The landscape conveyed in Crop covers a widespread smattering of Intercontinental Ballistic Missile Silos, the largest of which are the now defunct Titan missile silos. One Titan was built east of Denver. The federal government acquisition of farmland to build this massive structure that was put in operation for only a few years. Then they took away the bombs and gave the land back to the farmer. Dismayed, he dug out an access hole through which we would enter and explore this monument to destruction. It breaks my heart to think of the immense amount of resources that went into the construction of this under ground complex which now lay in ruin. In 2007 a group of artists convened in the blast tunnels to create and record music in the unique acoustics of the spaces. Their works were imbued with the energy of the space which made for haunting explorations of sound. Some of these were turned into a sound installation that I included in the curation of a duo of exhibitions on genocide for the Mizel Museum and as a site specific installation for the International Society of Genocide Scholars in Sarajevo, Bosnia. I brought with me a set of high powered spotlights and photographed the spaces. When I started creating work about the industrial food complex, these seemed a good fit because the chemicals that are used in industrial agriculture were actually born out of war. The fixed nitrogen developed in making bombs in the world wars was re-appropriated to make fertilizer after the wars’ end. It was fitting to add these to the overall series exploring the complexities in the way we grow and consume food today. Painted with acrylic on canvas when Thatcher Gray was very young. I had shifted to using acrylic to reduce fumes from oil paint while he was a baby. I’m not wild about the medium so it was not a lasting conversion.
Flying over eastern Colorado in the late winter, fields that had been dusted with snow offered a poignant landscape which I photographed out of my airplane window. For me the palette evoked a sparse, infertile landscape. It made me think of reports of industrial agriculture impacting the land by causing topsoil runoff and nutrient depletion. The huge layer of loam found through the Midwest has allowed for rich cultivation for generations of farmers. It cushions the blow of chemical intense industrial practices, even as the soil is steadily eroded. When we look to areas that have been farmed for millennia, we find that this approach cannot be replicated because the delicate balance of soil building through traditional means is taken away. As demonstrated by the thousands of farmer suicides through India because of their ‘green’ revolution, the impacts of switching to an industrial approach can be devastating. As farmers there return to crop rotation and soil building, we can think about the direction we are heading and how to alleviate the potential demise of what had been one of the richest cultivation grounds. The photographs were not great quality, but they offered enough visual information to create a set of three landscapes painted with acrylic. It fits into the bigger series on industrial food production I explored in tandem with growing our own garden with a very young Thatcher Gray.