Finding Aids

This one-year pilot program developed by The Center for Art + Environment at Nevada Museum of Art, was meant to encourage artists and writers to work as teams on art + environment projects. Materials include applications, correspondence, images, and in-depth applications from the five finalists.

Arnhembrand was a multi-disciplinary and participatory Australian Aboriginal art project created by artist Mandy Martin and conservationist Guy Fitzhardinge designed to take the contemporary stories from two remote communities of Australia’s Northern Territory to the world.

Ars contemporaneus alpinus (ACA) was a theoretical and applied research project based in the canton of Valais, Switzerland, about the issue of site-specific practices taking the natural environment as a context. Materials include video, photographs, essays, maps, posters, other printed ephemera.

Employing both digital and analog cameras during a cruise to the Antarctic Peninsula in 2018, artist David Arnold created five photographic projects in which he made both original images and re-photographs at the approximate locations of historical images.

Beginning in the mid-1970s, artist David Arnold began creating visual poems using press-type letterforms and collage. He soon thereafter began documenting graffiti in abandoned structures, then applying his own language and visual elements to the structures, as well as designing visual poetry for billboards.

This collection consists of announcements and ephemera from the ChengLong Wetlands Environmental Art Project Festival from 2010 – 2014.  Materials include exhibition catalogs, exhibition brochures, posters, proposal materials, and digital images.

This collection consists of announcements and ephemera from the Guandu International Outdoor Sculpture Festival from 2006 – 2009.  Materials include exhibition catalogs, exhibition brochures, festival posters, and e-mail correspondence between Jane Ingram Allen and Bill Fox.

For Jane Ingram Allen’s Living Quilts, the artist uses wildflower-seeded handmade paper created with and installed by the community. Focused on environmental issues, the works change over time into a wildflower garden.

Artists Julie Anand and Damon Sauer photographed cold war era calibration targets, overlaying the images of the sky with the paths of orbiting satellites that were present when the photograph was taken, thus exploring vast networks of information. Materials include artist information and correspondence, exhibition and work prints, exhibition ephemera, and press materials.

Abeles is a community-based feminist artist who seeks to make local environmental issues visible. The archive contains materials related to her lifelong process; book dummies, exhibition ephemera, objects, journals, sketches, manuscripts, catalogs, correspondence, videos, and press.

Lita Albuquerque: Stellar Axis contains correspondence, grant applications, maps, journals, photographs, and video of “Stellar Axis”, a large-scale art installation created in the Antarctic in 2006 on the Ross Ice Shelf and again at the North Pole in 2007.

The materials in this archive are intended to show stages of progression in woodblock printing. Todd Anderson chose the print titled Tanner Kuhl: Blue Ice Drill operator, Antarctica, from the book titled “The Oldest Ice on Earth: Allan Hills, Antarctica, by Ian van Coller and Todd Anderson.

Ulrike Arnold: Meteorite Paintings consists of nine small canvases created with dark, yet highly refractive meteorite dust, and a rectangular “color palette” canvas all made in Utah in 2011. The archive also includes diary notes, press materials, video productions, musical compositions, digital images, and miscellaneous materials.

Artist Beverly Buchanan installed sculptural works in the landscape to acknowledge important places in African American history that have been forgotten—quietly intervening in the landscape and memorializing sites of racial disparity or violence.

Through a design competition, Will Bruder was chosen to design a new building for the Nevada Museum of Art, which opened in May 2003. Materials in the archive consists of slides of previous work, architectural drawings, and images of the architectural model.

Black Rock Solar was an outgrowth of the 2007 “Green Man” Burning Man event. It grew into a 501(c)3 nonprofit, tax-exempt organization until its demise in 2017. Materials include organizational papers, press, posters, banners, digital images, and other ephemera.

The exhibition “Boundless Horizons” was the result of a partnership between the educational outdoor art programs at the Australia National University, MiraCosta College, University of New Mexico, and Colorado State University. Materials include photographs, sculptural objects, printed ephemera, and digital prints.

Love Motel for Insects, a project by Brandon Ballengée, is an ongoing series of outdoor installations intended to construct situations between humans and arthropods. Materials include signage, exhibition ephemera, UV light and fixtures, drawings & sketches, music sound track, digital images, press, and documents.

Bergman used waste plastic collected from the beach to create an installation exhibition in 1987. Concerned about the tons of discarded plastic and its consequences on marine mammals, she conceived the idea for recycling waste plastic to create a sustainable road paving material called “Plasphalt.” Materials include exhibition ephemera, slides and photographs, press materials, Plasphalt and source plastic samples, patent paperwork, field testing kit, correspondence, and grant applications.

Sun Farm is multidisciplinary project/place and experiential garden oriented to solar and celestial alignments created by architects/artists Daniela Bertol and David Foell in Claverack, New York. Materials include photographs, digital design drawings and texts, writings, announcements, flyers, and press.

David Best is an internationally renowned American sculptor best known for his Burning Man temples. This archive represents his entire artistic practice.

For more than 40 years, painter Diane Burko has focused on monumental and geological phenomenon, but began focusing on climate change in 2006. Materials include exhibition ephemera, project cover sheets and reference photographs from two bodies of work, a blog, press materials, and interviews.

Jackie Brookner was a late 20th century American sculptor, ecological artist, educator, and prolific writer on subjects at the intersection of language, ecology, human nature, and our connection to the natural world. The materials in this archive span much of her career.

Photographer Jean Brundrit traveled to the Antarctic in 2019-2020 where she coupled ice lenses with her 4×5 view camera. Materials include photographs, exhibition ephemera, and press materials.

The archive Jean-Pierre Bonfort: Traveling contains work prints, books, artists books, post cards, maps, and ephemera related to the artist’s travels, which he documents on his cell phone and publishes on inexpensive materials, often creating small offset-printed books and portfolios.

Judith Belzer’s paintings about the Panama Canal juxtapose a highly geometricized structure with the natural landscape, even as she abstracts away from realistic portraiture of the surroundings. Materials include sketches and watercolors, site photos, installation images, maps and postcards from Panama, research materials, printed ephemera, and correspondence.

The first series of this archive is comprised of materials from the Floating Island project initiated by Bash with the writer William L. Fox in 2006. The larger part of the archive is Bash’s 2011 bound and boxed PhD thesis, Spatial Poetries: Heuristics for Experimental Poiesis.

Artist Lyle Ball (1909-1992) traveled extensively throughout the Western United States, capturing a unique photographic record of many architectural structures that have since been lost.

German artist Margit Brünner collaborates with nature to produce her art by pulling canvases and drawing paper through the landscape. Materials include drawings, a DVD, and Brünner’s Ph.D thesis, which is housed in the CA+E Research Library.

Bisbee was an artist-in-residence at THE LAND/an art site property where he completed four separate but related projects which were exhibited at THE LAND’s gallery in Albuquerque in 2012.Materials include photographs, found object sculpture, exhibition ephemera, and project documentation.

Richard Black’s 2009 PhD Project thesis explored the role of site in the architectural design process. Black developed an architecture that matches the variable nature of the river in flood and drought for the River Murray floodplain, in southern Australia. Materials include a copy of the thesis, perspective drawings, computer generated maps, and research materials.

Since the mid-1980s, Robin Brailsford has worked at the forefront of environmental public art commissions. Materials include written project proposals, blueprints, installation and finished photographs for her solo projects and as part of collaborative design teams.

The archive Simon Balm: Stellar Axis, Antarctica consists of materials collected by Simon Balm, the astrophysicist contracted by Lita Albuquerque for her 2006 Stellar Axis project. Materials include data files, correspondence, logistical documents, maps, and drawings.

Spray, Nevada documents Danish artist Stig Brøgger’s interventions at nine different sites in the desert of the American Southwest in 1969. Materials include slides and project documentation.

Key Observation Point originated from artist Susanna Battin’s interest in the “Landscape Scenic Quality Scale”, a metric pioneered by a group of landscape architects and foresters in the late 20th century who sought to quantify beauty as a means of environmental protection. Materials include research and exhibition materials, a painting, and children’s classroom drawings.

William Binzen created singular images to accompany his Desert Siteworks project from 1992-1994. Desert Siteworks was a summer solstice celebration held annually before Burning Man. Materials include color photographs and backstories to each one, video, and printed ephemera.

This is a revolving archive that contains folders of materials from artists and organizations relevant to the Center that may or may not eventually contribute archives to the CA+E.

This collection is made of a series of miscellaneous artworks or art-related objects that are relevant to and collected by the Center for Art + Environment.

In 2001, Artist David Buckland created the Cape Farewell project to instigate a cultural response to the climate challenge, which is now an international not-for-profit program that uses expeditions to look into the scientific, social, and economic realities of climate disruption.

This archive contains materials relating to Center for Land Use Interpretation’s (CLUI) Wendover Residency Program, which was created in 1997 and ended after the 2015 residency, to support the development of new interpretive methodologies and ideas.  

Jean-Baptiste Charcot, French explorer and oceanographer, made two Antarctic expeditions around the turn of the 20^th century. These 17 lantern slides created from his second expedition of 1908 – 1910, were most likely used for presentation purposes.

Signe Lidén (Norway), Annesofie Norn (Denmark), and Steve Rowell (USA) collaborated to produce the project which included sound, videos, and photographs, an experimental garden field guide/map, and the contents from an imagined survival kit designed to help future generations successfully locate Svalbard Global Seed Vault.

Connie Cahlil was a Burning Man participant from 2004 through 2014, as well as one of the organization’s critical financial advisors. This archive consists of personal memorabilia from her times on the playa. Materials include Black Rock City maps, What When Where Guides, Survival Guides, BRC Tip Sheets, stickers, decals and other Burning Man ephemera.

Artists Christo and Jeanne-Claude undertook a monumental environmental project that occurred simultaneously in California and Ibaraki, Japan, utilizing large-scale umbrellas.

Architect Don Clark designed the Burning Man and Burning Man base structures for the 2014 and 1015 events. Materials include sketches, architectural drawings and specifications, digital images, presentations, and videos.

This archive contains materials from Judy Chicago’s work with dry ice, smoke flares, and fireworks to create distinct bodies of work: Dry Ice, Atmospheres, Women and Smoke, and Smoke Sculptures. Materials include limited edition prints, photographs, digital images, slides, 16 mm films, correspondence, drawings, maps, notes, maquettes, and coveralls.

This archive includes materials from Professor Emeritus for the University of British Columbia Dr. Marvin Cohodas’ extensive archive and lifetime of research on Native American basket weavers and basketry.

This archive contains materials related to “Dance of the Conquest” in Guatemala, a ritual dance-drama with masks and costumes that may be nearly 500 years old and in some communities is presented annually for the festival of the patron saint. Additional materials relate to contemporary weaving by Maya women of Chiapas, México and Guatemala.

Artist Paul Catanese has created an interdisciplinary artwork titled Visible from Space that erupts from a thought experiment about creating drawings on Earth so large they would be visible from the moon. Materials in the archive include video, photographs, printed ephemera, and notes.

The Robert Cole Caples archive consists of materials donated to the Nevada Museum of Art by the estate of Rosemary Caples in 2001. Materials include letters, photographs, manuscripts, drawings, negatives, correspondence, and notes.

Russell Crotty was commissioned by Nevada Museum of Art to produce one of his signature “sphere” artworks about Lake Tahoe. Materials in this archive include preliminary sketches and watercolor studies, working digital image printouts, project maquettes, exhibition ephemera, and press and publication materials.

Founded in 2006 by photographer Susannah Sayler and her husband Edward Morris, The Canary Project is a non-profit organization whose mission is to “produce art and media that deepens public understanding of human-induced climate change.” Materials include organizational materials, the founding photography project, and select artist projects funded by the organization.

The Arcy Douglass: Land Arts Investigation and Writings archive consists of photographs and writings relating to early earthworks by Michael Heizer, Walter De Maria, Nancy Holt, Robert Smithson, and land arts in general.

Artist Chris Drury was in Antarctica with the British Antarctic Survey’s Artist and Writers Fellowship from December 2006 – January 2007 where he made large-scale drawings on ice and took echo surroundings which he turned into various artworks. Materials include a handmade model of a Scott Polar Tent, an earth-text piece, his diary, correspondence, and catalogs.

The Derwent Project, a collaboration between Australian artists David Stephenson and Martin Walch, visualized in new ways the complex natural and cultural history of Tasmania’s Derwent River system.

The Paruku Project was a 2-year multi-team effort that included scientists, artists, and writers working in one of Australia’s most remote Aboriginal desert communities to assess its environmental and cultural conditions, and then to design cross-cultural and transformational responses.

Jean de Pomereu first visited Antarctica in 2003 and he has returned on numerous occasions. Photographs from his expanding body of Antarctic work have been exhibited and published around the world. Materials include correspondence, digital images, films, work prints, and printed ephemera.

Self-taught artist Jim Denevan began creating ephemeral drawings in beach sand, then later on dry lakes in the desert and on frozen surfaces in the mid-1990s. Materials include extensive digital files on all ephemeral drawings since the early 2000s, including press, sketches, research materials, aerial and satellite photos.

Using a touring bicycle, Joseph DeLappe drew a 460-mile chalk circle around US Air Force bases in an art project aiming to highlight how American deserts could be wired up to solar panels to create clean green energy. Materials include digital images, printed ephemera, two large-format photographs, website printouts, and project ephemera.

Operating across disciplines, artist Ryan Dewey finds ways to bridge deep time to connect ice ages of the past with ice ages of the future to produce work that expands our ability to contemplate our role in planetary change during our present interglacial period.

Spelman Evans Downer has been painting the world from above since the late 1970s, working first from elevated viewpoints on the ground and from photographs he took as an airline passenger, then using both contemporary and historical maps, and finally satellite imagery.

This archive contains support materials for the Larry Dalrymple Basket Collection, gifted to Nevada Museum of Art in 2023. Materials include basketmaker images and correspondence, collecting activity and outreach materials, basket making tools and materials, and additional artisanal objects.

The Deiro Collection contains materials relating to early earthworks by Michael Heizer, Walter De Maria, and Charles Ross, collected by Count Guido Robert Deiro, Airline Transport Rated pilot and project consultant.

EXTRACTION: Art on the Edge of the Abyss is an ongoing multimedia, multi-venue, cross-border art intervention which seeks to provoke societal change by exposing and interrogating the negative social and environmental consequences of industrialized natural resource extraction.

This archive consists of materials related to multiple trips the artist has made to the Antarctica including paintings on a variety of substrates, photographs, catalogs, exhibition announcements, short films and press materials.

Terry Evans and Elizabeth Farnsworth traveled throughout the Williston Basin—an area that includes part of North and South Dakota, Montana, Manitoba, and Saskatchewan—for 18 months in order to explore the effects the oil boom is having on both prairie and people. Materials include working photographs, research materials, maps, blogs, email correspondence, notes, and press materials.

This is Not a Trojan Horse was a project created by Futurefarmers: Amy Franceschini, Stijn Schiffeleers + Lode Vranken and in collaboration and with Pollinaria, an organic farm and artist residence operating in the rural context of Abruzzo, Italy, during the summer of 2010. Materials in this archive include digital images, video, copies of and original concept sketches, a cardboard model, and correspondence.

Terraria Gigantica: The World Under Glass explores the world’s largest enclosed landscapes as possible impossibilities: Biosphere 2’s ocean in the Arizona desert, the Henry Doorly Zoo’s desert in the Great Plains of Nebraska, and Eden Project’s verdant rain forest in Cornwall, England. Materials include three photographs (one from each site), project information, exhibition ephemera, a book dummy, and press materials.

Instrument (90ºS) is a musical and an atmospheric instrument that was conceived and installed in Antarctica as part of the NSF Antarctic Visiting Artists and Writers program by artist Donald Fortescue. Materials include NSF Antarctic Visiting Artists and Writers program materials, journals, instrument maquette, and music score.

This archive contains models, CAD drawings, videos, slides, field research journals, press materials, workshop materials, research materials, and reports related to the design for a large-scale complex of dew collecting structures in the Atacama Desert by architect Rodrigo Pérez de Arce and his students from La Pontificia Universidad Católica de Chile.

The Future North collaborative project both looked at the Circumpolar North landscape as the result of political, cultural, and social development – but also explored landscape as an agent in the production of these.

Native artist Harry Fonseca created a major series of paintings called the Stone Poems based on basket imagery and Indigenous rock art and petroglyphs of the Coso Range in the Eastern Sierra, as well as rock art sites in Utah and the Southwest.

The 2017 Burning Man Temple designed by artist, designer, Marisha Farnsworth, was built entirely from 100 dead trees, calling attention to the 100 million dead pine trees in California’s forests. Materials include proposals, design drawings, correspondence, digital images, press materials, and a model.

The majority of Stuart Ian Frost’s career has been devoted to creating sculptural interventions in outdoor environments using locally found materials. The catalogs, exhibition announcements and press materials in the archive are related to his works of this nature created from 1986-2017.

Atacama Lab was a joint venture workshop in 2007 between the Land Arts of American West Program, University of Texas, Austin, and INCUBO. Organized by INCUBO, the workshop was comprised of an orientation event followed by a ten-day fieldtrip in the Atacama Desert. Materials in the archive include maps, research, and draft manuscripts.

The archive William L. Fox: Michael Heizer consist of materials related to Fox’s work with Heizer on the writing of the essay for the brochure for the public sculpture outside of the Reno Federal Courthouse, and for his book The Void, the Grid, & the Sign. Materials also include organizational papers for the Triple Aught Foundation, correspondence, and photographs of City.

This archive contains materials related to the author William L. Fox’s Antarctic research for his book Terra Antarctica: Looking into the Emptiest Continent. Materials include research notes on image histories of the Antarctic; correspondence files with Antarctic artists in North America, New Zealand, and Australia; journals; 35mm slides of artworks; catalogs by various artists; and maps.

The archive William L. Fox: Third View contains materials related to the book “Third Views, Second Sights: A Rephotographic Survey of the American West,” which was a rephotographic project. Materials include field notes, correspondence, photographs, and research materials.

Bill Gilbert’s work in ceramics is the basis for all his other practices, including Land Art performances and installations, teaching, research fieldwork, his curation of indigenous materials, and his work with the Mata Ortiz pottery community in northern Mexico.

Artist Bill Gilbert began visiting and working with the potters of Mata Ortiz in 1991. These archive materials are a definitive record of Mata Ortiz ceramic evolution during the 1990s. Materials include photographs, slides, documents, catalog drafts, and exhibition ephemera.

As a collaborative work between an artist and a literary critic, Peter Goin and the Photography of Environmental Change narrates the forty-year quest of contemporary photographer Peter Goin to document human-altered landscapes across America and beyond.

Throughout his career, Gianfranco Gorgoni photographed Land Art works during and after their creation, thus forming one of the most important documents in the history of Land Art. Materials include contact sheets and work prints.

Since 2020, the Grand Canyon National Park Artist-in-Residence program has welcomed artists to live and work at the Canyon to engage in creative research and reflection, and to create work that contributes to the Park’s cultural and historic legacy.

Great Basin Native Artists is a collective of Indigenous artists living in/or originally from the Great Basin areas of Nevada, California, Southern Oregon, Southern Idaho, and Utah. Materials include documents, digital images, articles, exhibition ephemera, posters, prints, and press materials.

Walking in Antarctica was created by Helen Glazer from her two-month experience in the Antarctic as a 2015 grantee of the National Science Foundation Antarctic Artists and Writers Program. Materials include National Science Foundation Applications, digital imagery, audio files, exhibition ephemera, and press materials.

The archive of photographer Owen Gump’s desert works currently consists of one photograph of TRIC (Tahoe Regional Industrial Center), and 16 working photographs documenting Michael Heizer’s 1969 Displaced Replaced Mass project in the Nevada Desert.

This archive contains materials from two projects by eco-artist Todd Gilens that focus on large-scale processes like water systems and ecological change, and how critical but largely invisible processes can be meaningfully encountered.

Fritz Haeg: Projects contains materials related the Sundown Salon; Sundown Schoolhouse; Edible Estates; Animal Estates and, Designing, Constructing, Parading, Rewilding Projects. Materials include articles, brochures, and exhibition and project ephemera.

The Harrisons have created a project that proposes a series of long-term ecological responses to recorded temperature increases in the Sierra Nevada at the Sagehen Creek Field Station near Truckee, California as part of a fifty-year collaboration between the Museum and the Harrisons.

The Book of the Lagoons is a handmade book comprised of 45 hand-colored photographs depicting the story of the seven lagoons, which is based upon the project and exhibition The Lagoon Cycle. The project interpreted the large-scale ecosystem of the Pacific Rim, in particular interactions among food production and watersheds.

High Desert Test Sites (HDTS) launched in 2002 as a free ranging and ever-evolving series of contemporary art events in the Southern California desert by the loosely knit group of collaborators Andrea Zittel, Andy Stillpass, John Connelly, Shaun Regen and Lisa Anne Auerbach.

This unique archive provides historical and familial context to the life of contemporary artist Michael Heizer. Materials include family memorabilia, historical mining documents and items, rock sample, artists sketches and book.

This archive documents Taipei Operations, part of Royal Melbourne Institute of Technology University’s (RMIT) “X_Field” (“expanded field”) program in urban studies. Materials include a two-part book with five dissertation panels and DVD of urban walking projects called Taipei Operations (2004) and Curating the City (2009).

Artist Scott Robert Hudson’s artistic practice is to investigate the socio-ecology and kinesthetic memory of place. Materials include artist journals from 1978 – 2019, conceptual renderings for installation proposals, a fire video project, interview transcripts, and essays.

Spanish conceptual artist Antoni Miralda conceived of a multi-year, multi-event project marrying the Christopher Columbus Monument in Barcelona to the Statue of Liberty in New York, which culminated in a 1992 wedding ceremony is Las Vegas. Materials include correspondence, project ephemera, and press materials.

Photographer Janna Ireland traveled throughout the State of Nevada in 2021 – 2022 to photograph buildings designed by renowned Black architect Paul R. Williams, which were displayed in 2022 at the Nevada Museum of Art. Materials in this archive were collected to provide supporting documentation for the projects represented in the exhibition.

American abstract artist Will Insley dedicated 50 years of his life to his visionary city concept named ONECITY, which he manifested through drawings, paintings, models, photo-collages, and writing.

June Julian creates works that address human and environmental themes of imbalance and regained equilibrium through painting, fiber, printmaking, photography, land art and Internet projects.

This archive contains materials from the life and artistic practice of mid-century artist Adaline Kent, who created sculpture, drawings, and paintings, that expressed her deep interest in the organic world with her steadfast pursuit of authenticity.

Chris Kannen spent February-April 2008 in the Dry Valleys, Antarctica, gathering reference material for a series of oil paintings. He created studies outdoors while based at the Lake Hoare field camp that consisted of an experimental mix of representational and abstract images. Materials include inkjet work prints, drawings and watercolor studies, digital images, various NSF documents, and a PDF of his Antarctic blog.

Materials in this archive include Burning Man jewelry in various media collected by Lady Bee from on the playa as gift exchanges, as well as from individual artists throughout the years.

Centuries of the Bristlecone is monumental calendar that is based upon growing girth of five Bristlecone trees sited on Mount Washington in eastern Nevada. The discrepancy between bristlecone time and Gregorian time will be visible at the Museum in Reno as a mismatch between where the calendar indicators point on the two faces of a dual pendulum clock.

The Mark Klett & William L. Fox: The Half-Life of History archive contains research materials, notes, essay drafts, work prints, book dummies, press, and .50 caliber shell casings related to Klett & Fox’s research of the deteriorating remnants of the Wendover Air Base, the largest military base in the world during WW II, for the book Wendover: The Half-Life of History.

Materials include contact sheets, work prints, book dummy, and book proofs for Stuart Klipper’s book titled The Antarctic: From the Circle to the Pole, published by Chronicle Books in 2008 and miscellaneous related Antarctic ephemera.

The artist files in this archive were utilized by Nevada Museum of Art’s Senior Curator and Deputy Director, Ann M. Wolfe, for the exhibition Tahoe: A Visual History, from August 15, 2015 – January 10, 2016, as well as for the publication of the same name.

Bruce Licher of Independent Press designed and produced Antarctic printed ephemera such as stamps, postcards, posters, and envelopes for sale in the gift shops pf the three U.S. Antarctic stations. Materials include Antarctic stamps, printed ephemera related to the Antarctic and Independent Project Press, and a music CD.

Cannupa Hanska Luger is an interdisciplinary artist whose community-oriented artworks address environmental justice and Indigenous political issues. The Mirror Shield Project was initiated for and at Oceti Sakowin camp near Standing Rock, ND in 2016.

Center-Surround by artist Eric LoPresti is a multi-channel video that juxtaposes the intimacy of Aikido hand-to-hand martial arts practice with the impersonal violence of weapons of mass destruction. Comprised of two synchronized videos, a card naming a specific nuclear explosion appears at precisely the same time as an Aikido randori breakfall.

House for Summer is a living tree sculpture created by Helen Lessick and planted in 1987 at the Hoyt Arboretum in Portland Oregon. Materials include printed ephemera and field guides, 35 mm slide images, digital imagery documenting the growth of the trees from 2006 – 2011, press, and exhibition materials.

The archive Judith Lowry: Indians and Irony, contains ephemera collected by Judith Lowry during her lifetime that exploits inaccurate and culturally insensitive images of Native Americans.

The Land Art Generator Initiative (LAGI) was founded in 2009 as an international competition designed by the husband-and-wife team of Robert Ferry (architect) and Elizabeth Monoian (artist). Materials include organizational materials, printed ephemera, competition and exhibition files, correspondence, and publications.

Land Arts of the American West contains materials generated from the studio-based field studies program started by Bill Gilbert at the University of New Mexico (UNM) in 2000 with the help of John Wenger. In 2002, Chris Taylor, an architect then at the University of Texas, Austin (UTA), was brought in to co-direct the program until 2007.

In 2009, a group of New Mexico arts organizations presented LAND/ART, a project that explored relationships of land, art, and community. Suzanne Sbarge, Executive Director of 516 Arts and LAND/ART Project Coordinator gathered the project catalogs, ephemera, and national and regional press coverage.

This archive includes research materials about Lorenzo P. Latimer (1857–1937) plein-air painter, which were collected and used by Alfred Harrison of North Point Gallery in San Francisco for writing of his book and various articles about Latimer.

Lucy R. Lippard’s archive contains research materials related to later works written after she moved to New Mexico in the early 1990s. Materials include magazine articles, newspaper articles, research papers, and notes.

FOREST⇌FIRE is an installation designed by Heather and Michael Llewellyn to flow thematically through past, present, and future, to tell the story of the forest ecology and its relationship with fire.

In 1998, Michael Light installed the photographs from Full Moon under Plexiglas at Burning Man a year before the book was published; similarly, he installed 100 Suns a year prior to its publication. Materials include the entire series of 100 Suns photographs, and five photographs of the installations at Burning Man in 1998 and 2002.

Matter, published in 2016, is the second major body of work produced by photographer Michael Lundgren. Materials in the archive include work prints and copies of journal entries from 2006 – 2016 about the work and the artist’s thought process.

This archive includes foundational documents for the Long Now Foundation and contains years of email among the three founders. It also contains materials such as maps, government geologic surveys, correspondence, and sketches related to the site search for the 10,000-year clock project, titled the Clock of the Long Now.

Anna McKee received a National Science Foundation Antarctic Visiting Artists and Writers Program grant for the 2009-2010 Antarctic field season, where she used data from the 3,405 meter long ice core to create the artwork titled WAIS Divide Reliquary. Materials include process samples, digital images, research materials, presentations, exhibition ephemera, grant materials, design documents, sketches, watercolors, and prints.

Proving Ground is David Maisel’s investigation through photographs and time-based media of Dugway Proving Ground, a classified site covering nearly 800,000 acres in a remote region of Utah’s Great Salt Lake Desert. Materials include research materials, work prints, digital images, correspondence, and exhibition ephemera.

Dusty Mikel’s archive includes materials from her time as a member of the Black Rock Rangers, as organizer of the Outback camp, and as a regional representative of Burning Man. Materials include audio interviews with transcripts of Burning Man founders and contributors, Dusty’s Ranger costume, documents, and objects.

Erin Moore uses her architecture practice FLOAT for architectural research and design as a testing ground for designing with explicit intentions for the ecological context of buildings. Five projects are presented in this archive.

This archive contains 170 mostly undated sketches and drawings by Hans Meyer Kassel primarily executed in Reno, Carson City, and Genoa, Nevada.

Artist Jack Malotte (Western Shoshone and Washoe) has been a practicing artist his entire life, making artworks that celebrate the landscapes of the Great Basin with a unique focus on contemporary political issues faced by Native people.

The Salton Sea was re-created in 1905 when high spring flooding on the Colorado River crashed the canal gates leading into the developing Imperial Valley. This archive contains research materials for the book Salt Dreams by Joan Myers and historian William deBuys.

Joan Myers received an Antarctic Artists and Writers Program grant from the National Science Foundation that allowed her to spend three months photographing scientific study and daily life at McMurdo Station. Materials include research materials, journals, maps, documents, grant applications, correspondence, press materials, and Antarctic and NSF ephemera.

Photographer John Felix Martin was personally invited during a studio visit by Larry Harvey to attend the 1991 Burning Man event to photograph it and attended the festival in other years thereafter. Materials include transparencies, negatives, and contact sheets from the Burning Man event.

Artist Julie Meyer’s research-based practice investigates city fringes and landscape’s borders. This archive contains the artist’s project notebook titled Icarus, that documents her mapping process and includes sketches and photographs of Wendover, Utah and West Wendover, Nevada.

Larry Mitchell: The 1°C Project contains materials relating to his project of the same name that chronicles the effects of climate change on the islands in the Indian Ocean through painting. Materials include journals, watercolor and gouache studies, maps, and photographs.

The archive Mandy Martin: Desert Channels consists of materials related to the Desert Channels project, a collaborative project that explores the varied biodiversity of the Desert Channels country of south-western Queensland in Australia. Materials include correspondence, digital images, press materials, notes, maps, exhibition ephemera, presentation transcripts, book layout materials and contract.

This archive consists of a suite of seven collaborative environmental art projects organized by painter Mandy Martin from 1995 through 2005. Materials include correspondence, slides, exhibition ephemera, photographs, digital images, and research materials.

This archive contains materials related to Burning Man, the annual art event and temporary community program held every year in the Black Rock Desert during the last week in August, which had its origins in the 1980s at Baker Beach in San Francisco. Materials include participant and program ephemera, slides, photographs, video, design documents, and press.

This career-spanning archive is an overview of the artist Michael Moore’s work as a painter and printmaker. The works are primarily landscapes around his studios above Winnemucca and Smoke Creek Desert, but also includes work about the built environment in those desert locales.

For his book and exhibition titled Ice Music, Miller worked through materials from his journeys to the Antarctic and Arctic to contemplate humanity’s relationship with the natural world. Materials include graphics from The Books of Ice, copies of four original scores, the Ice Music CD, press, photographs, posters, and personal gear.

Robert Morrison was a sculptor who worked in realistic and abstract modes in his early career, but later became more widely known for his elaborate installations fashioned from sheet metal and other materials.

Given Walter McNamara’s prominence in Reno as an artist and curator his archive presents a critical building block in the art history of northern Nevada during the latter half of the 20^th century.

Harry Nankin: Cameraless Ecological Photography contains materials related to ten photography projects, as well as Nankin’s Master’s Project and Ph.D. thesis. In his projects, Nankin uses the camera-less ‘photogram’ or ‘shadowgram’ to record ecological phenomena, endevouring to turn the landscape itself into a camera.

SP Weather Station is an interdisciplinary project that collects weather data, hosts a Guest Lecture Series, organizes weather-related publications, events, exhibitions, and publishes a collated portfolio of weather reports. Materials include prints, booklets, drawings, audio files, photos, posters, and video.

Judy Natal Future Perfect Future Perfect consists of three photographic suites made in contested sites where human intervention has decidedly affected land use. Materials include journals, prints, research materials, correspondence, objects, maps, brochures, postcards, stamps, newspaper articles, and exhibition ephemera.

The 1993 National Science Foundation Artists and Writers Program participants created twenty-three exhibition panels, reflecting the creative output for that year.

This archive contains photographs and condition reports of sculpture in Nevada from Nevada Arts Council’s involvement with Save Outdoor Sculpture!, a national survey of the outdoor sculpture sponsored by Heritage Preservation (The National Institute for Conservation) and the Smithsonian American Art Museum.

The Nevada Museum of Art, founded in 1931 and located in Reno, Nevada, is the oldest and largest nonprofit arts organization in the state. Historical documents, administrative materials, education materials, exhibition ephemera, special event ephemera, and accreditation documents are among the materials.

The archive Erika Osborne: Mapping Projects consists of materials related to artworks developed during her time with the Land Arts of American West program at the University of New Mexico. Her work explores how human bodies, landscapes, and maps relate to one another. Materials include digital prints, maps, research materials, drawings, video, and a sculptural artwork.

Shaun O’Boyle visited Antarctica three times with the National Science Foundation’s Antarctic Artists and Writers Program (AAWP), where he photographed the built and natural environments of McMurdo, Palmer, and Amundsen Scott Stations.

The archive covers the travels of Nevada ceramist Dennis Parks, who conducted workshops and lectures to present his unique firing techniques throughout the U.S. and abroad. Archive materials include journals, press materials, photographs, slides, negatives, itineraries and maps, and exhibition ephemera.

In her photography projects, artist Kristin Posehn photographs designed, purpose-built, and re-positioned architecture. Materials include an artist’s statement, process notes, vinyl fragments, exhibition ephemera, documentary photographs, and exhibition photographs, a brochure and a compiled newspaper.

This archive consists of two projects, one covering Nolan Preece’s 3 ½ year employment during 1984-1987 at the Morton Thiokol Rocket Testing Facility and another making a rare flight through the Fallon Naval Air Station’s restricted airspace in western Nevada. Materials include digital images, photographic prints, patches and stickers, maps, and exhibition ephemera.

The project “Persistence of Vision: Antarctica” by Patricia Suchy and Vince LiCata recreates modern versions of some of the most iconic photographs of the Antarctic continent taken 100-plus years ago.

The “Personal Space” project and exhibition is an extensive and scholarly collection of stereoscopic material about the Western United States including Nevada.

Conceived by artist Trevor Paglen, Orbital Reflector was a “Nonfunctional Satellite” sculpture intended to self-inflate like a balloon and become as bright as a star in the Big Dipper, thus creating a visible sculpture in the night sky, had it not been “lost in space.”

This archive contains materials related to Burning Man, the annual art event and temporary community program held every year in the Black Rock Desert during the last week in August, which had its origins in the 1980s at Baker Beach in San Francisco. Materials include participant and program ephemera, photographs, design documents, and press.

The archive Andrew Rogers: Rhythms of Life consists of materials related to “the world’s largest contemporary art undertaking,” a project that commenced in 1998 that by 2015 was comprised of 51 geoglyphs located in 16 countries across seven continents. The materials include press articles and photographs of situated geoglyphs.

The archive Charles Ross contains materials related to his artistic career and to his long-term project Star Axis. Materials include exhibition ephemera, magazine articles and reviews, and writings by the artist about Star Axis—a project begun in 1976.

This archive contains materials related to fire conclave and Black Rock Arts Foundation (BRAF) at Burning Man when in 1991 Crimson Rose danced at the foot of the Man and set it afire and started a curated group of fire dancers known as the fire conclave. Materials include Fire Conclave ephemera, documents, event ephemera, and photographs.

Artist David Rosenthal spent 6 Austral summers and 4 Austral winters in the Antarctic and has lived in and traveled extensively through the northern polar regions where he sketched and painted the landscape in preparation for making larger studio works. Materials include sketchbooks, studies, and exhibition catalogs.

While in residence at Palmer Station in the Antarctic Peninsula area, artist David Ruth and his assistant made ephemeral ice studies and small cast glass sculptures which became the basis for subsequent studio work.

Deon Reynolds was hired to document the installation of three wind turbine facilities located in Nevada, California, and Texas. Materials include two photographic portfolios, artist information, maps, schedules, promotional materials, grand opening ephemera, and press materials.

Jessica Rath: Projects contains materials related to three research-based projects about plant genetics of tomatoes, agricultural research in apple breeding, and behavior of pollinators and flowering plants. Materials include work prints, studies on paper, notebooks, exhibition ephemera, audio files, sculptures, and press materials.

In 1988, Australian artist John Reid made an “artistic discovery” of a previously unknown hominid, the Fishman, which was part of a successful effort to preserve the forests and rivers of the Southeast Australia. Materials in this archive include a portfolio, maps, objects, press materials, exhibition ephemera, and other supplemental materials.

The archive Libby Robin: Desert Channels consists of materials related to the Desert Channels project, a collaborative project that explores the varied biodiversity of the Desert Channels country of south-western Queensland in Australia. The archive consists of the book proof and a draft copy of the paper about the project.

The archive Lucy Raven: China Town contains materials related to the creation of the film China Town, a work of 7,000 still images taken as Raven followed the production of copper ore from Eastern Nevada to Beijing China. Materials include interview notes, brochures, sketchbooks, articles, business cards, maps, presentation notes, animation stills, and production notes.

Li-ion is a series of photo-realistic drawings and ceramic sculptures by artist Rachelle Reichert, that were inspired by three global lithium ponds impacted by technology: in the Salar de Uyuni in Bolivia, Silver Peak, Nevada, and the Mojave Desert.

Jeffrey Rose (aka Ranger Ronin) began writing about his Burning Man experiences starting in 1998. Materials include Ranger Manuals, journal entries and notes, as well as personally collected Burning Man ephemera such as patches and stickers, and Ranger Ronin’s Ranger clothing articles.

This archive contains materials from early Burning Man as well as the progenitive Neo-Dada groups on the west coast. Materials include scans of newsletters and other documents, and digital images.

Artist Ugo Rondinone’s Seven Magic Mountains is a large-scale site-specific public art installation located south of Las Vegas, Nevada, that opened on May 11, 2016. Materials include maquettes, documents, blueprints, digital images, photographic prints, sketches and renderings, video, correspondence, press materials, and exhibition renderings.

The Texaco Station of Gerlach, owned by Bruno Selmi, was managed by Bill Stapleton. Bill provided knowledge about the latest news and information about the conditions on the playa. Materials include photographs of the event from 1994 to 2007 with several missing years.

Bryndís Snæbjörnsdóttir and Mark Wilson created an exhibition of taxidermic polar bears intended not to celebrate the hunter, the collector, the taxidermist or the collection house, but the bear itself. Materials include photographs, posters, research materials, sketches, drawings, plans, correspondence, publications, press materials, and printed ephemera from exhibitions.

Buster Simpson: Public Projects archive consists of catalogs about public projects, including public art installations, sculptures, and master plans. It includes a stamped aluminum weathervane, which were placed near polluted sites to bring attention to violated salmon habitats.

This archive contains materials from three bodies of work by artist Clairissa Stephens: Desert Waterlines, Field of View, and Horizons | Lines. Materials include sketches and drawings, maps, and photographs.

This collection of drawings, watercolors, and preparatory sketches dates from the 1960s and 70s, shortly before artist Craig Sheppard was hired to teach at the University of Nevada Reno.

The archive David Stephenson: The Photographic Sublime contains prints from The New Monuments, Composite Landscapes, and Light Cities projects, as well as a copy of Dr. David Stephenson’s dissertation.

Local photographer Fred Sigman photographed the Las Vegas Wash, a 12-mile long channel running along the southeastern side of the Las Vegas Valley. His body of work is the most complete record of the wash during the late 20th century. This archive contains the portfolio of 15 digital pigment prints published in 2008.

Local photographer Fred Sigman worked along the banks of the Las Vegas Wash, a 12-mile long channel running along the southeastern side of the Las Vegas Valley. This archive contains early research materials, a journal, correspondence, promotional materials, digital imagery, book project materials, and press.

The archive Gregg Schlanger: Waterway for the Black Rock contains materials related to Schlanger’s art installation in 1992 at Burning Man including a grant application, photographs, slides and negatives, correspondence, newsletters, and a small booklet made by Chris de Monterey.

Jamey Stillings: Infrastructure and Landscape contains materials relating to photography projects at the Hoover Dam Bridge, Ivanpah Solar, miscellaneous aerial photographs of Nevada, and India by photographer Jamey Stillings. Materials include work prints, catalogs, grants proposals, press materials, research materials, and exhibition ephemera.

The archive Kim Stringfellow: Greetings from the Salton Sea contains maps, real estate films, media releases and coverage, book dummies, research materials, correspondence, work prints, press, and exhibition documentation related to research for her book, Greetings from the Salton Sea: Folly and Intervention in the Southern California Landscape, 1905-2005.

Photographer Lee Saloutos explored rural northern and central Nevada, seeking out mid-20^th century mining sites in order to photograph their facilities, most notably office and work interiors, which are seldom documented and imaged.

Sarah Crump and Nodin de Saillan, PhD candidates at the time of this project, created a graphical narrative of Holocene climate/environmental change in the Canadian Arctic, spliced with a future (RCP 8.5) T projection. Materials include document and prints.

The archive Randolph Sims: Paintings and Land Arts Projects traces the artist’s career as he created land arts projects, ephemeral drawings on sand with water, and other two-dimensional bodies of work. Materials include an interview, original drawings and paintings, correspondence, exhibition ephemera, slides, negatives, and photographs.

M12 is an American artist collective and non-profit organization that features an evolving group of artist practitioners, curators, and designers who create artworks, research projects, and education programs that explore rural cultures and landscapes. Materials include organizational papers, correspondence, photographs, sketches, and printed ephemera.

Sagehen Creek Field Station, a research and teaching facility of University of California, Berkeley, began an artist-in-residence program in collaboration with the Center for Art + Environment in 2015. Materials include video, digital images, documents, and press materials.

Artist Sam Shear builds elaborate sculptural installations, often of an ephemeral nature that question the role of religion, myth, and politics in society. Materials include models, digital images, notes and drawings, and press coverage.

The SCREE project was initiated by Pat Kikut and Tom Minckley as a river journey down the Colorado River not to re-enact John Wesley Powell’s original expedition, but rather to re-envision future proactive river management strategies.

The SETI Artist-in-Residence Program was created in 2010 by artist Charles Lindsay and astronomer Jill Tarter. Materials include organizational documents regarding the establishment of the SETI AIR program, and archive materials from each project including digital images, research materials, correspondence, objects, drawings, and exhibition and press materials.

Smout and Allen architectural projects “propose a positive and responsive interaction between the built and natural environments.” Projects for Landscape Futures consists of a book that documents and archives working materials from projects leading up to the Landscape Futures exhibition in 2011.

smudge studio, a collaboration between Jamie Kruse and Elizabeth Ellsworth, pursues the task of “inventing and enabling practices capable of acknowledging and living in responsive relationship to forces of change that make the world.” The archive contains press materials, blogs, correspondence, a film, postcards, cards, and project book.

Andie Thrams makes artist’s books in and about wildland forests, to create art that explores mystery, reverence, and delight, while grappling with vanishing habitats. Materials include printed exhibition ephemera, documents, postcards, and a small book in the form of a scroll.

Photographer Brad Tempkin is broadly concerned with how contemporary landscapes have been altered by human activity. This archive contains photographic prints from two book projects: The State of Water and Rooftop.

This archive includes materials from the photography projects Monuments, and DeLIMITations, a project that Taylor collaborated on with Marco Ramírez ERRE. Both projects document borders—the existing Mexico-U.S. border, and the proposed Mexican border of 1821. Materials include working photographs, historic photographic documentation, postcards, and ephemera.

THE LAND/an art site archive consists of materials relating to the formation of this non-profit organization, and materials created in relation to its mission of providing environmental artists opportunity to explore new ideas through exhibitions and individual residencies.

VENUE was a 16-month-long commissioned project launched in June 2012 by Geoff Manaugh and Nicola Twilley designed to document often overlooked yet fascinating sites through the eyes of the innovators, trendsetters, entrepreneurs, and designers. Materials in this archive include planning documents, correspondence, travel ephemera, postcards, instruments, a hand-designed wooden toolbox, and audio and image files.

This archive contains photographs by J. Absinthia Vermut and ephemera related to Burning Man, the annual art event and temporary community program held every year in the Black Rock Desert. Materials include participant and program ephemera, slides, photographs, negatives, and press materials.

April Waters, a member of the Antarctic Artists and Writers Collective, spent three weeks at Palmer Station, Antarctica, in 2018 through the NSF’s Antarctic Artist and Writer’s Program. After returning home, she created paintings from her observations.

This archive is comprised of materials based on Bethany’s experience with the Land Arts of the American West Program at Texas Tech University in 2011. The book art object Wood created is a series of five small book objects representing field camp features inside of an oxidized, etched copper container (also hand-made). Materials include the book object and her master’s thesis.

During June 2011, Bill Gilbert and John Reid conducted the Environment Studio Artist Exchange University of New Mexico/ANU, a pilot American-Australian field studies exchange program. One of the four American students that travelled to Australia, Cedra Wood, created a leather-bound journal with text, drawings and paintings of her experience.

Artist Cedra Wood was an artist-in-residence aboard the three-week 2012 Arctic Circle voyage which navigated around southern parts of the Svalbard archipelago and Spitsbergen. She conducted additional research in Edinburgh, Cambridge, London, and Norway.

Kesler Woodward: The 1899 Harriman Expedition Retraced contains materials related to Woodward’s personal painting practice and his participation in the recreated Harriman Expedition. Materials include catalogs, maps, sketches, correspondence, essays, articles and digital imagery.

Photographer Martin Walch’s project sought to create innovative new representations of Antarctica through a photographic investigation of temporal changes occurring in the Antarctic environment through novel systems of photographic capture and display.

This project, or performance, was staged in the autumn of 2010. The artists, Nikki (Nicole) Cormaci and Laura Haworth, recreated an international (faux) border station for the Woodhaven Nature Conservancy as a collaborative art project.

This archive consists of announcements and ephemera from exhibitions curated, presented, and promoted by Ecoartspace, a non-profit organization founded in 1997 by Patricia Watts and co-directed by Amy Lipton. Materials include Watts’ Curriculum Vitae, exhibition announcement cards, exhibition brochures, and essays.

Artists Daniel McCormick and Mary O’Brien create artworks as ecological interventions, adding aesthetics to the restoration of compromised environments. They focus on projects as living laboratories where community-driven installations encourage civic awareness and communal stewardship.