Archiving Eden

Archiving Eden

Archiving Eden

Spurred by the impending completion of the Svarlbard Global Seed Vault, Archiving Eden explores the role of seed banks and their preservation efforts in the face of climate change, the extinction of natural species, and decreased agricultural diversity. Serving as a global botanical backup system, these privately and publicly funded institutions assure the opportunity for reintroduction of species should a catastrophic event or civil strife affect a key ecosystem somewhere in the world.<br /><br />Since 2008 Dornith Doherty has worked in collaboration with renowned biologists at the most comprehensive international seed banks in the world: the United States Department of Agriculture, Agricultural Research Service's National Centre for Genetic Resources Preservation in Colorado, U.S., the Millennium Seed Bank, Royal Botanic Gardens, Kew in the U.K.; and PlantBank, Threatened Flora Centre, and Kings Park Botanic Gardens in Australia.<br /><br />Utilising the archives' on-site x-ray equipment that is routinely used for viability assessments of<br />accessioned seeds, Doherty documents and subsequently collages the seeds and tissue samples<br />stored in these crucial collections. The amazing visual power of magnified x-ray images, which<br />springs from the technology's ability to record what is invisible to the human eye, illuminates her<br />considerations not only of the complex philosophical, anthropological, and ecological issues<br />surrounding the role of science and human agency in relation to gene banking, but also of the<br />poetic questions about life and time on a macro and micro scale. Doherty is struck by the power of<br />these tiny plantlets and seeds (many are the size of a grain of sand) to generate life and to endure<br />the time span central to the process of seed banking, which seeks to make these sparks last for two hundred years or more.<br /><br />Use of the colour delft/indigo blue evokes references not only to the process of cryogenic<br />preservation, central to the methodology of saving seeds, but also to the intersection of east and<br />west, trade, cultural exchange, and migration. This tension between stillness and change reflects<br />her focus on the elusive goal of stopping time in relation to living materials, which at some<br />moment, we may all like to do.<br /><br />Dornith Doherty was born in Houston, Texas and received a B.A. cum laude from Rice University<br />and a MFA in Photography from Yale University. She is Distinguished Research Professor at the<br />University of North Texas, where she has been on the faculty since 1996. In 2012 she was awarded<br />a Guggenheim Foundation fellowship. Doherty's work has been featured in exhibitions widely in<br />the U.S. and abroad at institutions including: FotoFest, U.S.; The Bluecoat, U.K.; The Centro de<br />Fotografía, Spain; Galerie Lužánky, Czech Republic; The Minneapolis Institute of Arts, U.S.; the<br />Museum Belvédère, The Netherlands; The Museum of Photography, Rafaela, Argentina. Her work<br />is held in numerous permanent collections across the world.

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Archiving Eden

Spurred by the impending completion of the Svarlbard Global Seed Vault, Archiving Eden explores the role of seed banks and their preservation efforts in the face of climate change, the extinction of natural species, and decreased agricultural diversity. Serving as a global botanical backup system, these privately and publicly funded institutions assure the opportunity for reintroduction of species should a catastrophic event or civil strife affect a key ecosystem somewhere in the world. Since 2008 Dornith Doherty has worked in collaboration with renowned biologists at the most comprehensive international seed banks in the world: the United States Department of Agriculture, Agricultural Research Service&apos;s National Centre for Genetic Resources Preservation in Colorado, U.S., the Millennium Seed Bank, Royal Botanic Gardens, Kew in the U.K.; and PlantBank, Threatened Flora Centre, and Kings Park Botanic Gardens in Australia. Utilising the archives&apos; on-site x-ray equipment that is routinely used for viability assessments of accessioned seeds, Doherty documents and subsequently collages the seeds and tissue samples stored in these crucial collections. The amazing visual power of magnified x-ray images, which springs from the technology&apos;s ability to record what is invisible to the human eye, illuminates her considerations not only of the complex philosophical, anthropological, and ecological issues surrounding the role of science and human agency in relation to gene banking, but also of the poetic questions about life and time on a macro and micro scale. Doherty is struck by the power of these tiny plantlets and seeds (many are the size of a grain of sand) to generate life and to endure the time span central to the process of seed banking, which seeks to make these sparks last for two hundred years or more. Use of the colour delft/indigo blue evokes references not only to the process of cryogenic preservation, central to the methodology of saving seeds, but also to the intersection of east and west, trade, cultural exchange, and migration. This tension between stillness and change reflects her focus on the elusive goal of stopping time in relation to living materials, which at some moment, we may all like to do. Dornith Doherty was born in Houston, Texas and received a B.A. cum laude from Rice University and a MFA in Photography from Yale University. She is Distinguished Research Professor at the University of North Texas, where she has been on the faculty since 1996. In 2012 she was awarded a Guggenheim Foundation fellowship. Doherty&apos;s work has been featured in exhibitions widely in the U.S. and abroad at institutions including: FotoFest, U.S.; The Bluecoat, U.K.; The Centro de Fotografía, Spain; Galerie Lužánky, Czech Republic; The Minneapolis Institute of Arts, U.S.; the Museum Belvédère, The Netherlands; The Museum of Photography, Rafaela, Argentina. Her work is held in numerous permanent collections across the world.

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Archiving Eden - Dornith Doherty en Elizabeth Avedon

Spurred by the impending completion of the Svarlbard Global Seed Vault, Archiving Eden explores the role of seed banks and their preservation efforts in the face of climate change, the extinction of natural species, and decreased agricultural diversity. Serving as a global botanical backup system, these privately and publicly funded institutions assure the opportunity for reintroduction of species should a catastrophic event or civil strife affect a key ecosystem somewhere in the world.Since 2008 Dornith Doherty has worked in collaboration with renowned biologists at the most comprehensive international seed banks in the world: the United States Department of Agriculture, Agricultural Research Service's National Centre for Genetic Resources Preservation in Colorado, U.S., the Millennium Seed Bank, Royal Botanic Gardens, Kew in the U.K.; and PlantBank, Threatened Flora Centre, and Kings Park Botanic Gardens in Australia.Utilising the archives' on-site x-ray equipment that is routinely used for viability assessments ofaccessioned seeds, Doherty documents and subsequently collages the seeds and tissue samplesstored in these crucial collections. The amazing visual power of magnified x-ray images, whichsprings from the technology's ability to record what is invisible to the human eye, illuminates herconsiderations not only of the complex philosophical, anthropological, and ecological issuessurrounding the role of science and human agency in relation to gene banking, but also of thepoetic questions about life and time on a macro and micro scale. Doherty is struck by the power ofthese tiny plantlets and seeds (many are the size of a grain of sand) to generate life and to endurethe time span central to the process of seed banking, which seeks to make these sparks last for two hundred years or more.Use of the colour delft/indigo blue evokes references not only to the process of cryogenicpreservation, central to the methodology of saving seeds, but also to the intersection of east andwest, trade, cultural exchange, and migration. This tension between stillness and change reflectsher focus on the elusive goal of stopping time in relation to living materials, which at somemoment, we may all like to do.Dornith Doherty was born in Houston, Texas and received a B.A. cum laude from Rice Universityand a MFA in Photography from Yale University. She is Distinguished Research Professor at theUniversity of North Texas, where she has been on the faculty since 1996. In 2012 she was awardeda Guggenheim Foundation fellowship. Doherty's work has been featured in exhibitions widely inthe U.S. and abroad at institutions including: FotoFest, U.S.; The Bluecoat, U.K.; The Centro deFotografía, Spain; Galerie Lužánky, Czech Republic; The Minneapolis Institute of Arts, U.S.; theMuseum Belvédère, The Netherlands; The Museum of Photography, Rafaela, Argentina. Her workis held in numerous permanent collections across the world.

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