed landscapes. She holds a BFA from Kansas City Art Institute and an MFA from Arizona State University. Her honors include an Arizona Commission on the Arts Fellowship, a Rotary Foundation Group Study Exchange to Japan, and a Society for Photographic Education Imagemaker Award. Fritz’s work has been exhibited in over 140 venues including the Phoenix Art Museum, Florida State University Museum of Fine Arts, the Griffin Museum of Photography, and the Sheldon Museum of Art in the U.S. International venues include Museum Belvédère in The Netherlands, Château de Villandry in France, Xi’an Jiaotong University Art Museum in China, and Toyota Municipal Museum of Art, Place M, and Nihonbashi Institute of Contemporary Arts in Japan. Her prints are held in several collections including the Nelson-Atkins Museum of Art, Kansas City; Museum of Contemporary Photography, Chicago; Bryn Mawr College Special Collections, Pennsylvania; Scottsdale Museum of Contemporary Art, Arizona;the Center for Art + Environment at the Nevada Museum of Art; and Bibliothèque Nationale de France, Paris. Fritz’s artist books are held in collections including Yale University’s Beinecke Library; the Museum of Fine Arts Houston’s Hirsch Library; Special Collections, Archives, and Preservation at Colorado University Boulder; and Wellesley College’s Clapp Library.

Fritz has been awarded artist residencies at locations known for their significant cultural histories and gardens or unique landscapes including Villa Montalvo in Saratoga, California; Château de Rochefort-en-Terre in Brittany, France; Biosphere 2 in Oracle, Arizona; PLAYA in Summer Lake, Oregon; Cedar Point Biological Station in Ogallala, Nebraska; Brush Creek Foundation for the Arts in Saratoga, Wyoming; and Homestead National Historical Park in Nebraska. Her work has been published in numerous exhibition catalogs including IN VIVO: the nature of nature, Encounters: Photography from the Sheldon Museum of Art, Grasslands/Separating Species, and Reclamation: Artist Books about the Environment, and was featured in print magazines Harper’s, Orion, Border Crossings, Studio, and Photography Quarterly. University of New Mexico Press published her monograph, Terraria Gigantica: The World under Glass, in 2017. Her second trade book, Field Guide to a Hybrid Landscape, was published by University of Nebraska Press in 2023. Fritz is currently Hixson-Lied Professor of Art in the School of Art, Art History & Design at the University of Nebraska-Lincoln.

Field Guide to a Hybrid Landscape & Re:forest Project Statements

The photographs in Field Guide to a Hybrid Landscape make visible the forces that shaped the Nebraska National Forest at Halsey, once the world’s largest hand-planted forest. Wind, water, planting, thinning, burning, decomposing, and sowing all contribute to its unique environmental history. A conifer forest was overlaid onto a semi-arid grassland just west of the 100th meridian in an ambitious late 19th century idea to create a timber industry, and to change the local climate. At that time, tree-planting was not considered in terms of carbon sequestration, but a way to mitigate the wind and evaporation of moisture and to bring order to a disorderly landscape. While the planners seemed not to appreciate the particular grassland ecosystem of the Nebraska Sandhills that developed through grazing and fire until dispossession, they did recognize the reliable water from the Dismal and Middle Loup Rivers that bound the site. In 1902, the first federal nursery was founded to produce trees for the new forest and for plains homesteads. That same year a forest reserve was officially established in the grasslands where 31 square miles of trees would be planted.Historical fire suppression and misguided plantings, (some never taking hold, and others that have become invasive,) present ongoing management challenges for foresters. While afforestation is no longer in practice at Nebraska National Forest, the on-site Bessey Nursery now grows replacement seedlings for burned and beetle-damaged National Forests in the Rocky Mountain region as well as the Nebraska Conservation Trees Program. This unique experiment of row-crop trees that were protected from the natural cycle of fire for decades, yet never commercially harvested for timber, provides a rich metaphor for our current environmental predicaments. This hybrid landscape has evolved from a turn of the 20th century effort to reclaim with trees what was called “The Great American Desert” to a focus on 21st century conservation, grassland restoration, and native reforestation, all of which work to sequester carbon, maintain natural ecosystem balance, and mitigate large-scale climate change. The photographs mark a particular moment in time before two wildfires consumed half of the hand-planted forest in the extreme drought of 2022.

In Re: forest, my photographs from National Forests in the Platte River Basin are enclosed by details of historical photographs from the US Forest Service archives. I follow the circular path from where the seeds are sown in Bessey Nursery to where cones with seeds are gathered and seedlings are planted in Pike, Roosevelt, and Medicine Bow National Forests after catastrophic fire and beetle infestations. Ideas and actions regarding climate change, afforestation, and reforestation span the 19th and 21st centuries here, linking the Great Plains to the Rocky Mountains along Platte River tributaries. While many of us may not live near National Forests, we all benefit from their oxygen production, air filtration, carbon sequestration, and watershed protection. We also have a hand in shaping them, whether it is our use of paper and wood, our careless fires, our carbon emissions, or our taxes that fund reforestation projects. This collection of photographs, looping from the nursery to the forests and back, reminds us that we are inextricably part of this process and that our work to maintain forests is ongoing.

Margaret LeJeune

Biography

Margaret LeJeune is an image-maker, curator, and educator from Rochester, New York (USA). She received an MFA from Visual Studies Workshop. Her creative practice, which is anchored in photography, marries art, science, and technology. Drawing from a place-based approach, her work focuses on the climate crisis including investigations of habitat loss, sea level rise, the current mass extinction event, and our precarious relationship to the natural world. Her work has been widely exhibited at institutions including The Griffin Museum of Photography (USA), The Center for Fine Art Photography (USA), ARC Gallery (USA), Circe Gallery Cape Town (South Africa), Science Cabin (South Korea), and Umbrella Arts (USA). LeJeune has been invited to create work at several residency programs which foster collaboration between the arts and sciences including the Global Nomadic Art Project – The Ephemeral River, University of Notre Dame Research Center, Trout Lake Research Station, Huron Mountain Wildlife Foundation - Ives Lake Field Station, and the 2023 Changing Climate Residency at Santa Fe Art Institute. She has been awarded two Puffin Foundation Artist Grants, The Sally A. Williams Artist Grant, and was recently named the 2023 Woman Science Photographer of the Year by the Royal Photographic Society. Her work has been published in numerous publications including Culture, Community, and Climate: Conversations from art.earth press and Embodied Forest from ecoartspace. LeJeune is an Associate Professor of Photography at Bradley University in Peoria, Illinois.

Thirteen Hours to Fall Project Statement

Thirteen Hours to Fall examines the climate crisis through investigations of contemporary and future littoral zones. This project includes large-format color photographs, collage imagery, sculptural book forms, and 19th century-inspired salted paper prints created with water collected at the site of a ghost forest on the eastern shore of the United States. Manifest with the sea itself as a collaborative image maker, salt from the northern Atlantic is distilled to form the photographic emulsion used to visualize the changing landscape around us.

As the climate warms, sea levels rise and saltwater encroaches on coastal communities. This is both an ecological crisis and an environmental justice issue. Invading seawater advances and overtakes the fresh water that deciduous trees - including pine, red maple, sweetgum and bald cypress - rely upon for sustenance. The brackish water slowly poisons trees, decimating coastal upland stands, leaving “ghost forests” of dead and dying timber. With saplings and mature trees poisoned by the saltwater intrusion, the overstory disappears and saltwater marsh, with tolerant plants like grasses and shrubs, takes over. While this transition to marsh alone isn’t necessarily detrimental, over time the marsh is overtaken as well, leading to areas of open water and land loss. Results of this shifting landscape include massive tree deaths, diminished carbon storage and biodiversity, and critical impacts on local communities. Ghost forests foretell future problems including saltwater damage to crops, contaminated drinking water, and loss of residential and commercial land. Studies show that ecological system collapse, such as the loss of coastal upland forests, can trigger an economic collapse.

These works ask the viewer to bear witness to the complex history of this region, a landscape dramatically altered overtime by the colonial timber industry, plantation farming practices, and climate change. This interdisciplinary and intersectional project is informed by environmental histories including indigenous and maroon communities’ land management, geography, hydrology, and maritime traditions, including mapping and way-finding.

Judy Natal

Biography

Natal is a Chicago-based, hybrid photographic artist, curator, writer, and Professor Emeritus in the Photography Department at Columbia College Chicago.  An archive of her environmentally focused work was established at The Center for Art + Environment at the Nevada Museum of Art in 2012. Her videos and photographs have been exhibited nationally and internationally including the Sao Paulo Biennial, Brazil and FotoFest Biennial “Changing Circumstances: Looking at the Future of the Planet” in Houston, TX. Her work is included in the permanent collections of the California Museum of Photography, Center for Creative Photography, International Museum George Eastman House, Museum of Contemporary Photography and Museum of Contemporary Art in Chicago, among others. She has received numerous commissions most recently collaborating with Houston FotoFest and the Center for Energy and Environmental Research in the Human Sciences (CENHS) at Rice University culminating in a site specific outdoor installation utilizing 2 solar powered recycled shipping containers as a library and screening room with photographs; Burlington City Arts; Hyde Park Art Center, among others. Awards and fellowships include Fulbright Travel Grant, Polaroid Grants, New York & Illinois Photography Fellowships and significant artist residencies in Iceland, the Faroe Islands, Biosphere 2, and the Robotics Institute. Natal’s current project is “The Weather Diaries”, based upon 33 video interviews she conducted in Iceland, the Faroe Islands and Hawai’i, with a particular focus on Traditional Indigenous Knowledge (TEK) practices envisioned as an immersive exhibition with sonic landscapes, craft, video, still photography, archival materials, and speculative fiction narrative story components.

Project Statement for The Weather Diaries

Utilizing the imaginative power of written and spoken word, sonic landscapes and the descriptive immediacy of images to provoke conversations surrounding our climate crisis, The Weather Diaries (TWD) is a multidisciplinary immersive art installation and book project that teeters between nonfiction, speculative fiction, visual book, traditional craft and storytelling. Repeatedly traversing the island landscapes of Hawai’i, the Faroe Islands, and Iceland, Natal probes the emotional, moral, ethical, spiritual, and intellectual implications of climate action and inaction through environmental portraits, video interviews, landscapes, still lifes and intersectional environmental research. Islands serve as microcosms that uniquely encapsulate the environmental complexities we face globally as biodiversity hot spots, sea level indicators and conservation frontiers that form our ecological web.

 The conceit of the TWD is the creation of the ephemeral, fugitive Weather Library where both the interiors and exterior are at the whim of atmospheric shifts. At the Weather Library, the Narrator, handed an umbrella and rain coat upon entry, is propelled by endless curiosity and unanswerable questions. She seeks information about what happened to the weather now that it is solely controlled by humans. She wonders what had come before and what will happen in the future - wandering through rooms in the Library in various states of weather. In each room she encounters individuals who share their wealth of knowledge gleaned from years of astute observations - of the weather, of the natural world, of human nature, of cultural practices, of traditions - and how change is inevitable, imperative and pressing. The archetypal naming devices employed focuses attention on the intimate knowledge of the character: what they know and how they know in relationship to the larger world, not who they are and where they are from.

The conceptual foundation of TWD is the profound ancient cosmology of native Hawaiian Aloha ‘Āina. Literally meaning “love of the land”, this core philosophy of Native Hawaiian thought and culture informs many aspects of life with values founded upon deeply embedded beliefs that we are stewards responsible for and to all living things. Natal’s resulting hybrid narratives are based upon collaborations with local community leaders, spiritual leaders, cultural advisors, artists, and scientists who share their lived experiences, research, knowledge, and lifelong observations of radically changing environments. Voicing shifting perspectives of climate change that exemplify Traditional Ecological Knowledge (TEK) and practices of stewardship. TWD contemplates our environmental future emphasizing our emotional, moral and ethical responsibility to act, illuminating binaries that separate Western science and TEK, building bridges between diverse knowledge systems to address climate solutions, practices, of traditions - and how change is inevitable, imperative and pressing.

Martina Shenal

Biography

Martina Shenal is a Professor of Art and Chair of the Photography, Video & Imaging area at the University of Arizona in Tucson. She earned her MFA from Arizona State University and BFA from Ohio State University. For her professional work, she has received grants and fellowships including a Faculty Collaboration Grant for her project Space + Place from the UA Confluence Center for Creative Inquiry; WESTAF/NEA Regional Fellowship; Visual Art Fellowship from the Tennessee Arts Commission; Professional Development Grants from the Arizona Commission on the Arts; Contemporary Forum Material Grant from the Phoenix Art Museum.

Selected solo and group exhibitions have been held at Place M Gallery, Tokyo, JP; CICA Museum, Korea; Southeast Center for Photography; Scottsdale Museum of Contemporary Art; New Mexico Museum of Art; Fort Wayne Museum of Art; Whittier College; Rutgers University; University of Tennessee-Chattanooga.

Artist Statement

Over the past decade, Martina’s  photographic series Secondary Nature examined human interactions within the landscape- highlighting the ways that we alter, mediate, and represent it. She explored the intricate systems that act to limit the destructive forces of volcanic landscapes in Japan, Korea, Hawai’i, and the Azores archipelago. These images simultaneously referenced the manipulation of nature while acknowledging the forces of nature–undersea volcanos creating islands that appear and disappear; precariously fragile ground and shifting lava beds; geothermal vents and pools; controlled burns that attempt to mitigate the risk of wildfires.

 In 2019, her focus shifted to frame the work through the lens of a rapidly changing climate, highlighting the accelerated pace and impact of rising seas, hurricanes and super typhoons, and devastating wildfires. The series 20/20 (notes on visibility), bears witness to the effects of 2,027 raging wildfires that were burning in the west while she was doing fieldwork in the Newberry National Volcanic Monument in central Oregon. The title references sight, and more specifically, the ability to see – perfect vision. However, the air quality in the high desert was deemed the most hazardous in the world at that time, as similar conditions were playing out across the West, fueled by a mega-drought, high temperatures, and strong winds.

Terri Warpinski

Biography

Terri Warpinski explores the complex relationship between personal, cultural and natural histories through her photographically based mixed media creative practice. Over the last four decades her various projects have taken her throughout the American West and Mexico, Australia, Western and Central Europe, the Middle East and Iceland. Helen A. Harrison of The New York Times once wrote that: “(her work) is especially attuned to the often-subtle evidence of human impact on nature… (and) invite(s) speculation about the secrets that may be revealed by close scrutiny and creative speculation.” Her extensive exhibition record includes the Pingyao International Festival of Photography in China; the U.S. Embassy in Jerusalem; Houston International Fotofest; the Center for Photography in Woodstock, New York; the University of the Arts in Philadelphia; and Camerawork in San Francisco. She was awarded a DAAD (Deutscher Akademischer Austauschdienst) Research Fellowship to Berlin for her project Death|s|trip in 2017.Warpinski was distinguished as a Fulbright Senior Fellow to Israel in 2000-2001 and as Professor Emerita of Art in 2016 after a 32-year teaching & administrative career at the University of Oregon in Eugene. Terri was born in Door County, spent her school years in the Green Bay area, after graduate school in Iowa she lived and worked for most of her career in Oregon, and relocated back to Wisconsin in 2018.

Artist Statement

The Land/Trust series draws Warpinski back to the landscape of her home ground radiating out from her birthplace in Door County into a range of environments that constitute Northeastern Wisconsin.  This project delves into the histories and futures of our fragile ecosystem through an examination of land preserves (such as those of the Door County and the Northeast Wisconsin Land Trust), sanctuaries and other locales that are undergoing a process of re-wilding. In re/Turn: negative state (Heins Creek), a mixed media installation, the piece pivots on the photographic negative image unfurling like wallpaper. As with the history of photographic processes, the ‘negative’ is the primary state, the direct imprint or reflection of light -- in a sense, the purest state of the photographic subject and the template for developing the image into its positive form. The locations that are the subject of Land/Trust are all in a state of recovery, on a course of correction after generations of our collective colonialist attitude of consumption and overuse that threw the natural ecosystems into precarious imbalance.

[un]Certain Futures Selected Bibliography

[un]Certain Futures: Selected Bibliography by Artist

Marion Belanger

• Robert Adams. Art Can Help

• M. Leona Godin. There Plant Eyes: A Personal and Cultural History of Blindness

• David George Haskell. Sounds Wild and Broken: Sonic Marvels, Evolution’s Creativity, and  the Crisis of Sensory Extinction

• David George Haskell. The Forest Unseen

• Robin Wall Kimmerer. Braiding Sweetgrass

• Kim Stanley Robinson. The Ministry for the Future

•  Suzanne Simard. Finding the Mother Tree: Discovering the Wisdom of the Forest

•  Merlin Sheldrake. Entangled Life: How Fungi Make Our Worlds, Change Our Minds, And Shape Our Futures

• Solnit, Rebecca, A Field Guide to Getting Lost

•  Susan Stewart. The Forest

•  Greta Thurnberg. The Climate Book

•  Alan Weisman. The World Without Us

 Dana Fritz

•  Donna Haraway. Staying with the Trouble

•  David George Haskell. The Songs of Trees

•  Robin Wall Kimmerer. Braiding Sweetgrass

•  Frieda Knobloch. The Culture of Wilderness: Agriculture as Colonization in the American West

•  Elizabeth Kolbert. Under a White Sky

•  Anna Lowenhaupt Tsing. The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins

• Lauret Savoy. Trace: Memory, History, Race, and the American Landscape

•  Andrea Wulf. The Invention of Nature

•  Suzanne Simard. Finding the Mother Tree

Margaret LeJeune

• Wulf, Andrea. The Invention of Nature: Alexander von Humboldt’s New World

• Nash, Roderick. Wilderness and The American Mind

•  Cronan, William. Changes in the Land

• Proulx, Annie. Fen, Bog and Swamp: A Short History of Peatland Destruction and Its Role in the Climate Crisis

• McPhee, John. The Control of Nature
  Simard, Suzanne. Finding the Mother Tree: Discovering the Wisdom of the Forest

•  Kimmerer, Robin Wall. Braiding Sweetgrass

•  Kolbert, Elizabeth. The Sixth Extinction

•  Kolbert, Elizabeth. Under A White Sky: The Nature of the Future

•  Carson, Rachel. The Sea Around Us

•  Lippard, Lucy. The Lure of the Local: Senses of Place in a Multicentered Society

•  McPhee, John.  Encounters with the Archdruid: Narratives About a Conservationist and Three of His Natural Enemies

• Dass, Ram. Be Here Now

Judy Natal

• Andri Snaer Magnason. Dreamland – a Self Help Manual for a Frightened Nation. Citizen Press, 2006

• Andri Snaer Magnason. On Time and Water. Open Letter, 2022

• Danna J. Haraway. Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press, 2016

• Mary Oliver. Upstream: Selected Essays.  Penguin Press, 2016

• Thórbergur Thordarson. Let the Stones Speak. Mál Og Menning, 2012

• W. S. Merwin. The Essential W. S. Merwin.  Cooper Canyon Press, 2017

•  Fikret Berkes. Sacred Ecology, 4th Edition. Routledge, 2018.

• Alexander Von Humboldt. Views of Nature. University of Chicago Press, 2014

• Philip Hoare. The Sea Inside. Melville House, 2014

• Páll Skúlason. Reflections on Nature . University of Iceland Press, 2019

• Editors: Van Horn, Kimmerer. Hausdoerffer Kinship: Belonging in a World of Relations (5 vol) Center for Humans and Nature, 2021

• Boetzkes, Amanda. The Ethics of Earth Art. University of Minnesota Press, 2010

Martina Shenal

• Ferguson, Gary. Land on Fire: The New Reality of Wildfire in the West, Timber Press; 2017

• Johnson, Lizzie. Paradise: One Town's Struggle to Survive an American Wildfire, Crown Press, 2021.

•  Lippard, Lucy. The Lure of the Local: Sense of Place in a Multicentered Society, New York: The New Press, 1997. 

• Maleuvre, Didier. The Horizon: A History of Infinite Longing, Berkeley/Los Angeles: University of California Press, 2011.

• McPhee, John. The Control of Nature, Ferrar, Straus and Giroux, 1989.

• Oliver, Mary. Upstream: Selected Essays. New York: Penguin Press, 2016.

•  Powers, Richard. The Overstory, New York: W. W. Norton & Co., 2018.

•  Savoy, Lauret. Trace: Memory, History Race and the American Landscape, Berkeley: Counterpoint Press,2015.

• Schalansky, Judith. An Inventory of Losses, New York: New Directions Publishing, 2018.

•  Solnit, Rebecca. A Paradise Built in Hell, New York: Penguin Books, 2009.

• Struzik, Edward. Firestorm: How Wildfire Will Shape Our Future, Island Press, 2017.

•  Tuan, Yi-Fu. Space and Place: The Perspective of Experience, Minneapolis: University of Minnesota Press, 1977.

• Walker, Gabrielle. An Ocean of Air: Why the Wind Blows and Other Mysteries of the Atmosphere, New York: Harcourt Press, 2007.

Terri Warpinski

• Foer, Jonathan Safron. We are the Weather: saving the planet begins at breakfast. NewYork: Farrar, Straus and Giroux, 2019.

• Johnson, Ayana E. & Katherine K. Wilkenson, ed. All We Can Save: Truth, Courage, and Solutions for the Climate Crisis. New York: One World (Penguin Random House), 2020.

• Leopold, Aldo. A Sand County Almanac and Sketches Here and There. New York: Oxford University Press, 1949

• Merchant, Carolyn. The Death of Nature: women, ecology and the scientific revolution. San Francisco: Harper & Row, 1980.

• Nash, Roderick. Wilderness and the American Mind. 3d ed. New Haven: Yale University Press, 1982. 

• Solnit, Rebecca. A Field Guide to Getting Lost. New: York: Penguin, 2006.

• Steffen, Alex, ed. World Changing, A User’s Guide for the 21st Century. New York: Abrams, 2008.

• Williams, Terry Tempest. An Unspoken Hunger, stories from the field. New York: Pantheon Books, 1994.

• Wohlleben, Peter. The Hidden Life of Trees. Vancouver/Berkeley: Greystone Books, 2015.

• Wulf, Andrea. The Invention of Nature: Alexander von Humboldt’s new world. New York: Vintage Books, 2016.