Hi Stephanie

Hi Stephanie:

Here's my first set of questions. Alas, I came up with a few more than I originally intended. Don't feel like you have to answer them all and take them in any order. Others should be entering the discussion beginning on Saturday.

To get things started:

What personal predispositions led you to select these artists in Beyond Green?

How do you describe your curatorial style?

What have you seen in the field that captures your attention post work on Beyond Green?

There is a strong craft element to the show, albeit modern craft. Is this a reflection of the theme or just a reflection of the revitalization of craft in particular?

To what extent did aesthetics play in your selection process? Or were the artists’ chosen more on a conceptual basis?

So much of Beyond Green, by definition and intent, is focused on or derived from a sustainable design perspective. There is a high degree of functionality in many of the works. Is this pointing us toward technology as the answer to many green challenges?

Here in the Pacific Northwest, and really all over, so many artists are adopting a relationship to place as part of their work. Is it enough to call it a “movement?”

Do you see these artists as establishing something new…how do you place them in the context of “environmental art,” even though none of them would ever likely use that term?

The After Nature show at the New Museum in New York is very apocalyptic. Beyond Green is very optimistic and solution-oriented. Is there still a role for the very angry artist?

What responses to the Beyond Green exhibition have surprised you most? What’s your favorite success story associated with the show?

What does it say that major museums and institutions are following these issues?

How do you view audience participation in the artistic process? When does that work, and when doesn’t it, and how do you know?

How many green artists does it take to screw in a light bulb? (This is a trick question.)