Podcast appearances and mentions of Mary Mattingly

Kick off Summer 2024 on the deck of Steph's houseboat! Two boat reviews - Regulator and Ski Nautique.  Osprey, ducks, caspian terns interrrupt discussion of wake boat propeller innovation and Steph's Amish boat canvas maker neighbor. We meander into old business with San Francisco Bay open water swimming and getting passed by a one-legged cyclist. A truly innovative Boat Of The Week segment surprises all with a contender we've never seen before but hope to see again. New show every Wednesday! Email your Boat Of The Week to theboatyshow@gmail.com, like, leave a review, and follow @theboatyshow on facebook and instagram.  Thanks for listening! Mary Mattingly's work from Paul S:  Swale: https://marymattingly.com/blogs/portfolio/swale-2016-ongoing. Waterpod: https://marymattingly.com/blogs/portfolio/2009-waterpod A random red Donzi 22 with a 454 (Capt. David's NH Craigslist ad expired) https://www.yachtworld.com/yacht/1989-donzi-22-classic-9000798/ Float Of The Week from Patrick M https://www.costco.com/california-boat-company-inflatable-water-lounge%2C-11.5%27.product.4000237700.html  

The Thomas Cole National Historic Site will be presenting a two-part exhibition titled “Women Reframe American Landscape” – one part will be historical – “Susie Barstow & Her Circle” – which will highlight the extraordinary work of Susie Barstow, who exhibited in her day with many of the renowned Hudson River School painters but whose work, along with other women in her circle, has since been overlooked.The contemporary component – “Contemporary Practices” – will explore the cutting-edge work of internationally renowned women artists responding through art to the American landscape today. The exhibitions take place through October 29, 2023 at the Thomas Cole Site in Catskill, NY.To tell us more we welcome: co-curator of the exhibition and Chief Curator at the Thomas Cole Site Kate Menconeri, co-curator of the exhibition and Associate Curator at the Thomas Cole Site Amanda Malmstrom, and one of the acclaimed artists whose work is presented in the exhibition, Mary Mattingly.

Mary Mattingly is an interdisciplinary artist who builds sculptural ecosystems that address human consumption and resilience, with an underlying theme of how they might play into our ability to preserve through catastrophic events. Two of her past projects — Waterpod and Swale — were barges that periodically docked in certain areas of New York City. Both depended on a level of nomadism and self-sufficiency. She describes Waterpod as a self-sufficient living space on the water that was a shelter, grew its own food, cleaned its own water and was also a space where she could make artwork. Swale came next. It was an edible landscape and it applied many of the skills she'd learned from Waterpod. Things like navigating a large vessel though city waterways and how foraging for fresh foods could work in a city with so many rules and regulations.  Her artwork always comes from a personal place. In 2008, after numerous surgeries and trips to the hospital, she was diagnosed with Celiac disease. It was a painful journey. For so long, she didn't know what was wrong with her. So, the diagnosis was a relief. She finally had a word to attach to what she was experiencing. That's when she became interested in food. Specifically, she became aware of the inaccessibility to fresh foods — how expensive they are and how many rules and regulations prohibit people from growing their own food in public spaces. At one point, she learned about how a community garden had been shut down due to a real estate development. That was when she realized that spaces like that weren't protected and could be easily taken away. Her interest in the idea of consumption and resilience goes back to her childhood, when she didn't always have the things she wanted. She was born in Rockville, Connecticut, but she grew up in Summersville. Both are small towns that are close to nature. She tells this story about how, when she was a kid, she and her siblings would make a game out of running as fast as they could to reach a neighbor's barn before he let off a warning shot. So, when she moved to New York City, where manmade structures dominate the landscape and overconsumption is common, she began to think about how that affects us, how being so reliant on outside inputs can deprive us of our independence. The sheer scale of the trash cycle in New York City, for example, devastated her. Three nights a week, she would see trash piled up on the sidewalks, sometimes taller than her.

Mary Mattingly is an interdisciplinary artist who builds sculptural ecosystems that address human consumption and resilience, with an underlying theme of how they might play into our ability to preserve through catastrophic events. Two of her past projects — Waterpod and Swale — were barges that periodically docked in certain areas of New York City. Both depended on a level of nomadism and self-sufficiency. She describes Waterpod as a self-sufficient living space on the water that was a shelter, grew its own food, cleaned its own water and was also a space where she could make artwork. Swale came next. It was an edible landscape and it applied many of the skills she'd learned from Waterpod. Things like navigating a large vessel though city waterways and how foraging for fresh foods could work in a city with so many rules and regulations.  Her artwork always comes from a personal place. In 2008, after numerous surgeries and trips to the hospital, she was diagnosed with Celiac disease. It was a painful journey. For so long, she didn't know what was wrong with her. So, the diagnosis was a relief. She finally had a word to attach to what she was experiencing. That's when she became interested in food. Specifically, she became aware of the inaccessibility to fresh foods — how expensive they are and how many rules and regulations prohibit people from growing their own food in public spaces. At one point, she learned about how a community garden had been shut down due to a real estate development. That was when she realized that spaces like that weren't protected and could be easily taken away. Her interest in the idea of consumption and resilience goes back to her childhood, when she didn't always have the things she wanted. She was born in Rockville, Connecticut, but she grew up in Summersville. Both are small towns that are close to nature. She tells this story about how, when she was a kid, she and her siblings would make a game out of running as fast as they could to reach a neighbor's barn before he let off a warning shot. So, when she moved to New York City, where manmade structures dominate the landscape and overconsumption is common, she began to think about how that affects us, how being so reliant on outside inputs can deprive us of our independence. The sheer scale of the trash cycle in New York City, for example, devastated her. Three nights a week, she would see trash piled up on the sidewalks, sometimes taller than her.

Climate change artist, Mary Mattingly, plus Singapore's massive floating solar farm, and Climate Launchpad!

Join WRBI News Director Tom Snape, and the rest of the WRBI Crew, for enlightening conversations with fascinating people in Southeast Indiana. Brew up your own favorite beverage, relax, and listen every weekday morning at 9:30.

Grooving on Childish Gambino's climate crisis anthem “Feels Like Summer," plus latest National Governors Association's "Get Outdoors" webinar. What Are The Confluence Accords? And meet climate change artist Mary Mattingly.

Artist Mary Mattingly talks with us about how “Public Water,” her current installation in Brooklyn's Prospect Park, exposes the various forms of the water crisis; the social, political, and economic mechanisms affecting clean water access; and the truths that tracing the origins of an object or a material can reveal.

Join WRBI News Director Tom Snape, and the rest of the WRBI Crew, for enlightening conversations with fascinating people in Southeast Indiana. Brew up your own favorite beverage, relax, and listen every weekday morning at 9:30.

With American-born artist Mary Mattingly, we delve into her collaborative environmental interventions over time. We remember the 2015 Havana Biennial when rainwater nourished Pull, a pair of geodesic dome eco-systems through which she engaged locals. We follow her rising interest in water to Swale, a co-created edible landscape on a barge that navigated New York City’s waterways, offering free fresh food to visitors when docked at public piers. And we contemplate the Year of Public Water that Mattingly launched with More Art in 2020. Emblematic of water issues that challenge public health the world over, the New York City story reminds us that clean water is a shared responsibility—a basic human right that we must invest in and protect.    Related Episodes: The Awakening, Mary Mattingly on Human Relationships with Nature, Topical Playlist: Sustainability and the Environment    Related Links: Mary Mattingly, Pull, Swale, Public Water, More Art Mary Mattingly is a visual artist based in New York City. This episode explores three of her eco-sensitive projects.  Pull was co-created for the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts, two spherical ecosystems that were pulled across Habana to Parque Central and the museum. Swale, an edible landscape on a barge in New York City, docked at public piers for public engagement. Following waterways common laws, Swale circumnavigated New York's public land laws, allowing anyone to pick free fresh food. Swale instigated and co-created the "foodway" in Concrete Plant Park, the Bronx in 2017. The "foodway" is the first time New York City Parks is allowing people to publicly forage in over 100 years. It's currently considered a pilot project. Public Water (2020-2021) is a multiform project and installation that brings attention to New York City’s intricate drinking water system and the communities who steward upstate watersheds and drinking water sources. With this project Mattingly emphasizes the human care that goes into having access to clean water and calls for more reciprocal relationships among our neighboring communities and the planet. The project includes a digital campaign, education initiatives, and a large-scale, public sculpture installation taking place June 3 – September 7, 2021 at the Grand Army Plaza entrance to Prospect Park in Brooklyn. In addition, to keep this essential conversation going with park visitors into the future, the Prospect Park Alliance has commissioned Mattingly and More Art to produce a walking tour through the Park’s watershed, designed in connection with the launch of ecoWEIR, a natural filtration pilot project for the Park’s manmade watercourse. NYC-based More Art, a non-profit organization that generates socially engaged public art projects, commissioned Public Water.

California Mortgage Broker Mary Mattingly battled through the trenches to get to where she is today. As a single mother, she took any industry position she could get. Having difficulty finding the perfect brokerage that shared her core value of selflessness, Mary decided to open up her own shop. She is now a 100% referral-based business, a valued member of her community, and an exemplary AIME member. Never paying for marketing or leads, Mary has focused her entire business on building genuine relationships with her community. She learns about her client’s kids, hobbies, and their short and long-term goals. During COVID these connections have been as simple as a text message, but her relationships extend far beyond digital communication. Mary volunteers at local police and fire events, as well as at a local organization for single homeless moms. Struggling financially at one point herself “it just doesn’t seem right to NOT give back,” she shares. She attributes her success to not selling herself short. She simply invests in her community, “shows them where (her) heart is” and eventually her community invests in her. Once clients come in the door, her goal is to show a potential borrower that this isn’t just some run-of-the-mill bank encounter where you’re going to be tossed between ten people over months and months. This is a one-on-one experience with someone who genuinely cares. Mary leaves the audience with some parting advice. She failed over and over again to reach her current level of independent success. She has learned to not worry about other people’s pipelines. Even if you have one loan, make that loan your life. Do the best you possibly can with what’s in front of you, and success is sure to follow. Show Notes: Intro To The Wholesale Channel (1:45)Building Her Book Of Business (8:37)Mary’s Processes & Procedures (19:15)Training Tips (28:34)Broker Advice (34:48)

The urgency of climate change means it is not sufficient for environmental scholarship to describe our complex relationship to the natural world. It must also compel a response. TIMESCALES: THINKING ACROSS ECOLOGICAL TEMPORALITIES gathers scholars from different fields, placing traditional academic essays alongside experimental sections, to promote innovation and collaboration. This episode asks: Why art? Why art … at all? With climate change and environmental catastrophe looming large, what purpose does art serve in pressing conversations about environmental futures? Three TIMESCALES contributors are here to answer that question: -Patricia Eunji Kim, assistant professor/faculty fellow at the Gallatin School of Individualized Studies and a provost's postdoctoral fellow at New York University. She serves as an assistant curator at Monument Lab, a public art and history studio. Kim researches and teaches Greco-Roman art and archaeology, with a focus on issues of gender, cultural identity, and empire. Her in-progress monograph examines the art and archaeology of royal women from the Hellenistic world (4th–1st century BCE). -Kate Farquhar is a Philadelphia-based landscape designer at Olin and has worked at the intersection of ecology, infrastructure, and art for fifteen years. Her TIMESCALES chapter focuses on WetLand, an experimental floating lab created from a 45-foot-long salvaged houseboat in 2014 by artist Mary Mattingly. From 2015 to 2016, Farquhar served as program coordinator for events that accompanied its residency with the Penn Program in Environmental Humanities (PPEH) on the Lower Schuylkill River. -Dr. Marcia Ferguson, a professional actor, director, and educator, has worked as a theatre artist in Philadelphia regional theatre and arts organizations including the Wilma Theatre, Painted Bride Art Center, Act II Playhouse, Irish Heritage, Paper Dolls, the Mediums, Juniper productions, the Daedalus String Quartet, and the Penn Museum of Archaeology and Anthropology. She has collaborated on seven original productions for Edinburgh and Philadelphia Fringe festivals, and has done theatre and film work in Los Angeles, New York, Rome, and Tokyo. She is senior lecturer in theatre arts at the University of Pennsylvania and has published two books and several articles on theatre. Her TIMESCALES chapter focuses on Pig Iron's work in progress “A Period of Animate Existence,” the subject of a discussion Ferguson moderated at the 2016 PPEH conference. Director Dan Rothenberg, composer Troy Herion, and set designer Mimi Lien were the 2016-17 artists in residence at PPEH. This conversation was recorded in November 2020. This is the third and final podcast episode in a series that has featured the book's three coeditors: Kim; Bethany Wiggin, director of the Penn Program in Environmental Humanities; and Carolyn Fornoff, assistant professor of Latin American culture at the University of Illinois at Urbana-Champaign. REFERENCES: Timescales: z.umn.edu/timescales WetLand: https://ppeh.sas.upenn.edu/experiments/wetland A Period of Animate Existence: https://www.pigiron.org/productions/period-animate-existence MORE TIMESCALES PODCAST EPISODES: -Ep. 14: Time and the interplay between human history and planetary history. With Carolyn Fornoff, Jen Telesca, Wai Chee Dimock, and Charles Tung: https://soundcloud.com/user-760891605/episode-14 -Ep. 12: Scientists and humanists talk timescales and climate change. With Bethany Wiggin, Frankie Pavia, Jason Bell, and Jane Dmochowski: https://soundcloud.com/user-760891605/episode-12

Today is January 27, 2021. One week ago, we inaugurated new leaders in the United States. Many hope that President Joseph. Biden and Vice-President Kamala Harris will cultivate an era of unity, democracy, and truth in this country.  Multiple flashpoints complicated the year 2020. The relentless coronavirus pandemic, accelerating discrimination against people of color, heightened climate emergencies, and the imploding global economy had a intense polarizing effect on the electorate. Kamala Harris, the first African-American and Asian American to become Vice President, is also the first woman to be given this tremendous opportunity. As she steps into a crucial role of responsibility, Harris inspires this episode.  What part can creativity play in such turbulent times?  We speak to six women artists and curators responding to the challenges of the past year with renewed resolve. Strengthening their engagement with vital issues and ideas, each one positions herself in service to social justice. Future episodes will reveal more about their individual awakenings. Sound Editor: Anamnesis Audio | Special Audio: When We Gather, courtesy Maria Magdalena Campos-Pons and collaborators; Whitewash, courtesy artist Nadine Valcin; Celaje, courtesy artist Sofía Gallisá Muriente; All water has a perfect memory, courtesy artist Bahar Behbahani; Drip in water tunnel, New York City, courtesy artist Mary Mattingly; "This Earth,” by Susan Griffin, courtesy Andrea Bowers and performance participants  Related Episodes: International Curators Champion Creative Resilience, Mapping Caribbean Cultural Ecologies, Where Art Meets Activism, Creative Time Summit Miami 2018, Bahar Behbahani on Politics and Persian Gardens, New Point of View at Venice Art Biennale, Mary Mattingly on the Art of Human Relationships, Andrea Bowers on Art and Activism Related Links: Bahar Behbahani, Andrea Bowers, This Earth, Maria Magdalena Campos-Pons, When We Gather, Mary Mattingly, Public Water, Andrea Fatona, The State of Blackness, Marina Reyes Franco, Museum of Contemporary Art of Puerto Rico, Sofía Gallisá Muriente Featured Voices in Order of Appearance   Born in Cuba and based in Nashville, Maria Magdalena Campos-Pons teaches at Vanderbilt University. A dream led her to invite collaborators to celebrate all that Kamala Harris represents. Performance and poetry in the new art film When We Gather embody their collective hope and imagination.   Dr. Andrea Fatona is a Toronto-based curator and scholar who teaches in the graduate program at Ontario College of Art and Design University. For decades, she has sought to remedy the absence of Black visual art from critical writing, art archives and other avenues of representation. Whitewash, Nadine Valcin’s performance video about the history of slavery in Canada, is featured on Fatona's website: The State of Blackness.   Born and based in San Juan, Marina Reyes Franco is curator at the Museum of Contemporary Art. She talks about the Museum’s powerful new partner and introduces the metaphoric exhibition she will present this spring. In 2020, Reyes Franco took the time to support artist friend Sofía Gallisá Muriente in her creation of a new film. Sited on the southwest coast of Puerto Rico, Celaje is an elegy to the death of the Puerto Rican colonial project and the sedimentation of disasters on the island.   Water channels, fountains, roses and pools are elemental to the legendary Persian garden. Iranian-American artist Bahar Behbahani has been investigating the garden’s histories for years. In 2019, she created her first garden-inspired public art project at Wave Hill in the Bronx. In 2021, the artist aims to break ground on a purposeful Persian garden in Manhattan.   New York-based artist Mary Mattingly has always been concerned with sustainability, creating lyric environments that meet the basic needs of water, food, and shelter. Her latest project concerns the invisible infrastructure of public water in the city she calls home. Mattingly is diving deep—her urban case study exposes inequities that limit access to clean drinking water everywhere.    Early 2020 found Los Angeles based artist Andrea Bowers joining other women to read and record the poem “This Earth,” by Susan Griffin. Studying the spiritual origins of eco-feminism was among her solitary pursuits last year. When the pandemic slowed her activist projects, Bowers turned to re-examine how and why she makes art. 

January 19 – March 10, 2016Kathleen O. Ellis GalleryGallery Talk: Wednesday, January 27, 6pmReception: Wednesday, January 27, 5-7pmLight Work is pleased to present Mass and Obstruction, a solo exhibition of work by artist Mary Mattingly.Mary Mattingly creates photographs, sculpture, video and large-scale public art projects ostensibly about climate change but revealing deeper focus on survival and endurance in the face of ecological degradation and violence. Describing photography as the universal language of storytelling, Mattingly blurs the line between fact and fiction, present and future. Using her camera both to document and fictionalize over thirteen years of her environmental art and activism, she creates images by digitally collaging together multiple locations. These fictional, non-specific locations often look strangely futuristic and allow for a conversation about the earth and our impact on it. For Mattingly the “location” is the world’s ecosystem. She looks at the big picture and forces us as viewers to confront our own culpability and the ethics of our choices, a fundamentally important pre-requisite for personal or political change. For the exhibition Mass and Obstruction, the artist presents images and objects that emerge from an unflinching scrutiny of her own consumption and life style as an artist.lg.ht/MaryMattingly—In conjunction with her exhibition at Light Work, Mary Mattingly will be presenting Human and Object, a selection of video works at Urban Video Project (UVP) at the Everson Museum of Art. The exhibition will be on view January 20-30, from dusk-11pm.urbanvideoproject.com—Mary Mattingly is an artist based in New York. Her work has been exhibited at the Brooklyn Museum of Art, The Kitchen, Museo National de Belles Artes de la Habana, International Center of Photography, The Seoul Art Center, The Bronx Museum of the Arts, The New York Public Library, deCordova Museum and Sculpture Park, and The Palais de Tokyo. She participated in smARTpower, an initiative between the U.S. Department of State and the Bronx Museum of the Arts in the Philippines. She has been awarded grants and fellowships from the James L. Knight Foundation, A Blade of Grass, Eyebeam Center for Art and Technology, Yale University School of Art, The Harpo Foundation, NYFA, The Jerome Foundation, and The Art Matters Foundation. Her work has been featured in Aperture Magazine, Art in America, Artforum, Sculpture Magazine, The New York Times, New York Magazine, Le Monde Magazine, The New Yorker, The Wall Street Journal, on BBC News, MSNBC, Fox News, NPR, NBC, as well as on Art21’s “New York Close Up” series. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled Nature, edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is… published by Artbook, and Henry Sayer’s A World of Art, 8th edition, published by Pearson Education Inc. Mattingly participated in Light Work’s Artist-in-Residence program in November 2014.marymattingly.com—Special thanks to Marcia Dupratmarciaduprat.comSpecial thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: Blue Dot SessionsMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

August 27 – October 18, 2018Kathleen O. Ellis GalleryGallery Talk: Thursday, September 20, 6pmReception: Thursday, September 20, 5-7pmLight Work is pleased to announce Be Strong and Do Not Betray Your Soul: Selections from the Light Work Collection. The exhibition is guest-curated by For Freedoms, a platform for civic engagement, discourse, and direct action for artists in the United States, co-founded in 2016 by former Light Work artists-in-residence Eric Gottesman and Hank Willis Thomas. Since then, For Freedoms has produced exhibitions, town hall meetings, and public art to spur greater participation in civic life. On their motivations for starting For Freedoms, Gottesman states, “Our hope was to spark dialogue about our collective civic responsibility to push for freedom and justice today, as those before us pushed for freedom and justice in their time through peaceful protest and political participation.”Borrowing its title from the Charles Biasiny-Rivera piece of the same name, Be Strong and Do Not Betray Your Soul features more than forty photographs from the Light Work Collection that explore topics of politics, social justice, identity, and visibility. These subjects have remained significant for Light Work and many of the artists we have supported over our forty-five year history. The list of artists includes: Laura Aguilar, George Awde, Karl Baden, Lois Barden and Harry Littell, Claire Beckett, Charles Biasing-Rivera, Samantha Box, Deborah Bright, Chan Chao, Renee Cox, Rose Marie Cromwell, Jen Davis, Jess Dugan, John Edmonds, Amy Elkins, Nereyda Garcia Ferraz, Jennifer Garza-Cuen, Antony Gleaton, Jim Goldberg, David Graham, Mahtab Hussain, Osamu James Nakagawa, Tommy Kha, Pipo Nguyen-Duy, Deana Lawson, Mary Mattingly, Jackie Nickerson, Shelley Niro, Suzanne Opton, Kristine Potter, Ernesto Pujol, Irina Rozovsky, Alessandra Sanguinetti, Kanako Sasaki, Pacifico Silano, Clarissa Sligh, Beuford Smith, Amy Stein, Mila Teshaieva, Brian Ulrich, Ted Wathen, Carrie Mae Weems, Carla Williams, Hank Willis Thomas, Pixy Yijun Liao.In addition to the selections of work on view at Light Work, we have collaborated with For Freedoms to display a series of billboards throughout the city of Syracuse created by internationally-renowned artists Zoe Buckman, Eric Gottesman, Carrie Mae Weems, Spider Martin, and Hank Willis Thomas. These billboards use photography and text to address social issues and our political climate. This exhibition and related programming coincides with The 50 State Initiative, an ambitious new phase of For Freedoms Fall 2018 programming, during the lead-up to the midterm elections. Building off of the existing artistic infrastructure in the United States, For Freedoms has developed a network of artists and institutional partners, including Light Work, who will produce nationwide public art installations, exhibitions, and local community dialogues in order to inject nuanced, artistic thinking into public discourse. Centered around the vital work of artists, these exhibitions, and related projects will model how arts institutions can become civic forums for action.lg.ht/BeStrong—Special thanks to Daylight Blue Mediadaylightblue.comLight Worklightwork.orgMusic: "Bald Eagle" and "American Crow" by Chad CrouchMusic: "Vela Vela" by Blue Dot Sessionssessions.blue See acast.com/privacy for privacy and opt-out information.

Mary Mattingly is a visual artist. She founded Swale, an edible landscape on a barge in New York City to circumvent public land laws. Swale helped co-create the "foodway" in Concrete Plant Park, the Bronx in 2017. The "foodway" is the first time New York City Parks is allowing people to publicly forage in over 100 years. Mattingly recently completed a sculpture “Pull” with the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts. In 2018 she worked with BRIC Arts to build "What Happens After" which involved dismantling a military vehicle and deconstructing its mineral supply chain. Mattingly is currently artist in residence at the Brooklyn Public Library and is working towards an Ecotopian Library,  a learning center for art and creativity in the face of climate change. Her work has also been exhibited at Storm King, the International Center of Photography, the Brooklyn Museum, and the Palais de Tokyo. Her work has been featured in Aperture Magazine, Art in America, Artforum, Sculpture Magazine, The New York Times, New York Magazine, Le Monde Magazine, New Yorker, and on BBC News, NPR, on Art21. Her work has been included in books such as MIT Press Documents of Contemporary Art series titled “Nature”, and Henry Sayre’s A World of Art, published by Pearson Education Inc. Along the Lines of Displacement, Storm King, 2018 Swale, Concrete Plant Park, Bronx, 2017

In the second Arts Learning Festival podcast, Shane Green starts exploring Independent Schools Victoria's 2019 festival Program by speaking to New York-based visual artist, Mary Mattingly. Mary will be running an event called Objects In The Round. In this podcast, Shane and Mary talk about her recent work creating bundled objects and Swale - a publically floating food forest in New York City. Independent Schools Victoria has long advocated that the arts are not an optional add-on, but an integral part of a broad education. Creativity is at the heart of all disciplines. And the festival showcases this contemporary and innovative thinking that’s happening in the arts education space, both in the classroom and in the wider community. #unlimitedimagination www.artslearningfestival.com.au

Join us today on the NH Business Show as we speak with Mary Mattingly, owner of I Do, Again LLC. Finding her niche in consignment dresses, Mary provides an amazing service for those looking for wedding dresses and supplies at discounted rates. Sponsors: Ideal Health - www.NHBusinessShow.com/ideal Zimventures - www.NHBusinessShow.com/zimventures Cardtapp- ChrisPastrana.cardtapp.com Get more from Mary at: https://www.facebook.com/I-Do-Again-LLC-284153301606477/ For more from the NH Business show, check us out at : www.NHBusinessShow.com Itunes - https://itunes.apple.com/us/podcast/nh-business-show/id1265706259?mt=2 chrisPastrana.cardtapp.com

CPR listeners have been sending us lots of questions about Denver's bid to land Amazon's second headquarters. We asked Gov. John Hickenlooper what concerns him about the Amazon deal. We also asked Hickenlooper if there was an issue he's faced in office that could threaten his political legacy. Then, how to design the modern office. We meet the architect behind Google's new complex in Boulder. Plus, 500 years ago, Martin Luther nailed his "95 Theses" to the door of a Catholic church in Germany and divided Christianity forever. How one church in Denver, where Catholics and Protestants pray, will mark the occasion. And, Boulder’s latest work in its experimental public art series comes from New York City artist Mary Mattingly.

Robin on hurricane coverage, Trump's gutting Title IX, Big Tech malfeasance—and a personal word about Kate Millett. Guests: Journalist Amanda Sperber on an untold story—South Sudan's rapes; Mary Mattingly on Swale, the first floating food forest.

Carl Pope author of "Climate of Hope: How Cities, Businesses, and Citizens Can Help Save the Planet." Christopher Brown, PhD, of the University of Texas at Austin on why kindergartners need more play time. Mary Mattingly brings fresh food to New York City on floating gardens. Shopping for a friendly judge with BYU law professor Paul Stancil. Phil Larson, University of Colorado Boulder, on the challenges and benefits of re-using rockets. Refugee stories are our stories, says Trisha Leimer.

Environmental artist Mary Mattingly talks about Pull, the project she created with local partners in Havana. Her artist residency is part of Wild Noise, thefirst in a series of exhibition exchanges between the Bronx Museum of the Arts and the National Museum of Fine Arts, Havana.    

This week we present the artist Mary Mattingly. We talk survival after the coming Robot wars, a life at sea, and how artists can relate to institutions while feeling the weight of being a human.  Thanks to Cannonball, Pulse Miami, and Art Practical.   This interview was recorded in Miami, December 2013. 

Mary Mattingly is an artist based in Brooklyn, New York. We learned about her through the Flockhouse Project and traced back to discover the Waterpod and her earlier work. Mary's art explores the environment, sustainability, housing, and community structure, among other things. We have spoken to a fair number of environmental thinkers in The Conversation, but Mary is the first whose work directly explores individual survival in an unstable world. There are lots of reasons you'll like this episode. Aside from the Mad Max/Waterworld quality of our conversation, Mary looks at environmental change in a way that is totally unlike anyone else in the project. Thinkers like Tim Cannon, David Miller, and Robert Zubrin have viewed anthropogenic environmental change as morally relative and potentially positive while others, like John Zerzan, Jan Lundberg, and Wes Jackson, describe it as a crisis to be averted. Mary is somewhere in between, admitting that a future in which humans exert great control over the environment could be dark, yet embraceable. Does this put her in a camp with Tim Morton? Also, the maker economy shows up in Mary's conversation and connects her to Alexa Clay and Douglas Rushkoff though, in Mary's vision of the future, the maker spirit is more of a life-and-death necessity than an economic statement. Her interest in resilience may remind you of the end of Chuck Collins' conversation, too. There's a lot more to talk about. Specifically, we're interested in the coexistence of individualism and communitarianism. Are they in tension or in balance? Micah and I discuss.

Mary Mattingly is an artist based in Brooklyn, New York. We learned about her through the Flockhouse Project and traced back to discover the Waterpod and her earlier work. Mary’s art explores the environment, sustainability, housing, and community structure, among other things. We have spoken to a fair number of environmental thinkers in The Conversation, but Mary is the first whose work directly explores individual survival in an unstable world. There are lots of reasons you’ll like this episode. Aside from the Mad Max/Waterworld quality of our conversation, Mary looks at environmental change in a way that is totally unlike anyone else in the project. Thinkers like Tim Cannon, David Miller, and Robert Zubrin have viewed anthropogenic environmental change as morally relative and potentially positive while others, like John Zerzan, Jan Lundberg, and Wes Jackson, describe it as a crisis to be averted. Mary is somewhere in between, admitting that a future in which humans exert great control over the environment could be dark, yet embraceable. Does this put her in a camp with Tim Morton? Also, the maker economy shows up in Mary’s conversation and connects her to Alexa Clay and Douglas Rushkoff though, in Mary’s vision of the future, the maker spirit is more of a life-and-death necessity than an economic statement. Her interest in resilience may remind you of the end of Chuck Collins’ conversation, too. There’s a lot more to talk about. Specifically, we’re interested in the coexistence of individualism and communitarianism. Are they in tension or in balance? Micah and I discuss.