16mm Film: Gavin Power Plant and Essex Mine AMD
Gavin AMD from Jeff Lovett on Vimeo.
This is a digital transfer of a 16mm film.
This film was shot on Kodak Ektachrome 100D Color Reversal Film. The camera was a a Keystone Model A-9 circa. 1947.
This film was shot on August 25th 2010
Color reversal film is exposed and developed as a positive image. This means that when the film is screened, the light from the projector is passing through the same film that was on site and recorded the initial indexical projections from the subjects at the site.
The indexical record of the films presence at the site is developed through a series of eroding processes. As the final product is projected it is subjected to damage, with every viewing of the film information is exchanged index for index. The visual information that was "etched" on to the substrate of the film is lost and replaced by the information that illustrates the damaging history of viewing the film.
The processes of erosion and the records of damage that are embedded in the film echo those of the sites in the film. The Gavin Power Plant is a site of consumption and damage. Nine to Fourteen full sized river barges of coal are crushed to dust and combusted there every day. The plant, despite its scrubbers, emits sulfur dioxide (the chemical culprit of acid rain) in to the atmosphere. The poisons that the scrubbers do extract from the exhaust are merely packed into nearby valleys as a toxic sludge separated from the topsoil by a mere 6mil plastic sheet.
The Essex mine remediation facility is a record of mining that ceased nearly a hundred years ago. A process called robbing the pillar, where by miners remove the supports that keep a mine from collapsing, were practiced very often as mines in the 19th century were depleted. This practice left the Essex mine susceptible to collapse. When a portion did give way a creek diverted into the abandoned mine shafts. As it flowed through and out of what used to be the miners' entrance it carried with it toxic chemicals stored in the raw surfaces of the interior. These toxins coat the creek in powered alumina (the white substance) and iron sulfide (the rusty colored sludge) and kill all the living organisms.
This film should be considered as raw material and a rough draft. I have several pieces in mind that will use the film that has been digitized and uploaded here.


The Crude and the Rare
Upcoming exhibition at The Cooper Union
THE CRUDE AND THE RARE
October 19 to November 20, 2010
41 Cooper Gallery
Curated by Saskia Bos and Steven Lam
Opening Reception: Oct. 19, 2010, 6 to 9 pm
Open hours Tues – Sat. 11 am to 6 pm
Artists:
Marina Abramović, Bik Van der Pol, Mark Dion, Jimmie Durham, Grady Gerbracht, Alfredo Jaar, Sara Jordenö, Robert Kinmont, Jeff Lovett, Margaret Morton, Matt Mullican, Sophie Ristelhueber, Lonnie Van Brummelen & Siebren de Haan, among others
Continuing the research on environmental justice started with the inaugural exhibition at 41 Cooper Gallery, Free as Air and Water, this exhibition will feature projects made in the past few decades that address the intersection between materiality, alchemy, and the politics of resource extraction.
Featuring a diverse group of artists that span from multiple generations and geographic areas, the exhibition includes projects that address the political economy of precious substances such as gold, diamonds, and oil. By investigating how matter has inspired creative processes and critique, The Crude and the Rare delves into the poesis of making, considering how physicality and the transformation of matter layer our understanding of the material world
Power Equals Work Over Time: Test Exhibition

Utilizing my “archival impulse”[1] I am continually and collaboratively developing a non-hierarchical archive of the region and its network of influences. The archive serves as a point of access for the viewer and a point of departure for artistic productions that, when completed, are folded back into the archive from which they were inspired. Many of these artistic productions take the form of annotated photographic prints of scanned sites, video documentation of exploration through visual prosthetics, and augmentation of existing archival materials but the reincorporation of these into the archive inspires new combinations and paths of research. This cyclical methodology of research and production facilitates an archive that is continually re-informed and reflexive. is the presentation of a cross section of this archive.
[1] Foster, H. (2004). “An Archival Impulse”. October110, 3-22. Foster describes the archival impulse as a “notion of artistic practice as an idiosyncratic probing into particular figures, objects, and events in modern art, philosophy, and history.”
MPSU – Acid Mine Drainage
On December 17th Matthew Friday, Dr. Bernhard Debatin, Jason Nein and I visited four separate sites of acid mine drainage (AMD). These scans are from this site visit.