Retraction: A Human Edit
A group exhibition
Where we are at.
Bozeman, 2021
One year ago, or so, when we agreed to participate in Extraction: Art on the Edge of the Abyss, the world already felt a little apocalyptic. A global art intervention conceived in response to the extractive industries devouring the planet seemed urgent then — and the year that followed only sharpened the point.
Retraction: A Human Edit is where we are at.These artists have investigated the current state of the world as it sits now. Plant-dyed textiles that hold time; photographs of what fire and water leave behind; totems built from salvaged, burnt wood; the melting edge of a glacier marked with a cairn; and paintings woven with deer hair and feathers — six practices that each, in their way, edit the human record against the land's.
Six practices, one reckoning.
Alayna Rasile-Digrindakis works in plant-dyed fiber; Mary Mattingly's C-prints stage ecological still lifes; Jen Alden assembles totems from salvaged and burnt wood; Jessica Hays photographs the altered Western landscape; Ryan Parker prints the receding Grinnell Glacier on kozo paper; and Sandra Dal Poggetto paints with materials gathered from the land itself.
The exhibition was Echo Arts' contribution to Extraction: Art on the Edge of the Abyss, the global art intervention addressing extractive industry — retitled here, with intent, as a human edit.