Dedicated to critical cultural production at the intersection of art and activism.

We cover artists from around the globe whose work explores and realizes social change. Our goal is to provide a narrative about these activist efforts while simultaneously participating in them. Maintained by The Groundswell Collective since 2007.

Groundswell Talks: Rebecca Lerner, Urban Forager

(Milwaukee-based street artist and object maker Jesse Graves is a guest blogger for Groundswell.)

Groundswell Talks
Rebecca Lerner, a reporter and urban forager living in Portland Oregon, recently attempted to survive only on wild edibles she gathered in her city.  Lerner wrote about her experiences each day and included descriptions on what she ate and how to eat it.  Below Lerner responds to questions about wild foods place in contemporary United States.

Jesse Graves: Is foraging for you a subversive act undermining the way we have been trained to eat?

Rebecca Lerner - more at FirstWays.com
Photos courtesy of FirstWays.com.

Rebecca Lerner: Foraging for wild food is a positive direct action, an affirmation that we are still wild animals fed by the Earth, that we are still in touch with our ancient roots despite the constructs of modern civilization, and that the wilderness has practical value for us. We don’t need to tame it or control it in order to flourish. When the human population is in balance with the Earth, it is possible to live without farming or gardening. Foraging is a radical act because it shows that we can eat for free and survive without supermarkets or biotechnology or money. And it is way of eating local, an alternative to the excess of agri-business. But it is irrational to seek to undermine agriculture in all its incarnations. Small-scale organic farming, for instance, can be a wonderful thing. We are far too overpopulated right now to be able to exist on foraging alone so I do not see value in seeking to destroy that which sustains us.

JG: A common concern of those unfamiliar with foraging is the perceived danger eating some poisonous plant. Where does this concern come from, and how do the dangers of foraging compare to the dangers of the typical American diet?

RL: It can be tempting to romanticize nature and believe that all apprehension about foraging stems from the flawed teachings of civilization, but the truth is that there really are poisonous plants that can kill you or severely incapacitate you, so it is valid and legitimate to feel some fear about eating plants that you are totally unfamiliar with. It is important to know what you are eating when you go out foraging in the wild. If you mistake poison hemlock for wild carrot, you will die a violent and painful death. On the other hand, wiIld plants tend to offer more rewards than farmed foods. They have more vitamins and minerals because they have to struggle to survive and draw in more nutrients in order to do so. They also have medicinal properties absent in most farmed foods.

JG: Why do you think the knowledge of how to hunt and gather wild food is absent from our society?

(FirstWays.com)
Photos courtesy of FirstWays.com.

RL: Hunting and gathering has become irrelevant in modern society because all of our food comes from agribusiness and supermarkets. It just magically appears on demand, so our knowledge of hunting and gathering has ceased to seem useful and has thus faded. Our instincts are still there. Shopping is a lot like foraging, and that may be why people seem so hooked on it.

JG: After experiencing how difficult it is to survive only on gathered food do you have a newfound appreciation for what you eat?

RL: I am grateful for the incredible abundance we have due to farming. I also realize that I can eat a lot less than I usually do and survive just fine.

JG: How do we teach children to appreciate their food and understand where it comes from in a country of abundant and convenient food?

RL: By learning about local wild plants via plant walks and books, people can recognize our ancient plant friends and realize that food grows all around us, that it exists free of charge everywhere.

Lerner’s week of wild food was about learning how to forage, connect with the natural world, and understand what types of food need to be eaten to sustain oneself.  Read about the whole experience at news/essays on Culture Change.  Learn more about foraging from Learner and First Ways, and view her portfolio at Rebecca Lerner.

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Groundswell Talks: Geoff Hargadon (Cash for Your Warhol)

Groundswell Talks“It’s part parody, part experiment, part commentary, part visual gag,” describes Geoff Hargadon of his work Cash for Your Warhol.  The signs, seen previously on Groundswell here, have generated many calls to the 24-hour hotline they advertise. Groundswell’s Rob Hughes managed to catch a few minutes with Geoff before the work hits other major cities.

Cash for Your Warhol

Groundswell Collective: The Cash for Your Warhol “campaign”, for lack of a better word, is a really witty, ironic take on the pervasive “sell your house for cash” signs that seem to be popping up lately. What was the inspiration or the idea the sparked this?

Geoff Hargadon: The inspiration came from a number of places: yes, the signs you see are a part of it. I called a couple of them and was amazed that there were actually people on the other end of the line. Apparently they do receive calls from others who are willing to sell their to a stranger with a phone number on a pole. It was also part visual gag: I thought it would be a funny parody and that people would get it. Well, not everyone gets it: I actually get calls from people who are looking to sell their Warhols. It was also a reference to how deep the recession has become – now even touching wealthy art collectors – so in that sense it said “we’re all in this together”.

GC: What did you hope to call attention to, or accomplish, if anything, with Cash for Warhol?

GH: I’m not sure, but I liked the idea of seeing the signs up on phone poles, and that was good enough for me to make them. I didn’t set out to accomplish anything with the Somerville Gates project, but am glad I followed my intuition. The timing seemed right for that then, and I think the timing of this idea is right for the Warhol project. Soon I’ll be taking it to new cities, and in the process maybe I’ll even get to buy some Warhols!

Cash for Your Banksy
Cash for Your Banksy, the latest in signage by Geoff Hargadon

GC: A lot of your work calls attention to the relationship between art and economy/consumerism. Is there a particular reason you find this subject so appealing, so particularly important?

GH: I am indeed interested in consumerism, money, status, property, fame… they seem to have a disproportionately high place in our minds, and I like to take a jab at it now and then. It’s surprising to me how narrow the discussion is of these things in art – even though they are quite prominent in the art world. That provides a lot of opportunity to explore new ideas that haven’t been done before.

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On Hiatus (Briefly)

Glens of Antrim, Northern Ireland.  Photo by bass_nroll on Flickr, under a Creative Commons license.

I’m in Ireland for a week, wandering.  See you in June!

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On Pause

My grandfather passed away this afternoon, and there won’t be any Groundswell posts until next week.  Please check back then!

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Groundswell Talks: Better World Advertising

Groundswell Talks

Les Pappas, President & Creative Director of San Fransisco and New York based social advertising and marketing agency Better World Advertising (BWA) writes that:

I started BWA because I saw the power that social marketing could have in helping individuals, and society as whole, in solving issues that cause a lot of pain and suffering. I still believe that getting information to people and delivering messages that motivate them to make better decisions has unlimited potential for good.

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This version of Groundswell Talks is a collaboration with Marc van Gurp of Osocio, and is also published as one of their Round Tables. We spoke with Les Pappas and Emily Foran, Art Director at BWA, about their work and connections to the communities they represent.

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