Hudson Valley, N.Y., artists and communities celebrated the Henry Hudson Quadricentennial last year with processional arts events in Poughkeepsie, Rhinebeck and New York City. Alex Kahn and Sophia Michahelles' Professional Arts Workshop facilitated the collaborative community processions. Poughkeepsie's "Walking on Air" in October opened the Walkway over the Hudson, a transformation of the Poughkeepsie-Highland Railroad Bridge into a 6000'-long skyway 200' over the Hudson River. "Terra Incognita" led the 36th Annual New York Village Halloween Parade on the Avenue of the Americas: 200 people carrying a flotilla of 16th-century vessels and cartographic creatures -- in the pouring rain. "Sinterklass Returns" revived a 1980s Old Dutch Christmas tradition in Rhinebeck, with 200 community members attending a continuous, monthlong, drop-in "puppetraising" to create a flock of airborne snow geese, flying in the snow. [LINK]

Artists from all countries are invited to send a proposal for a site-specific outdoor public art installation that will involve working with local elementary school children in Taiwan. Deadline for the 19-day residency in rural Yunlin County is February 12, 2010, for proposals to create an artwork focusing on making a greener world and celebrating the importance of wetlands in Earth's environment. The Cheng Long Wetlands is a developing wetlands preserve and environmental education project in an economically depressed area of the southwestern coast of Taiwan. The Cheng Long Elementary School has about 75 children in grades K-6 (ages 5-12) who will join with the artists in this project. [LINK]

Winter's here and it's time for the Art Shanties on Minnesota's Medicine Lake: 20 public artworks and 15 mobile performances -- on the ice, January 16-February 7, 2010. Art Shanty Projects recommends a visit -- in real time or on the Web: "For an insiders peek at the creation of a lush fantasy, check out the Fanta Shanty blog. Follow the artistic process of the Shan-Tea Shanty on their Web site. The Art Swap Shanty blog is plump with construction visuals and commentary. Some highlights include finding out how the celestial bodies relate to your zodiac sign, revisiting the varied beauty of sweat bathing, non-stop dancing, filleting flawed notions in the Guerrilla Classroom, inspecting the intersection of art and science, detecting invisible reindeer, and transforming your sense of scale in the three-story Tiny Shanty." [LINK]

Artists will lead a conversation about public art and sustainability during "Waterpod: Autonomy and Ecology," an exhibition at New York's Exit Art this winter. The show is a survey of a five-month voyage around the boroughs of New York by Waterpod, a floating, sculptural structure and community-building space designed as a futuristic habitat and an experimental platform for assessing the design and efficacy of living systems. It visited the five boroughs and Governors Island from June to October 2009. The discussion, February 4, 2010, includes Jennifer McGregor of Wave Hill, a public garden and cultural center in the Bronx; public artist Mary Miss; Mierle Laderman Ukeles, a “maintenance artist” known for her service-oriented artworks; Mary T. Mattingly, Waterpod founder; and members of her team. The exhibition, January 9–February 6, 2010, is part of Exit Art's SEA (Social Environmental Aesthetics) program. [LINK]

Museum director Richard Koshalek plans to install a 145-foot-tall inflatable meeting hall on Washington's National Mall to "foster a wide-ranging public debate on cultural values." Koshalek, newly appointed director of the Hirshhorn Museum and Sculpture Garden, wants the inflatable to swell out of the top of the internal courtyard of the museum, which sits on the Mall midway between the White House and the Capitol, says Nicolai Ouroussoff in the N.Y. Times (12/14/09). "The project could become something Washington has never had: a real democratic forum for the debate of cultural issues as varied as, say, Hollywood morals and the impact of fundamentalism on the arts. ... [T]he Hirshhorn project is informal, egalitarian and free of conventional hierarchies. ... It could also, of course, become a political punching bag." [LINK]

The Wormfarm Institute in Reedsburg, Wisc., is calling for submissions to its Roadside Culture Stand project; deadline is December 31, 2009. Roadside Culture Stands (urban/rural) are artist-designed and -built mobile farm stands that will be used to display and sell fresh local produce and the work of local artists. "The Roadside Culture Stand," says Wormfarm Project Director Donna Neuwirth, "tangibly unites art and farming – reminding us that culture surrounds our food and food imbues our culture. This project is open to artists, architects, mechanics, farmers, visionaries and handy folk throughout the upper Midwest." Each stand will be built on a 5x10-foot steel flatbed trailer, will incorporate an informational display component that highlights area food and cultural offerings and will have a home base but may also travel to local festivals, county fairs etc. Winning entries get $3500 for fabrication. [LINK]

People and animals at the bank of the Hudson River on the upper west side of Manhattan will gather with artist Aviva Rahmani as part of "350," the largest global day of climate action ever. On October 24, 2009, Rahmani will alternately walk to the water and sing Puccini's aria "Vissi d'arte," a capella, a song "about beauty and betrayal," and stop at the shore to draw pictures of the waters, reflecting on "how they are rising in some places under the assault of global warming while in other places, fresh clean water is vanishing." Simultaneously, people worldwide will be taking up to 4,000 similar actions, from climbers with 350 banners high on the melting slopes of Mount Everest to government officials in the Maldive Islands holding an underwater cabinet meeting to demand action on climate change before their nation disappears. [LINK]

Los Angeles Contemporary Exhibitions is presenting "Mark Tribe: Port Huron Project," a large-scale video installation depicting reenactments of protest speeches from the New Left movement of the Vietnam era. The exhibition, October 21, 2009-January 24, 2010, screens reenactments that took place at the sites of the original speeches, delivered by actors or performance artists to audiences of invited guests and passers-by. The project aims to examine "artists’ relationships with the roots of American democracy, and the way in which these issues are still relevant today." Last year, LACE, Creative Time and Mark Tribe presented Cesar Chavez's 1971 speech "We Are Also Responsible" at L.A.'s Exposition Park. The documentation of this performance and other Port Huron Project reenactments, including "The Liberation of Our People: Angela Davis 1969/2008" and "Let Another World Be Born: Stokeley Carmichael 1967/2008," have been screened worldwide and online. [LINK]

The Dream Rocket project invites everyone to contribute a panel to the 36,467-square-foot Dream Quilt that will wrap the 37-story-tall Saturn V rocket replica in Huntsville, Alabama. Located at the U.S. Space and Rocket Center, Saturn V will be wrapped by May 2010 in a quilt of 8,000 panels collected from contributors worldwide. Each panel will express a “dream theme” - hopes and dreams for a better tomorrow, says public artist Jennifer Marsh, Dream Rocket's director. “We want people all over the world to dream those audacious dreams, and to inspire them to make their dreams come true. The Dream Rocket will symbolize not just the dreams of individuals, but also the power of global collaboration.” Reserve a two-foot-square panel for $100 or reserve a panel for those who cannot afford the cost. Details are online. [LINK]

Math students at the Christopher Columbus Family Academy learn about angles by measuring whimsical figures of hot-air balloons, paper airplanes and pinwheels built right into the walls of their school. So says Winnie Hu in the N.Y. Times (10/2/09. The New Haven, Conn., school, says Hu, is one of a growing number of new/renovated U.S. public schools that look more like cultural centers than the austere, utilitarian houses of learning of the past, displaying museum-worthy pieces commissioned from artists. Schools that are aesthetically pleasing as well as functional turn plain brick-and-mortar walls into show-and-tell lessons. A series of 11 fiberglass panels, which look as if they were made of terra cotta, run along the outside of Columbus Academy, resembling a children’s puzzle with an array of wind- and water-themed figures, including parachutes, birds and Columbus’ ships. [LINK]

"Wonderland" is a new volunteer collaborative arts project in San Francisco's Tenderloin district involving artists, arts organizations, nonprofit agencies, business owners and community groups. The exhibition, October 17-November 15, 2009, encompasses 16 site-inspired projects set throughout the Tenderloin, created by 53 artists from San Francisco and beyond. The Tenderloin is the only largely working-class neighborhood in downtown San Francisco, home to low-income immigrant families, senior citizens, artists and homeless people. Directed by volunteer New York-based curator Lance Fung, artists have worked for a year with the Tenderloin community, including religious organizations, schools, local arts associations and the public, to develop the new artworks. Themes include giving a voice to children shuttered by the environment, human trafficking, theater, homelessness, immigrant communities, local history and embracing the beauty of historic architecture. The project is sponsored by the North of Market/Tenderloin Community Benefit District organization. [LINK]

Land Arts of the American West 2009 departed August 27 from Lubbock, Texas, for its annual semester-long field program, heading first for Twin Buttes, near White Sands, New Mexico. Their goal: "expanding the definition of land art through direct experience with the full range of human interventions in the landscape, from the inscriptions of pictographs and petrogylphs to the construction of roads, dwellings, and monuments, as well as traces of those actions." The group comprises instructor Chris Taylor, assistant Brice Taylor, eight participants and 16 field guests. The itinerary includes Ruby Ranch and Chaco Canyon, N.M.; Fire Point on the Grand Canyon North Rim; Nevada's Virginia River and Michael Heizer's earthwork "Double Negative"; Robert Smithson's "Spiral Jetty" in Utah's Great Salt Lake; the Center for Land Use Interpretation at Wendover, Utah; and more. Details and syllabi are online. [LINK]

There's a spirited Net-wide discussion going on right now about public space following a spat between "starchitect" Frank Gehry and Fred Kent, president of Project for Public Spaces. The argument began at the Aspen Ideas Festival in July 2009, when Kent posed a question to Gehry about why iconic architecture so often fails to create good public places. Gehry promptly dismissed him and refused to answer the question. The confrontation was picked up by James Fallows (The Atlantic) in his blog, and both Gehry and Kent responded. “Around the world citizens are defining their future by focusing on their city’s civic assets, authentic qualities and compelling destinations,” Kent wrote, “not on blindly following the latest international fads conjured by starchitects.” Join in on David Sucher's City Comforts blog or the PPS blog with Jay Walljasper. [LINK]

The SPORE Mobile Gallery is about to take off from St. Louis, Mo., with a project called Cultural Ambassadry Exchange, and would love to stop in your town. SPORE Mobile Gallery is described as "an aging 1998 Ford Windstar minivan converted into a mobile exhibition space with an interior installation gallery and performance/exhibition tent pioneered by Emily Hemeyer." Starting in late August-September, says Hemeyer, "SPORE is traveling throughout the West Coast visiting a slew of public spaces, backyards, small venues, galleries and institutions with a full house. As part of the Cultural Ambassadry Interchange we'll be collecting photographs, stories and art from anyone and everyone who is circumstantially present at our (mostly) spontaneous events. Yes folks, we are stopping in quaint little college towns as well as large bustling cities. If you’d like us to host a visit, shoot Emily an email at ghostsihavebeen@gmail.com." [LINK]

The Brits are putting lots of energy into public art training these days, with ixia, the "public art think tank," taking the lead. This fall, ixia, along with Situations, a commissioning-and-research program based at Bristol's University of the West of England, will present "What Public Art Needs Now," a series of seminars in England focusing on unique public art projects around the world. "Public Art Needs Outsiders" focuses on Grizedale Arts, based in Lake District National Park, Cumbria. Grizedale places artists in residence in the area, engaging with communities around "the complexities of the rural situation." "Public Art Needs Continuity" focuses on Beyond, a long-term program in a new urban development, Leidsche Rijn, in Netherlands. "Public Art Needs Time Limits" looks at One Day Sculpture, a program commissioning temporary, place-based public artworks in New Zealand. [LINK]

In August, Rescue Public Murals, a national initiative, will begin work to restore "Homage to Seurat: La Grande Jatte in Harlem," painted in 1986 by the late Eva Cockcroft. Located in West Harlem, New York City, the mural is on the side of an apartment building that faces Hope Stevens Garden, an active community garden that is helping coordinate the restoration. This is the only remaining New York City mural by the late Eva Crockcroft, an artist, art historian and author instrumental in the national community-murals movement. Cockcroft founded Artmakers Inc., a community murals organization now led by artists Janet Braun-Reinitz and Jane Weissman. Weissman, as director of GreenThumb at the time, commissioned the mural in 1986 as an Artists in the Gardens project; Braun-Reinitz, a colleague of Cockcroft, is the lead artist in the restoration. [LINK]

This summer, artist Justin Shull has been touring the U.S. in his Porta Hedge, a mobile artificial hedge with an exterior of recycled artificial Christmas trees. The interior conceals a remote observation system and satellite Internet uplink, mobile solar electric power, observation/escape hatch, bird camera, swings, chalkboards and Porta-Potti. Smudge Studio describes it as a "critical vehicle" that "seems to question icons of environmentalism. The design mobilizes, after all, a number elements that are popularly associated with 'sustainability' or 'green design.' But it does so in ways that don't quite add up." See a cross-country tour map and blog on the project Web site. There's a second Porta Hedge "Backyard Naturalist Study" installed at the U.S. Botanic Garden in Washington, D.C., part "Flora: Growing Inspirations." See CANtv for video. [LINK]

"El Otro Lado" is an unusual collaborative public art project by Chrissie Orr about migration, human rights, boundaries and a sense of home, underway in Santa Fe, N.M. Critic Lucy Lippard describes it as "a model of socially engaged art, unique in Santa Fe. It deals with pressing issues and does so in a way that is accessible and non-invasive, provoking those whose lives are different to empathize and, hopefully, act.” Supported by the Academy for the Love of Learning, "El Otro Lado" presents public images of people who live, work and go to school in Santa Fe, with audio stories accessible by cell phone. The Web site offers documentation of 11 citywide public installations, individual participants, Tierra Encantada Workshops, Summer 2008 Intensive, City of Santa Fe Bus Panels, Women and Children’s Groups, radio interviews and blog. [LINK]

Artists Jaime Ochoa, Anthony Ortega and others are restoring a historic 120-foot mural at Ave. 61 & Figueroa in Highland Park, Calif., defaced by taggers. Steve Lopez writes in the L.A. Times (7/15/09) that local artists had created tribute to their history, going back to the Aztecs, in memory of Daniel Robles, a victim of gang violence in 1995. It had been sacred ground, respected and untouched by taggers for years. The markings appeared to be the work of "kids who either didn't understand their own history or didn't care." Lopez witnessed the restoration with writer Luis Rodriguez, who is circulating the Comprehensive Neighborhood Arts Project proposal, calling for artists to band together, and for politicians and community leaders to use new funding sources, like tourism and billboard taxes, to support citywide art, music and cultural projects. [LINK]

"On the Wall Four Decades of Community Murals in New York City" is a new book from The University Press of Mississippi. The book (288 pp., 150 pix) by Janet Braun-Reinitz and Jane Weissman (foreword by Amy Goodman and Denis Moynihan; introduction by Timothy W. Drescher), is the result of six years of research and hundreds of interviews, says the publisher. It "brings to light murals that were hitherto 'lost' to history or unknown outside their immediate surroundings. Documenting six chronological periods, the book highlights significant murals and introduces the artists and sponsors that created them. In relating the many fascinating stories behind the murals, the authors describe the interactions between artists and residents--including the controversies that have led to the destruction of several notable murals." The project Web site has photos, stories and endorsements from Howard Zinn and Lucy Lippard. [LINK]

A new initiative in the United Arab Emirates aims to embed land/ecological art installations across the region, continuously distributing clean energy into the electrical grid. The intent of the Land Art Generator Initiative (LAGI) is that each land art sculpture will have the potential to provide power to up to 50,000 homes in the UAE. Directed by artist Elizabeth Monoian and architect Robert Ferry and sponsored by the Society for Cultural Exchange, a nonprofit in Pittsburgh, Pa., LAGI is in a research phase, seeking further sponsorship. At the conclusion of 2010, the initiative plans to have pragmatic and comprehensive site/art proposals that will arise from an open competition to which artists, scientists, engineers and architects will be encouraged to submit ideas. See the blog section of the site (bLAGI) for related arts examples. There is a video about the project on the Web site of the Tavis Smiley Show: http://www.pbs.org/kcet/tavissmiley/voices/656.html. (Thanks, Land Arts listserv.) [LINK]

Events parallel to the Second Athens Biennale are taking place in vacant buildings, parking lots and derelict plots of land in the Kerameikos and Metaxourgeio district of downtown Athens. ReMap 2, through October 4, 2009, features more than 40 cultural events and art happenings, including exhibitions, open-air and site-specific installations by Greek and international galleries, independent curators, art groups, architects and Kerameikos and Metaxourgeio (KM) residents. Projects includes the Open Air Screening Room and the Guerilla Playground explore synergies between art and everyday life in the transitioning KM neighborhood, and The Documentation Project keeps an online real-time visual diary of what is happening there. "SiteSpecificStrategies," a September symposium, brings together KM residents, architects, urbanists and scientists who will explore the role of architecture in shaping future urban identity, using the KM area as a reference and siting architectural events in the neighborhood. [LINK]

Scores of Seattleites have been crocheting for months to create artist Mandy Greer's "Mater Matrix Mother and Medium," a 200-foot fiber "river" among the trees at Camp Long. Greerr installs the piece this week at Polliwog Pond. It's part of a spring and summer of temporary public artworks, performances and films commissioned by the Seattle Office of Arts & Cultural Affairs "to celebrate the splendor of Seattle's urban creeks" and encourage stewardship of essential watersheds. They include "Waterlines," a performance in Volunteer Park where Stokley Towles traces the city's water flow through interviews with city utility employees; a large, biodegradable water tower at the Bitter Lake Reservoir by John Grade; artists' new short films on the work of Seattle Public Utilities; and a residency on the Fremont Bridge, plus a neighborhood art project, by Kristen Ramirez. [LINK]

"LAND/ART," a massive six-month environmental art project involving more than 25 presenting organizations in New Mexico, opened last weekend with a symposium. Coordinated by 516 ARTS, events began June 27 with a guided bus tour by The Center for Land Use Interpretation through dramatic built landscapes. Continuing through December 2009, "LAND/ART" explores relationships of land, art and community through dozens of new exhibitions, community-based projects, site-specific art works, speakers series, performances, tours, excursions and a culminating book. "Historically," says the organizers, "New Mexico has been a place where the intersection of nature and culture is at issue. In the 1960s and ‘70s, the American Southwest was the location of the first generation of Land Art or Earthworks," including The Lightning Field, the Star Axis, Spiral Jetty, the Sun Tunnels and Roden Crater. Details are online. [LINK]

The Social and Public Arts Resource Center (SPARC) celebrates several significant public art works with an upcoming event at its Venice, California, headquarters. The celebration, 2-5 p.m., June 28, 2009, closes “Current Public Art Productions of the UCLA/SPARC Cesar Chavez Digital Mural Lab,” an exhibition featuring artwork by Judy Baca including the Cesar E. Chavez Monument: The Arch of Dignity, Equality and Justice at San Jose State University and the Robert F. Kennedy Memorial at the RFK Learning Center in Los Angeles. The event includes an open house at the Digital Mural Lab's SPARC facilities. During the reception, there will also be a performance by The Lefteous Sisters who wrote a song for the Save LA Murals campaign initiated by Baca to bring attention to the deteriorating condition of hundreds of L.A. murals. [LINK]