Fallen Fruit Collective

Fallen Fruit Collective formed six years ago through a project by artists David Burns, Matias Viegener, and Austin Young for the Journal of Aesthetics and Protest (ps. you should read it).

Using fruit as their lens, Fallen Fruit investigates urban space, ideas of neighborhood and new forms of located citizenship and community. A number of their projects look at the social, political, and ecological issues surrounding local food, public food, and land use, though it all began with the process of mapping local fruit trees in LA.

From their site

“Over time our interests have expanded from mapping public fruit to include Public Fruit Jams in which we invite the citizens to bring homegrown or public fruit and join in communal jam-making; Nocturnal Fruit Forages, nighttime neighborhood fruit tours; Community Fruit Tree Plantings on the margins of private property and in community gardens; Public Fruit Park proposals in Hollywood, Los Feliz and downtown LA; and Neighborhood Infusions, taking the fruit found on one street and infusing it in alcohol to capture the spirit of the place.”

I really enjoy the social side of Fallen Fruit‘s work. This communal jam-making being perhaps the most interesting, as it involves a kind of process that highlights interaction and time. As well, their consideration of the legalities and local community practices seem to be very balanced with the rather “nice” focus on fruit at the centre of their questions — a tactic in which I strongly believe. How much more productive of a conversation can you have about these issues when you’re (somewhat subversively) framing it around fruit?

[via Art 21]

Love in a Cemetery: Art as Examination

If you haven’t already signed up for the Art&Education email list, do it now. Also, make sure you tick off at least the E-Flux list too. It’s nearly always a joy to get these in my inbox, always making me wish I had more time to read, to apply, to attend these exhibitions and schools and conferences that I see advertised on these lists.

Love in a Cemetery is just the most recent interesting thing to come from these lists, with the title taken from a quote by Allan Kaprow that goes like this, “Life in a museum is like making love in a cemetery.” With L.A.-based visual artist Andrea Bowers and curator Robert Sain, students from the Otis College of Art and Design and community organizations from throughout L.A. are participating in this exploration of aesthetics, pedagogy, and cultural politics.

Ok, sounds pretty good, definitely something that we’d generally be interested in, but here’s the really good part…

The project features a unique take on art as examination, as investigation into the future of cultural organizations, including art schools and community-based activist groups in the same learning circle as the better known museums of L.A.


Sain considers the opportunity and obligation for arts organizations to be socially responsible and responsive in an age of diminished resources and uncertainty.

By the way, this is all part of the new residency model that 18th Street is attempting to generate, with this year’s cycle called Status Report: The Creative Economy.

18th Street itself has recently shifted from running a standard gallery program to an entirely different model for using the space — making it active by curating artists involved in process-based work continually. It’s still art, it’s still curated art, but it’s committing to thinking about what art can do or what art can be today.

It’s exciting to read this stuff. You should be excited. It’s exciting because this is part of what we try to do and it’s nice to know that other people like doing this as well.

[via Art&Education]