Books by Andy Kerr I have a low opinion of books; they are but piles of stones set up to show coming travelers where other minds have been, or at best signal smokes to call attention. Cadmus and all the other inventors of letters receive a thousand-fold more credit than they deserve. No amount of work-making will ever make a single soul to know these mountains. As well seek to warm the naked and frostbitten by lectures on caloric and pictures of flame. One day's exposure to mountains is better than cartloads of books.
John Muir Oh, John, lighten up. In Print Well, both are officially out of print, but are nonetheless still available new online. To purchase (new or used) through Amazon, click on the bulleted title. Equal parts natural history, political future, and hiking guide, all with an attitude, Oregon Desert Guide features the 7.2 million acres proposed by for protection by Oregon conservationists as Wilderness and/or other special federal designations. From the back cover: Including SteensMouintain; Alvord Basin; OwyheeCanyonlands; Malheur, Crooked and John Day Basins; Lake Abert; Hart Mountain; and Fork Rock Country.
It is some of the wildest and remote land left in Oregon—and the object of a 40-year love affair for conservationist Andy Kerr. In 70 hikes throw snow-capped mountain ranges, deep river canyons, sagebrush-covered flats, dry lake playas, moonlike lava ields, and juniper-covered hillsides, he will seduce you, too, with the spare and mysterious beauty of the desert. And, he hopes, inspire you to action. Each of these wild areas, vital to survival of native plants and animals, is threatened. Kerr explains how you can help protect these lands forever.
The book was published by The Mountaineers Books. You may view and access essentially all of the book's content. If you really would like a searchable PDF version of the entire book book, send a $30 check payable to The Larch Company (7128 Highway 66, Ashland, OR 97520) to cover my time and costs and I will send you the book in searchable PDF. The file is 0.8 GB (800 MB). 238 pages, 168 color photographs and 40 color maps make the case for protecting the nearly five million acres of unprotected roadless federal forests in Oregon as part of the National Wilderness Preservation System. Only five million acres of unprotected roadless forest remain in Oregon, stretching from the rain drenched shores of the Pacific Ocean and the Coast Range, across the snow covered Cascades to the Blue Mountains, Wallowas and Hells Canyon; and from the Deschutes, John Day, Malheur, Klamath, Umpqua, Siskiyou and Rogue basins, to the ponderosa pine forests of the Ochoco, Winema and Fremont national forests. These public forests shelter ancient trees, protect our purest drinking water and provide vital habitat for fish and wildlife, including many of the Pacific Northwest's last healthy runs of wild salmon, steelhead and trout, as well as numerous species of rare and imperiled flora and fauna.
These awesome landscapes offer stunning views, quiet inspiration and outstanding recreational opportunities. Oregon's unprotected wild forests are currently threatened by development and management policies. Clearcuts, roads, and mining operations destroy old-growth forests and degrade water quality, fragment wildlife habitat, diminish fisheries, and waste taxpayer dollars. Only a small fraction of Oregon's unprotected forests remain intact. Oregon Wild: Endangered Forest Wilderness describes these precious wild forests and is designed to inspire readers to join the Oregon Wild and conservation partners in steadfast efforts to conserve them. Working together for wilderness protection, we can leave a legacy for future generations to cherish and enjoy.
The book was published by Oregon Wild (then Oregon Natural Resources Council) was distributed by Timber Press. In Mind. Beyond Wood: The Case For Forests and Against Wood Products. Bring Back the Blueback: Restoring Sockeye Salmon to Wallowa Lake.
Keeping Oregon Oregon: Expert Opinions on Sustaining Oregon (editor) I also have in mind (though way in the back of it), a great American novel. I don't have a title, plot, any characters, theme or all that other stuff of a literary work (not to mention any serious motivation to write it). Mostly, I just have the opening line: Everyday, except Christmas and the Independence Day, over 50,000 chickens lose their lives in Albert Fuller's home town. Other Resources I am a card-carrying union member of the (and if you're a writer, so should you), which is sponsored by the United Auto Workers (Local 1981 AFL-CIO). The by Dan Poynter is in its 12th edition and should be read by everyone who wants to write a book.
You may still elect to go with a publisher, but you'll know more about the book biz and what you're getting into.
A still from a GIF by Montreal’s James Kerr (aka Scorpion Dagger). In the past few years, GIF-based art has exploded around the world—and Canada is no exception. From the manic, pop-culture-based animations of Toronto’s (which have been featured this past year at events in Brooklyn and Munich) to the minimal, geometric movements of Vancouver’s, who is included in New Orleans’ Prospect 3 this fall, Canadian creators have taken to the form in notable ways. Among them is Montrealer James Kerr, aka, a creator of humorous, Monty-Pythonesque pieces based on historical paintings. Here, Kerr tells us more about his attraction to this new medium.
Q: GIF art has exploded online, but many still don’t regard it as a serious art form. What is your view? A: A bit of both. I think it’s definitely a real art form. You could say people had the same conversations about photography when it first came out; it’s just a different way of expressing a thought or an image. On the other hand, most GIFs people see are of Justin Bieber, or of people doing something funny.
And my stuff is obviously very silly. But there are people who are trying to take it further. I can stare at his work forever. Normally, I’m not taken by geometric shapes, but there’s something hypnotic about these GIFs that I really enjoy. I firmly believe for a GIF to be good, it has to work as an infinite loop. At times I get annoyed with GIFs that are too jumpy, or don’t loop properly.
I really enjoy how Romain plays with traditional photography by giving it motion. Q: How did you get into making GIF art? A: I was trying to teach myself how to animate, and I was making all these really short animated videos. Some were literally two seconds long, so very soon after you hit play, you’d have to hit play again, or just loop it a lot. A friend of mine said, “Why don’t you turn it into an animated GIF?” And it made way more sense to do that, so I figured out how, and it kind of stuck with me.
Eventually, I became kind of addicted to making GIFs. I took some material from my collage practice and integrated that, as well as those animations I had been working on. Originally, my goal was to make one GIF a day for a year, but I’ve had so much fun making these things I’m coming up on my two-year anniversary in March. Mind you, I no longer make one a day! Q: How does your practice relate to collage, or your other pre-GIF art practices? A: Essentially, I’m using these Renaissance paintings as a palette to draw upon or cut open.
So I’ll take a head from a Lucas Cranach the Elder painting, and hand from a Hans Memling painting and put those things together. Mostly, I’m inspired by the idea of what happens to these types of paintings after a museum closes. I like the idea that the people in the paintings then get on the bus, go home, do the dishes, go to a restaurant. I like to think I’m creating a world for them outside of the museums where you would normally view these pieces of art. I like to think about what the life of these subjects might be away from the painting they are in.
Q: What is your process like? Many analog artists have a sketchbook. How do you collect and develop ideas? A: Most of my ideas come from things that I see getting played out day to day in my life. The other day I was looking at the water cooler at the office where I work part-time, and I thought, What would it be like to have a water cooler in in the Vatican? Or in the paintings at the Vatican?.
I also save images constantly onto my desktop. I have all these folders set up like background, bodies, church, animal. I’ll go through all these images together and then look for more that I think would be fun to paste into an animated GIF.
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Often an idea will change in the process of making. I like to use the same characters over and over. Nishiki serial. I feel like it builds a relationship with the viewers on Tumblr and elsewhere.
Q: What’s next for you? A: Right now, I’m working with some other people to try and figure out ways in which which one could actually sell these things.
There are commercial galleries interested in having a show, but the issue for them is how they make money off of this. There’s a few ideas floating around, like making analog offline GIF players, or developing a special app. Creatively, I’d like to create more immersive digital art—like projecting GIFs at large scale or creating an interactive world that people can explore in depth. A lot of people have explored engaging art audiences outside of digital mediums, but I think that that’s where digital art needs to be going to stay relevant. This interview has been edited and condensed.