Board of Directors
Ted Wade Springer
When I first came out to the land, I thought I wanted a studio space and retreat space for myself as an artist. I grew up on a farm in Illinois where I always had freedom of space to make things, and use tools. The land became a place where I could explore in this way again. After a year or so, I realized that it was too special to keep to myself and wanted to share it with other artists. I also felt like I did not fit into the gallery environment like I thought I once did. I wasn't comfortable with the gallery environment, with showing artwork in traditional ways and venues. Something new for me in terms of art making, art showing, and art thinking had to surface, and the land became a place where I could explore these ideas.
The art that is finding its way out to the land is somewhat special, in the sense that most of these pieces are personal to the artists and the creators. The people who made them have strong personal ties to those pieces. It is not really a piece that is for sale. It can be, but it is more often about art as an experience, being and doing. And so the owners maintain ownership of the pieces. It is a place for them to store the artwork but also a viewing place for others to enjoy these pieces. The monetary factor is not really a focus, rather the honoring of the sculpture and its relationship to the artist who made it.
The land becomes a space for this kind of thinking to happen. The landscape and topography allow for each sculpture to have a special place and its own breathing room.
I have taken on a role of supporting artists install their work at the land, providing the right tools for the job. We walk the land together, and after listening carefully to their story, I make efforts to point them in directions that might offer them opportunities in relation to their work. I’m interested in who they are and what they do, so that they can find their strongest sense of themselves here.
I am here to create a platform for others to work and create in their own way, in their own time. Creating a safe, nurturing space that supports others, and facilitates their freedom to express themselves. Part of my personal aesthetic is actually creating a space for others to be themselves.
The Land With No Name is fertilizer; we promote growth of the human individual spirit. We are not trying to make you smarter, better, more successful, not trying to get you a job, a credential. We are interested in you.
Kate Long Hodges
What a great feeling it was growing up on a Vermont apple farm with that freedom of space. How we long to find that space again…
I had a similar affinity to Ted in relation to the gallery world; I became less interested in art as object and money (although selling work is great too) but I became very interested in art as an experience. Sharing this experience of making and being with art on the land is what drew me to working with Ted. And then seeing how other artists responded to the land and had valuable time and experience with the place became very inspiring.
The artwork has a story and the land is the place where the story is told. This is a powerful combination.
I have taken a strong interest in building bridges and supporting teachers, artists, performers, and individuals of all disciplines who come to the land to offer their workshops and retreats. I facilitate by setting the stage for what they might need at the land to run their programs. Dance companies, artists, University groups, Tohono O’odham basket makers, and teachers of all kinds, have come to the land and utilized the space in unique ways. I want to be there for them, so they can share their magic.
We go to the land to interact with people and their art, native plants, and animals, all beings who have been living here for generations. As we build sustainable relationships over time, we plant seeds of trust and respect for one another. The Land With No Name inspires us to care for the desert, the art, as an act of celebration for all who walk here. This is art as experience.
Workshop Leader, Tohono O’odham clan of the Buzzard/Rising Stars and the Red Ants
My name is Thomasa Rivas. I am Tohono O’odham, I’m a mother to 4 daughters, a grandmother to 5, and a great grandmother to 2. I am from the southwest side of the reservation and reside in Tucson. I love that I can take time to leave the city and put my feet down at The Land With No Name. I enjoy the people I get to meet. I get to share a little bit about our land and the people, and acknowledge our ancestors that came before me.
“The Land With No Name has a gravitational pull that has brought me back from both Oregon and California. Watching artists invest themselves intensely in this desert landscape then celebrating with a community like none other, has spurred me to support TLWNNS in every way I can. Just as we sowed the seeds over the building of the concrete steps way back in the beginning, then trimmed the grasses years later; We will sow the financial seeds which will deeply root anchoring the programs and events that bring together creators, witnesses, and the land.” - Calvin Clark
Calvin is a born and raised Tucsonan. He started digging holes when he was about four, just to see how deep he could go. He even enlisted his 5 siblings to help. Their parents got concerned when he and his siblings started using buckets to dig 6-foot-deep holes in the yard, so they put an end to it. Now he puts that energy into digging rainwater basins around his home on the west side. Calvin is a LEED certified designer who has been designing pipes, connections and systems for better, more efficient heating, cooling and water use in industrial buildings. He got his degrees in Systems Engineering and Studio Art from the University of Arizona.
Often cited as a pioneer of installation-art and contributor to the Pattern and Decoration Movement (P&D), Judy Pfaff has created work that spans disciplines from painting to printmaking and sculpture to installation. Born in London in 1946, Pfaff received a BFA from Washington University Saint Louis (1971) and an MFA from Yale University (1973) where she studied with Al Held. She exhibited work in the Whitney Biennials of 1975, 1981, and 1987, and represented the United States in the 1998 Sao Paulo Bienal. Her pieces reside in the permanent collections of MoMA, the Whitney Museum of Art, Tate Gallery, Brooklyn Museum of Art, and Detroit Institute of Arts, among others. She is currently represented by the Miles McEnery and Accola Griefen galleries in New York and has been previously represented by Holly Solomon, Carl Solway and Susanne Hilberry. She is the recipient of many awards including the Lifetime
Achievement Award from the International Sculpture Center (2014), the MacArthur Foundation Award (2004), and the Guggenheim Fellowship (1983). Pfaff lives and works in Tivoli, New York.
Ellen McMahon is a Professor in the School of Art and Associate Dean for Research in the Arts in the College of Fine Arts at the University of Arizona. She has an MS in Scientific Illustration from The University of Arizona and an MFA in Visual Art from Vermont College of Fine Art.
In 2005, after more than a decade of creating work about domestic life, McMahon expanded the focus of her visual art, design, and writing from her experience of motherhood to the wider issues of the natural world. In 2007, she received a Fulbright Scholar’s Grant for a six-month stay in Puerto Peñasco, Mexico, where she worked on several conservation and environmental education projects with the Center for the Study of Deserts and Oceans. In 2010, she initiated and served as project director and co-editor of an interdisciplinary collaborative faculty/student research project addressing the fragile aqueous ecology of the Southwestern U.S. This project culminated in the book Ground|Water: The Art, Design and Science of a Dry River (Confluencenter for Creative Inquiry, 2012).
McMahon’s motherhood work has been exhibited in solo exhibitions: “Redressing the Mother” at A.I.R. Gallery in New York; “Maternal Matter” at Cal State San Marcos; and “Ellen McMahon: Artists Books and Printed Works” at the Centre for Fine Print Research at the University of the West of England in Bristol, U.K.
Her work has been included in numerous group exhibitions including “One Minute Film Festival 2003—2012” at MASS MoCA in 2013. Her artist books are held in collections at UCLA, Scripps College, Occidental College, Texas Tech University, the Center for Creative Photography, and the New York and Boston Public Libraries.
Publications containing her visual work include Clean New World: Culture, Politics, and Graphic Design (MIT Press, 2002), Feminist Art and the Maternal (University of Minnesota Press, 2008), and The M Word: Real Mothers in Contemporary Art (Demeter Press, 2010). Autobiographical essays are published in Mother Reader: Essential Writings on Motherhood (Seven Stories Press, 2002), The Oldest We’ve Ever Been: Seven True Stories of Midlife Transitions (University of Arizona Press, 2008), and The M Word: Real Mothers in Contemporary Art.
The conceptual underpinnings of McMahon’s work—the paradoxical and complicated relationship between lived experience and cultural constructions and expectations—have remained constant throughout her career regardless of subject matter or medium.