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From seed to seedling to full grown plant–this process always amazes me. An entire plant is held in a seed, the size of a grain of sand. Start with good soil, add water and sun, hope for rain and allow time.

Now is the time that harvest begins both at Camphill Village and Hancock Shaker Village. Saved seeds transform into lettuces, peas, radishes and herbs. Pesky weeds are being pulled. Mouths water waiting for the green tomatoes to turn bright red.

Now is also the time to think about what fall crops will follow the glory of summer in the garden. Turtle Tree Biodynamic Seed, Camphill’s seed business, is offering selected fall seeds until July 9th. One may purchase seeds through their website, turtletreeseed.org

Tangible parallels between the Villages are seen in their summer gardens–the labors of one for another making a community. New Lebanon Shaker, Brother Frederick Evans said, “Only the simple labors of farming people can keep a community together.”

For more information on Camphill Village, please go to their website and make sure to watch the video on village life.

For more information on Hancock Shaker Village, please go to their website for revised opening information.

And so, we provide our summer reading list.

Summer brings us out into the garden and woods, appreciating nature’s daily changes and honing in on all the residents, both flora and fauna.  Early mornings before working in the garden and rainy afternoons are spent reading to become more “plant-conscious,” as author Richard Powers terms it.

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The Uninhabitable Earth: Life After Warming by David Wallace-Wells (Tim Duggan Books, 2019).

“Personally, I think that climate change itself offers the most invigorating picture, in that even its cruelty flatters our sense of power, and in so doing calls the world, as one, to action.  At least I hope it does.  But that is another meaning of the climate kaleidoscope.  You can choose your metaphor.  You can’t choose your planet, which is the only one any of us will ever call home.” (pp. 228-9).

Casting Deep Shade by C. D. Wright (Copper Canyon Press, 2019)

Ben Lerner writes in the introduction, “It is a book full of love and admiration for eccentric arborists and purveyors of folk knowledge, for they are—like the poet—committed to keeping the language and landscape particular, unpredictable, collective. Committed to preserving these slow-growth kinetic sculptures [beech trees] under siege by profiteers and voles. This is an uncommonplace book.” (p. x)

“Journal of Medicinal Plant Conservation,” A United Plant Savers Publication (United Plant Savers, 2019).

“The Theme is Voices from the Land, with intent to share indigenous perspectives in relationship with plants.  This perspective is most profound in the article on white sage and the conflict with commercialization and cultural appropriation of a plant sacred to many…”We have filled this issue with international perspectives on how medicinal plants are managed, such as the innovations in Bulgaria and the impact of communism in regards to the medicinal plant trade in Albania…”In a rapidly changing environment we have a story from the Marshall Islands dealing with climate change, the opportunity of using invasive plants as medicine…”Stories from our Botanical Sanctuary Network and featured artists from our Deep Ecology Art Fellowship bring creativity to how we can enrich our relationship with plants and in return heal ourselves and the planet.” (p. 2)

The Art and Science of Natural Dyes: Principles, Experiments and Results by Joy Boutrup and Catharine Ellis (Schiffer Books, 2018)

“For millennia, humans perceived color through nature and its reflections in human interpretation. Throughout the ages and around the world, dyers relied on the colors obtained from plants, fungi, lichen, insects, shellfish, and rock minerals…”We want to understand how dyes and mordants work and how different types of fibers react to dyes, mordants, tannins, water, heat and ulturviolent rays…”Having very clear and precise instructions to follow helps us achieve that goal, but unless we understand the whybehind the how, we won’t be able to make the most intelligent decisions when changing circumstances require that recipes be altered…”Taking such factors into account, this book creates a bridge between art and science, showing us the way.”  (p. 8).

Shaker Herbs: A History and A Compendium by Amy Bess Miller (Clarkson N. Potter, 1976).

“An anonymous Shaker editor of the medicinal herb catalog published by the New Lebanon society gave his readers a bonus—a “supplementary” in 1851 which today would be termed a preface. This was the first time such a statement appeared in a Shaker medicinal marketing publication.  It reflects the reasons the Shakers felt so much care and effort should go into the production of medicinal products:

“Perhaps no study contributes more to the length, utility, and pleasure of existence—which adds to health, cheerfulness and enlarged views of creative wisdom and power, and which improves the morals, tastes and judgment, more than the science of botany.” (p. x).

A Life Made by Hand: The Story of Ruth Asawa by Andrea D’Aquino (will be published in early September by Princeton Architectural Press).

“Ruth looked carefully at everything around her.
“What kind of plant are you? she wondered.“

“What a fascinating shape your shell is, Snail.”

“Hello Spider.
How did you figure out how to make your web?”

“Ruth liked to look at the drops of water in her garden.
She often stopped to notice how the light shone through their delicate shapes.”

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Trees.  Plants.  Dyes. Herbal Medicines.  Hands.  And only one Earth. 

The Dandelion's pallid Tube 
Astonishes the Grass -
And Winter instantly becomes
An infinite Alas –
 
The tube uplifts a signal Bud
And then a shouting Flower --
The Proclamation of the Suns
That sepulture is o'er -
 
            Emily Dickinson, 1881

What if the dandelion heralded the same respect as the tulip or dahlia, commanded high prices, and could only be purchased at select nurseries?  Would it be more highly regarded if it cost more, rather than arrived on lawns and byways for free?  Every year, I am astonished by the number of people that vehemently detest the dandelion and seek to eradicate it by any means necessary. 

Our lawn, shall we say, is ‘littered with” dandelions, plantain, violets of all types, and clover, just to name a few.  Yet when we moved here 11 years ago, the lawn was a wasteland of pure grass, with nature’s bounty obliterated by the indiscriminate use of herbicides and pesticides.  Slowly, we have cultivated a variegated spring crop of wildflowers and now watch the bees and other pollinators relish in them.  We take cues from the bees, and happily gather the plants, adding them into our diet, since all four of the plants identified above are edible and provide nourishment.

One should not partake of dandelion wine or greens, make an infusion with the dainty violet flowers, add young plantain leaves to your spring salad or munch a ripe pink clover from the field, if herbicides or pesticides have been applied.

“Humans are transforming Earth’s natural landscapes so dramatically that as many as one million plant and animal species are now at risk of extinction, posing a dire threat to ecosystems that people all over the world depend on for their survival, a sweeping new United Nations assessment has concluded.”

If one has any doubt about the effects of man and his man-made chemicals on the natural world, the New York Times recently published an analysis of a study done by the IPBES (Intergovernmental Science-Policy on Biodiversity and Ecosystem Services; www.ipbes.net) that brings clear evidence to our dire situation:

Thoreau noted in his journal on May 9, 1858, “A dandelion perfectly gone to seed, a complete globe, a system in itself.”  Why not, for the good of the globe, let those dandelions grow, feeding the pollinators and yourself, let it go to seed and then rejoice in what grows naturally around you?

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Emily Dicksinson, The Poems of Emily Dickinson, edited by R. W. Franklin (Cambridge:  The Belknap Press of Harvard University Press),  pgs. 577-78.

Brad Plumer, “Humans are Speeding Extinction and Altering the Natural World at an ‘UnprecedentedPace,” The New York Times, accessed on 5/9/2019.

Henry David Thoreau,  The Journal 1837-1861, (New York;  The New York Review of Books, 2009), pg. 495.

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Selected favorite books on foraging, plants and herbs:

Katrina Blair, The Wild Wisdom of Weeds 13 Essential Plants for Human Survival, Chelsea Green Publishing, Vermont, 2014.

Steven Foster and James A. Duke, A Field Guide to Medicinal plants: Eastern/Central North America, Houghton Mifflin Company, New York, 1990.

Euell Gibbons,  Staking the Wild Asparagus, David McKay Company, Inc., New York, 1962.

Rosemary Gladstar, Rosemary Gladstar’s Medicinal Herbs: A Beginner’s Guide, Storey Publishing, North Adams, 2012.

NOTE: Elizabeth Kolbert writes about the IPBES report in the most recent New Yorker. Here is a link to the podcast: https://www.newyorker.com/podcast/comment/last-chances

Summer promises the great outdoors: time to explore new terrains or become more familiar with the world found on your doorstep.  As a primer to our summer exploration, we have been delving into ‘nature based’ reading.

on a colonial farm’s recommended summer reading list:

Carlos Magdalena, The Plant Messiah:  Adventures in Search of the World’s Rarest Species, (New York:  Doubleday, 2017), pg. 6.

“I want to make the world aware of what plants do for us.  I want us to give plants a value and appreciate what they do. I want us to understand their importance for our survival and the survival of our families—our babies, grandparents, and future generations.  I want us to realize that without them we would die, and most living things on land in the air would die with us.  I want us to be enthused by the importance of conservation, to be fired with determination that we should never give up, even if there is only one plant left in the world.  I want us to understand the importance of plants so much that we are moved to do something about it.”

Diana Beresford-Kroeger, The Global Forest 40 Ways Trees Can Save Us, (New York:  Penguin Group, 2010), pg. 69.

“But art has a sister.  The sibling is science.  Art and science are of the same house, of the same family.  Art in all its forms opens the way for science, because art is the precursor to science in all things.  Art sounds the bell of change that leads to discovery, and science runs in to listen, to test, and to learn.  Art sometimes molds and other times reflects the thoughts of culture and then defines the tides of fashion.  Science follows in the wake of those tides and looks back at the great fetch of “why” to derive the question “how.”

“There is some time left. There is time for a different way of thinking in which man can rethread the needle and sew a life for the future. For if nature is destroyed, art will stand still and the creativity of science will follow suit. “

Tristan Gooley, The Lost Art of Reading Nature’s Signs, (New York:  The Experiment, 2010),  pg 3.

“Picking up one simple scent can take the mind on an extraordinary journey.  Sense and thought, observation and deduction, this two-step process is the key to transforming a walk from mind-numbing to synapse-tingling.  One cannot work without the other; the brain can build wondrous edifices in our mind but it requires the scaffold that our senses provide.”

Richard Powers, The Overstory, (New York: W.W. Norton, 2018), pgs.  454-455.

‘ “Trees stand at the heart of ecology, and they must come to stand at the heart of human politics. Tagore said, Trees are the earth’s endless effort to speak to the listening heaven…..If we could see green, we’d see a thing that keeps getting more interesting the closer we get.  If we could see what green was doing, we’d never be lonely or bored.  If we could understand green, we’d learn how to grow all the food we need in layers three deep, on a third of the ground we need right now, with plants that protected one another from pests and stress. If we knew what green wanted, we wouldn’t have to chose between the Earth’s interests and ours.  They’d be the same.” ‘

Andrea Barnet,  Visionary Women: How Rachel Carson, Jane Jacobs, Jane Goodall and Alice Waters Changed Our World, (New York: Ecco, 2018), pg. 330.

“People ask how can I as one person can make a difference……But if we can start making considered choices in our everyday actions, the little things – what we buy, what we wear, if we think carefully about the consequences of these choices – how it was made, where did it come from, was it child slave labor, was it cruelty to animals, etc., then we can start making different choices. Small choices. But multiply these small choices by a hundred, a thousand, a million and then a billion and then you start to see a different kind of world.”  Jane Goodall.

I will be tucking wildflower, bird and trees guides into my bag this summer, along with newly handmade books to start mapping what I see, hear and smell around the farm.  Delving deeper into where I live and what lives around me, guided by the thought that all is connected, and that by our choices we can make a difference.

[Note:  Click on Author’s name for their website, including Carson, Jacobs, Goodall and Waters.]

We eagerly await the arrival of spring, more so this morning as snow flakes floated down to outline branches, leaves and stone walls as only newly fallen snow can do. We’ve had a few warm days sprinkled here and there in the past few weeks, but not enough to truly turn the corner and bring on full spring.

Saturday marks the start of the Spring Wildflower Festival at Bartholomew’s Cobble, as well as my third year as a wildflower guide there. On bitterly cold Saturdays in March, we guides gathered to discuss the geology of the site, the area’s ecology and the associated plant botany. We trudged through ice and snow over the trails, imagining the emergence of the green shoots and later lacy spring flowers. Bartholomew’s Cobble is a National Natural Landmark and we owe the rare diversity of the plant life to geological action that occurred 420 million years ago that results in both quartzite (acid) and marble (base) existing side by side–not a normal occurrence.

The “What’s In Bloom’ board at Bartholomew’s Cobble from May 2017

In preparation for my walks, I delve deeply into each plant’s characteristics, but I also search for the writings of others that found fleeting ephemerals.

Emily Dickinson, gardener and poet, reports of an 1848 spring walk to her friend Abiah Root:

“There were several pleasure parties of which I was a member, and in our rambles we found many and many beautiful children of Spring, which I will mention and see if you have found them — the trailing arbutus, adder’s tongue, yellow violets, liver leaf, bloodroot and many other small flowers.” 1

Mary Oliver recounts slipping away from school one spring day:

“I walked, all one spring day, upstream, sometimes in the midst of ripples, sometimes along the shore. My company were violets, Dutchman’s-breeches, spring beauties, trilliums, bloodroot, ferns rising so curled one could feel the upward push of the delicate hairs upon their bodies…The beech leaves were just slipping their copper coats; pale green and quivering they arrived into the year. My heart opened, and opened again. “2

On April 3, 1853 , Henry David Thoreau notices one of spring’s smallest flowers:

“To my great surprise the early saxifrage is in bloom. It was, as it were, by mere accident that I found it. I had not observed any particular forward news in it, when happening to look under a projecting rock in a little nook on the south side of a stump I spied one little plant which had opened three or four blossoms high up the cliff. Evidently you must look very sharp and faithfully to find the first flower. Such is the advantage of position.”

Bartholomew’s Cobble rightly boasts about its spring ephemerals and many noted and seen by Dickinson, Oliver and Thoreau—adder’s tongue, bloodroot, blue cohosh, Dutchman’s-breeches, fringed polygala, Jack-in-the-Pulpit, liver leaf, spring beauty, rue anemone, trillium, saxifrage, wild columbine, and violets are there, for example. Stop by on Saturdays and Sundays for guided tours, or ramble on the Ledges trail on your own with eyes wide open. As Oliver notes, “Attention is the beginning of devotion.”4

1, Judith Farr, The Gardens of Emily Dickinson, (Cambridge: Harvard University Press, 2004), pg.97.

2. Mary Oliver, Upstream, (New York: Penguin Press, 2016), pgs 4-5.

3. Geoff Wisner, Thoreau’s Wildflowers, (New Haven: Yale University Press, 2016), pg. 16.

4.Oliver, pg. 8

Note:  I will be leading tours on April 21 at 12pm, April 22 at 10pm and May 13th at 3pm.  There are guided tours on Saturday and Sunday, 10am, 12pm, 2pm & 3pm. Bartholomew’s Cobble, 105 Weatougue Road, Ashley Falls, Sheffield, MA.

Second Note:  A documentary about Emily Dickinson, Seeing New Englandly will be shown at the Roelieff Jansen Community Library on April 28 at 4pm, 9019 Route 22, Hillsdale, NY.

Letters are relics and treasure troves of information, transporting one right back to exact moments in time.

A few years ago, my husband, busy insulating and putting on new clapboards, found a cache of letters in the walls of our old house. These letters were written during 1868-69 from a young man, Joseph, living in our home, to a young woman, Kittie, residing five miles down the road, quite a distance at that time. The bundle only included his letters, which recounted his daily life on this farm, expressed his love for her and told of their eventual break in friendship. Did he ask for the return of the letters or did she bundle them up, delivering them before she headed west? From the inside of the house, there wasn’t a hole in the wall or any other indication what lurked behind.  Perhaps, Joseph couldn’t bear to throw them out and sealed them in the wall for safekeeping. Over the past months, I have talked with his relatives, but none knew of his early love for Kittie. Despite my researching at the local historical society, I cannot locate any information about her. Time for more sleuthing.

Possibly, reading his correspondence primed me for delving into more volumes of letters. Lately, M.F.K Fisher’s letters (1929-1991) have absorbed me, allowing me to journey along as she struggled with her writing, penned many books, traveled across the country and abroad, and lived a very full life raising two daughters. Even though we only have Fisher’s letters, over time one begins to know her sisters, husbands, family and friends, and follow the path of her life. After listening to the novel The Indigo Girl recounting a distinct chapter of the life of Eliza Lucas Pinckney (1722-1793), I had to read Pinckney’s letters (on which the book is based). Seventeen year old, Eliza was left in charge of her father’s farm in South Carolina. Saddled with debt, she initiated many farming endeavors, including the farming of indigo. Due to its success, many other farms began to grow and harvest indigo. And this morning found me deep into Letters To A Young Farmer, a series of letters written to inspire, bolster and advise new farmers. Each one is penned with passion for the land and the love of farming. All three books are quite different as to time and place and trades, but all offer a glimpse into a how a life was lived and the paths chosen.

“You are so young, so much before all beginning…have patience with everything unresolved in your heart and…try to love the questions themselves as if they were in locked rooms or in a very foreign language. Don’t search for the answers, which could not be given to you now, because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer.”

Rainer Maria Rilke, from Letters to a Young Poet, 1929. (1)

1-Letters to a Young Farmer On Food Farming and Our Future, Princeton Architectural Press, 2017, pg. 1.

Natasha Boyd, The Indigo Girl, Blackstone Publishing, 2017.

M.F.K Fisher, A life in Letters Correspondence 1929-1990 selected and compiled by Norah K Barr, Marsha Moran, Patrick Moran, Counterpoint, 1997.

Eliza Lucas Pinckney, The Letterbook of Eliza Lucas Pinckney, The University of North Carolina Press, 1972.

“As Carl Wilkens wrote when we make something with our hands, it changes the way we feel, which changes the way we think, which changes the way we act.” (1)

To make something whole. What does that mean exactly? Does that mean to construct an object from start to finish, as one would carve a bowl from a burl? Or perhaps, to take a discarded or broken item and make it anew, to renew it? To find food, an entire meal, from items deemed ‘weeds’?

As a way to transition into this new year, I set my mind to reading and listening to works by writers and makers. Terry Tempest Williams has been reading me her book on the sacred lands of our National Parks, The Hour of the Land. Many artists have been telling me their ‘making history’ via the Make/Time podcast series. And Adam Federman revealed the life of Patience Gray to me in his new biography, Fasting and Feasting.

Patience Gray, author of the legendary cookbook Honey from a Weed, lived what one could term a spare life, for she and her partner Norman Mommens chose to live “…for more than thirty years in a remote corner of southern Italy–without electricity, modern plumbing, or telephone.” (2) Yet, their lives were rich for the food she gathered and cooked, and for the sculptures he carved from marble, and for the landscape in which they situated themselves.

Gray was quite concerned with the dangers of “consumerland” and wrote about integrating life and art together in her columns for the Observer. In her 1960 article, “Crafts from Obscurity,” she noted, “Can you be touched by the delicate pinks, mauves, magentas, poppy tones in woven hangings without first having seen rock roses, wild mallows, oleander, or cornfields ablaze with poppy, in a landscape of scrub and stone?…Once the outside world has broken in with its promise of Lambrettas and refrigerators and hire-purchase, the self-sufficiency of a village culture is finished.”(3)

What would Gray say to our ‘interconnected world’? Would she relish in the internet and one’s ability to glean information in an instant? It seems rather unlikely, especially as she alludes to these types of modern burdens in an interview on the BBC:

“Life has become burdensome, in a way, in its demands on people. And I can lead them to a bit of daydreaming, which is rather out of fashion now, isn’t it? You could say that I have sort of responded against the present time where I feel that nothing is sacred. It’s a counterpoint to that. Because things are sacred. That’s what I feel.” (4)

Gray wanted her readers to not only daydream but to gather food and sustenance for the mind and soul. “Living in the wild, it has often seemed that we are living on the margins of literacy. This led to reading the landscape and learning from people, that is to first hand experience.” (5)

Each year, I attempt to delve deeper into the landscape directly outside of our front door, not only by observing the seasonal differences, but by also using what is directly at hand for food, healing and dyeing. Over the next months, chapter by chapter, Patience Gray will be my guide to not only the realm of daydreaming, but to the logistics of making whole through our environs.

Terry Tempest Williams, The Hour of the Land: A Personal Topography of America’s National Parks, (New York, Sarah Crichton Books, 2016), pg. 140 (1)

Adam Federman, Fasting and Feasting: The Life of Visionary Food Writer Patience Gray, (White River Junction, Vermont: Chelsea Green Publishing, 2017), Introduction(2), pg. 89 (3), pg. 304 (4.).

Patience Gray, Honey from a Weed: Fasting and Feasting in Tuscany, Catalonia, The Cycllades and Apulia, (New York: Harper and Row,1987), pg. 11. (5)

Note: Tune into the Make/Time podcast series.

This fall I joined a mending group. We meet once a month, dragging in our big bags, filled with coats needing buttons, sweaters lacking elbow patches, socks filled with holes, jeans ripped at the knees, and proceed to share mending advice. Needles are threaded and away we go. We leave with garments ready to wear, again, and a sense of pride and accomplishment.

The act of sewing a button on one hand seems so simple and on the other quite a challenge. Do you have the original button, or will you replace it with one that doesn’t quite match? Will you use bright red thread when the original was a somber black? I intentionally make the mending visible, reminding myself and others that this garment has more than one life.

my mended sock

Embellishment in mending by way of using decorative stitches seems to be the next logical step. Why not make that mended hole stand out with a flurry of feather stitches, circled by chain stitches, denoted by a bevy of French knots and finished off besprinkled with beads or sequins?

Of course, one needs instruction and inspiration, both found in the work of Natalie Chanin and May Morris. Fortunately, two newly published books bring their endeavors onto one’s work table. The Geometry of Hand-Sewing: A Romance in Stitches and Embroidery from Alabama Chanin and The School of Making, gives practical methods of stitching based on geometry, with diagrams and images to guide one through 100+ stitches. The possibilities of adornment seem limitless. The catalogue accompanying the current exhibition May Morris: Art & Life allows one to linger over her exquisite and elaborate stitched tapestries, book covers, bags, and garments, as well as her wallpaper designs and jewelry.   Pull out your magnifying glass and examine her embroidery. Morris has been rightly called the “pioneer of art embroidery.”

Morris published her own embroidery guide Decorative Needlework in 1893. Anna Mason notes and quotes in a catalogue entry, “Through her writing as well as her practice, she sought to raise the status of embroidery: ‘in spite of the discouraging trifling and dabbling in silks, which is often all that stands for embroidery, I am inclined to take needle-art seriously, and regard its simply priceless decorative qualities worth as careful study or appreciation as any other form of art.’ ”

Chanin and Morris are birds of a feather. They both honor the hand-made and the hands that make. In my dreams, both of them will attend next month’s mending circle.

May Morris: Art & Crafts Designer with essays by Anna Mason, Jan Marsh, Jenny Lister, Rowan Bain and Hanne Faurby and with contributions by Alice McEwan and Catherine White, forward by Lynn Hulse (London: Thames and Hudson, 2017), pg. 122.

 Natalie Chanin, The Geometry of Hand-Sewing: A Romance in Stitches and Embroidery from Alabama Chanin and The School of Making, (Abrams, New York), 2017.

Incredible floral arrangements graced the Westbeth Art Gallery at the opening of Strange Flowers last Saturday night. Flowers and their strange beauty unite the artists assembled by the show’s organizer Elisabeth Condon, but their approaches vary widely. From backyard weeds and blooms gone awry; hyper-realized blossoms gleaned out of the corner of one’s eye; roses stained on ancient cloth literally marking the passing of a dear friend; perfectly rendered arrangements drawn in colored ink; ancient botanical images on wallpaper newly arranged to form an architectural temple pattern; plants gathered and dipped in wax laid against a perfect blue sky; larger than life-sized blooms and blossoms that one can escape into; butterflies and birds residing amongst leaves and streams of paint in an urban landscape; to a set of vintage wildflower identification cards placed on a shelf set against plant-dyed paper on the wall.

On the night of the opening, some visitors presumed that the wildflower cards were there for the taking. Was there a sign posted that said, “Please take a card, courtesy of the artist”? Absolutely not! Slowly the deck of 49 cards became 19. Unlike the stacks of candy found in the participatory work of Felix Gonzalez-Torres, for example, these cards are irreplaceable parts of the artist’s work, not meant to be taken from the piece.

What led some viewers to literally pick these flowers without seeking permission? What did they think would happen when the 49 wildflower cards were gone? Did they think that they would just be replaced? Is this any different from one visiting a museum and simply taking a painting off the wall to put in one’s home?

If you take all the goldenrod from a particular spot, what will the foraging fall pollinators have to fuel them for the long cold winter?  If the forest is cleared to make way for a pipeline, where do all the insects, birds, and animals go when their habitat is removed?

Are art & nature for the taking?

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Strange Flowers on view at  Westbeth Art Gallery until September 30, 2017.  Gallery open Wednesday to Sunday, 1-6pm. 55 Bethune Street, New York, NY

Sometimes the most wildly different can be the most similar. What do the minimally elegant garments worn by Georgia O’Keeffe and the wildly exuberant clothes of the Counter Culture have in common? The clue may be found in the subtitle, “Handmade Fashion in an American Counterculture.” Yes, the handmade. Both O’Keeffe and members of the Counter Culture movement used their hands to make their garments.

Georgia O’Keeffe’s hand sewn silk garments.

Recently I had the fortune of seeing Georgia O’Keeffe: Living Modern at the Brooklyn Museum and Counter-Couture at the Museum of Art and Design. When one enters the first room of the O’Keeffe show, there are four white silk dresses, and upon examination, one may see the perfectly tiny, couture quality stitching. All made by O’Keeffe. Throughout her life, she continued to sew her own clothing. There is not much pattern found in the O’Keeffe clothing, mainly black and white and the occasional rainbow of color in her wrap dresses, yet the opposite rules for the counter-culture: pattern upon pattern, jubilant tie-dye, proliferating embroidered floral motifs, wildly textured crochet – vividly, abundantly they exploit the hand-sewn in their garments.

Garments on view in Counter-Couture

The Counter-Couture wall text states:

“The works on display reflect the ethos of a generation of makers and wearers who-against the backdrop of the Vietnam War and the Civil Rights Movement–rejected ideals of the American Dream, which they identified as rooted in consumerism and waste, social conformity in personal appearance and behavior, and a political establishment invested in maintaining the status quo. They embraced a vision of a new, homegrown civilization rooted in self-reliance, resistance to mass-market consumerism, an affirmative connection to nature, and forms of communal engagement to forge new relationships between self and Other.”

Step back. Look. Examine. And now ponder self-reliance.   In one of the exhibition videos, O’Keeffe talks about growing her own food and working hard to make a garden, so she would not have to undertake the long drive down the mountain to purchase food. We see her kneeling amidst the rows of food and picking lettuce, carefully placing it into a folded newspaper. Similarly, the Counter Culture was rooted in the Back-to-Land movement, growing their own food and living off the land, often residing in communes practicing “sustainable agriculture and permaculture, bartering, self-reliance and pacifism.”

Georgia O’Keeffe’s sewing kit

How did we go so wrongly awry from these self-reliant times in the 1960s and 1970s? Furthermore, how did we get so far from making and growing to boxes of sugar-laden cereals on the store shelves and cheap t-shirts bearing company logos made in sweat shops in other countries? More importantly, where can we go now for inspiration and guidance?

The newly formed Food and Fibers Project asks us to question where our food comes from, who makes our clothes, and how we can better connect both fiber and food to the land. Their mission states, “There are so many intersections of food and fashion, from the soil that grows our food and fiber, to the plants we can both eat and dye textiles with, to the political acts of cooking our own food and mending our own clothes.”

Garments on view in Counter-Couture

Summer seems the ideal time to start on a new path, making ‘re-connections’ as Food and Fibers states. Shop at your local farmer’s market, filling your basket with greens and fruit for your next meal. Make a garment from organic cotton grown in the USA with a pattern from Alabama Chanin. Visit a sheep farm and purchase yarn to make a hat or pair of socks for cooler days to come. Fire up a dye pot from plants grown on the land and re-dye faded, stained clothes from your closet, rendering anew. Mend those blue jeans with the holes in the knees instead of purchasing a new pair.

Each and every time one contemplates a purchase, ask who made this, or where was it grown? The time to ponder and choose is now.

Quoted text from exhibition wall text of Counter-Couture Handmade Fashion in an American Counterculture, Museum of Art and Design. On view until August 20, 2017.

Recently, Sharon Butler of award wining blog, Two Coats of Paint, asked me to compile a list of ten current “ideas and influences.”  The text of the blog is below. Please visit Two Coats for the full post with images.

page from my grandfather’s herbarium

“Artist and citizen naturalist Brece Honeycutt lives in Massachusetts, on a colonial farmhouse in the foothills of the Berkshire mountains. Fascinated with the history of her home and the surrounding land, she reads handwritten antique diaries at the local library, gathers old textiles, and creates natural dyes from the plants she collects on her morning walks. During her walks, she closely observes changes to the landscape, making notes that become the basis for new projects. On the occasion of her solo show at Norte Maar, Honeycutt has compiled the following list of ideas and influences that inform her work.”

1. Henry David Thoreau. “It will take half a lifetime to find out where to look for the earliest flower,” noted Henry David Thoreau in his journal. [1] For seven years (1851-1858), Thoreau walked his environs around Concord, MA and recorded his observations noting when plants sprouted, trees leafed out, and birds returned.  An inspiration for us all to be become Citizen Naturalists.

2. Citizen Naturalist. Recently I started participating in the USA National Phenology Network as a Citizen Naturalist, using Nature’s Notebook app. Phenology, as defined by the Merriam-Webster dictionary, is “a branch of science dealing with the relations between climate and periodic biological phenomena (as in bird migration or plant flowering).” In fact, Thoreau’s findings have become the basis for comparative studies being conducted by the scientist Dr. Richard B. Primack that demonstrate climate change and how the warming of the planet is affecting the cycles of our environs.  Daily I note the returning ducks and birds, the flowering coltsfoot and the occasional spotting of a bobcat.

3. Emily Dickinson. Like Thoreau, Emily Dickinson was a keen observer of plants and a magnificent gardener. I wondered what plants were found in her area of Massachusetts in the 1800s and might we have them here?  Dickinson wrote to her friend, Mrs. A. P. Strong, in 1848, “The older I grow, the more I do love spring flowers. Is it so with you? While at home there were several pleasure parties of which I was a member, and in our rambles we found many and many beautiful children of Spring, which I will mention and see if you have found them–the trailing arbutus, adder’s tongue, yellow violets, liver leaf, bloodroot and many other small flowers.” [2]

4. Spring Ephemerals. Indeed, all but the trailing arbutus are found on the grounds of Bartholomew’s Cobble (Ashley Falls, MA). In a few weeks, the Spring Wildflower Festival will begin at the Cobble and for the second year, I will be leading tours. I am busily reviewing my notecards, guidebooks and poems that I will read to the guests. The most important “tool” is to go and walk the trail, slowly, ever so slowly. Stopping, and really looking around. As Thoreau noted, the earliest flowers are the hardest to find.  Spring ephemerals–plants that grow for a short time span due to the intense sunlight and the particular soil found at the Cobble–are fleeting and glorious.  This year I want to embark on a project, “To know you is to draw you.”

5. Herbariums. Plants & Place, Deerfield. What did that particular plant look like when it first sprouted? Gardeners, Citizen Naturalists like Dickinson and Thoreau made Herbariums to both identify and document their native flora and fauna. Each year, I vow to start my own Herbarium and to jump start this year’s process, I look forward to the upcoming symposium at Historic Deerfield–Plants and Place:  Native Flora of Western Massachusetts. We will review various herbaria, including the early collected plant pages of Stephen West Williams.

6. Susan Howe. I had the pleasure of attending a lecture at The Morgan Library with Susan Howe and Marta Werner regarding the current exhibition I’m Nobody! Who are you? The Life and Poetry of Emily Dickinson. The exhibition catalog is a treasure trove of essays and images including a conversation between Werner and Howe, “Transcription and Transgression.”

Werner asks Howe about seeking “small, out-of the way archives.”

Howe responds:  “Yes, I also enjoy small local libraries. Usually they have local historical collections where you will find things that historicists have neglected, or you find an old book with the odd spelling from seventeenth century. I don’t know. It’s the peace found in the landscape of place.” [3]

7. Webster’s Dictionary. Howe discussed also that Dickinson used a particular dictionary, Noah Webster’s 1844 An American Dictionary of the English Language. In a post-lecture conversation, Howe said that not only were Dickinson’s words defined by this exact dictionary, but that her gaze across the pages of the dictionary influenced her writings. I procured a facsimile 1828 Webster (also found in the Dickinson home) and have been looking up words found in her poetry, Thoreau’s writings and even to see if a spring ephemeral can be found on the pages of this book, evidencing that a plant was very much in residence. What a treat to read Jennifer Schuessler’s article “A Journey into the Merriam-Webster Word Factory” in the March 22 edition of the New York Times.

8. Mending. Sewing. Georgia O’Keeffe. Alabama Chanin. The current exhibition Georgia O’Keeffe: Living Modern at the Brooklyn Museum charts her life through drawings, paintings, photographs and clothing. Her friend Anita Pollitzer noted that O’Keeffe was “extremely industrious, her hands are seldom idle. She loves to sew—not fancy things, but Chinese silk blouses and loose clothes that become her.” One wall label noted her to be a “conscientious mender” of clothes.

Inspired by Alabama Chanin a few years ago, I found the determination to make some of my own clothes. Stitch by stitch.

9. Clean Air. Clean Water. Rachel Carson. Where will we be without clean air and clean water?  After watching PBS’s documentary American Experience:  Rachel Carson, I sought the pages of Silent Spring, first published in 1962.  Carson’s intensely factual, yet lyrically written, scientific book exposed the devastation occurring from the use of synthetic chemicals on all living beings.

Carson states:

“If the Bill of Rights contains no guarantee that a citizen shall be secure against lethal poisons distributed either by private individuals or by public officials, it is surely only because our forefathers, despite their considerable wisdom and foresight, could conceive of no such problem.

“I contend, furthermore, that we have allowed these chemicals to be used with little or no advance investigation of their effect on soil, water, wildlife, and man himself. Future generations are unlikely to condone our lack of prudent concern for the integrity of the natural world that supports all life.” [4]

10. Wendell Berry. Now. Wendell Berry asks us to remain in the present with our actions in regards to climate change and land abuse. He posits that if we are only thinking of what can be accomplished in the future, we are missing the opportunity for what we can do right now. He invites us to “save energy now for the future” by beginning with small acts today. Berry states,

“….so few as just one of us can save energy right now by self-control, careful thought, and remembering the lost virtue of frugality. Spending less, burning less, traveling less may be relief. A cooler, slower life may make us happier, more present to ourselves, and to others who need us to be present.” [5]

Footnotes:

[1] Henry David Thoreau, Thoreau’s Wildflowers, edited by Geoff Wisner, (New Haven: Yale University Press, 2016), pg. 16.
[2] Emily Dickinson, The Letters of Emily Dickinson, 1845-1886, Google Docs, page 38.
[3] Susan Howe and Marta Werner, “Transcription and Transgression,” The Networked Recluse:  The Connected World of Emily Dickinson, (Amherst: Amherst College Press, 2017), pg. 135.
[4] Rachel Carson Silent Spring, (Greenwich: Fawcett Books, 1962), pg. 22.
[5] Wendell Berry, Our Only World Ten Essays, (Berkeley:  Counterpoint, 2015), pgs. 174, 175.

“bewilder: New Work by Brece Honeycutt,” Norte Maar, Cypress Hills, Brooklyn, NY. Through  April 23, 2017.