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Gardeners, artists, and plant enthusiasts near the peaceful seaside village of Bellport, NY will have the opportunity to view a collection of contemporary botanical art that is sure to change how they think about plants, gardens, and garden rooms.

Fifteen botanical artists will present over 30 original botanical artworks in
An Interior Garden of Botanical Art in Bellport, NY, an exhibition opening August 19 at the Pamela Lerner Home and Design showroom. The co-hosts for this event are Pamela Lerner and Susan Frei Nathan, proprietor of Susan Frei Nathan Fine Works on Paper, LLC. Nathan is one of the only art dealers in the country to focus exclusively on contemporary botanical art.

This summer exhibition represents the next chapter of an annual series dedicated to the theme of interior gardens. It is Nathan’s hope that the vibrant artwork in this exhibition encourages people to think beyond soil and water and to consider the gardens of plants portraits they can create in their homes and offices.


You’re Invited!

Join Susan Frei Nathan and Pamela Lerner at the opening of An Interior Garden of Botanical Art in Bellpoint, NY and discover contemporary botanical paintings, drawings, and sculptures by:

These artists continue a long-standing tradition of combining art and scientific accuracy that has existed since 60 A.D. All works are for sale.


An Interior Garden of Botanical Art in Bellpoint, NY

Pamela Lerner Home and Design
Susan Frei Nathan Fine Works on Paper, LLC
Bellpoint, NY
August 19 – September 19, 2017


Cocktail Reception

Saturday, August 19, 2017 from 6:00 – 8:00 p.m.

RSVP: Contact Pamela Lerner via email or call 631.776.2183.


Learn more at Susan Frei Nathan Fine Works on Paper, LLC



Related

Collecting Botanical Art: A Conversation with Susan Frei Nathan

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Tina Scopa experiments with printing on a long piece of fabric. © Tina Scopa, all rights reserved.

Tina Scopa found a way to make plants draw themselves.

A biochemical engineer-turned-artist, Tina discovered that plants can ‘draw’ themselves after repeatedly experimenting with printmaking techniques. Her experimentation resulted in prints that evoke thought and emotion, and in prints that are surprisingly detailed representations of living plants.

Currently a student at Duncan of Jordanstone College of Art & Design in Dundee, Scotland, Tina brings attention not only to plants but to the soil in which plants grow. Because she includes both plants and soil in her work, she calls her work Edaphic Plant Art.

Please join me in welcoming Tina Scopa!



Edaphic
[ih-daf-ik]

Of or relating to the physical and chemical conditions of the soil, especially in relation to the plant and animal life it supports.

Dictionary.com


ArtPlantae
: Why edaphic art?

Tina Scopa: I started working with soil last year when I began a personal project not quite knowing what it was going to be about. I started drawing circles almost unconsciously and became curious about that act, wondering if it was, in fact, a very basic, primitive gesture that humans do instinctively. Exploring this idea of following intuitive, primitive impulses I was drawn to the earth and the desire to be outside and feel the earth. (I had an allotment at the time and was enjoying growing vegetables and working with the soil). Moving on to the work I was doing this year on a small, wild patch of ground I realised I wanted to know more about our knowledge of soil. I was fortunate enough to discover that a short soil science course was just about to begin within the geography department. It was there that I learned the term, edaphic I hadn’t heard this before and was intrigued by the word. I had been wondering how to label my work, thinking of land art, earth art, ecological art, botanical art. None of those descriptions really seemed to adequately define the work I was making, then the idea of ‘Edaphic Plant Art’ popped into my head and I knew that was what it was about.


AP
: I was looking at the photo of your exhibition studio space, specifically the grid of images. It looks like your photographs are ‘habitat’ shots, while your pigment prints, graphite prints, and ink prints each focus on a single element. How do you choose what to present in the prints you make? Do you have set ideas in mind or does the printing process dictate the type of prints you make?

TS: With this work you refer to I specifically wanted a view of the plant existing in its habitat. It was a very general image without focusing into it too much or making a very detailed image of the plant. The thinking behind this was to present an image of what we mostly overlook and don’t pay much attention to. By placing this image beside the detailed prints of the individual plant I wanted to say something like, ‘Wow look how beautiful that little plant is. Is that it growing in there?’. As for choosing what prints to present, my desire in this work was to present, for comparison, the different print techniques I had developed. I chose 5 plants to do this with – nettle, vetch, buttercup, yarrow, and grass. However, I felt the graphite prints of this work weren’t as refined as they could have been.


AP
: You also create ‘earth’ paintings and feature soil samples in your shows. What message do you hope to relay to visitors viewing your earth paintings and soil samples? How do you make sure this message gets across to them?

TS: I’ve already described how working with soil came about and initially I was thinking a lot about how we would have made paints from the earth pigments in the past. Now after learning more about soil science I have become aware that we are living in a time of depleted soils. The nutrient content of soils has dropped significantly in recent times and this is translated into the food grown in these soils with reduced nutrient content, impacting on our own health and nutrition. The depth of soils has dropped drastically with the use of liquid fertilisers and intensive, mechanised ploughing. I’ve learned that our soils really are in crisis and yet we are not generally aware of it at present. I haven’t yet conveyed this through the work other than talking about the significance of the ‘paintings’.

The other thing I realised through attending the soil science lectures was that although I am very interested in the soil and want to know more, most of the science left me disappointed. There’s a big focus on how to calculate the moisture content of soils because that is of economic importance. Yet what is it that I really want to know about soil? And how do I want to conduct a study of soil? These are questions I don’t yet know the answer too. It is definitely something more sensory, experiential, intuitive, perhaps even poetic.

I suppose one other thing that needs to be said on this topic is that when I began the soil work I had an almost reverential regard to it. It needed to be significant somehow so I selected soil from a site that had ancient standing stones. I dried it, ground it, and sieved it to create a very fine powder. I turned this into an oil paint and then worked with it to paint a torso-sized circle by hand that I refined and refined almost meditatively, hardly breathing. My intention was to repeat this on a much more refined and meticulously prepared gesso board using the earth from the wild flower patch. The earth painting from this patch was going to be done after all the plant prints. When I got to this point I discovered that this soil had in fact been brought in from a contractor and the plants themselves had been sown from a wildflower seed mix. (There was also an intact cobbled road underneath it all, I was told!). At the time this felt like a devastating and shocking discovery. It wasn’t at all this wild, unnoticed patch full of undiscovered beauty but a bought and managed piece of earth! Why did this seem so wrong to me? We have been managing the land for centuries, moving earth, buying and selling it and sowing seeds. This knowledge prevented me from the reverential painting I had initially intended and instead I rubbed this wet earth onto the board by hand. I then felt the need to do the same with a ‘healthier’ soil taken from another location where it had had time to develop. I presented these with soil samples in small porcelain cups I had made.

The other message I’d like to get across is just how awe inspiring the natural world is. The forms and colours of largely overlooked wild plants can reveal great beauty if we slow down and ‘tune in’ to notice this wonder. We can enrich our lives by holding these beautiful forms in reverence. We have lost so many of our natural meadows through intensive agriculture and through that I believe we’ve lost a beauty and experience that once nourished us.


AP
: In the article you wrote for the Living Field website, you state your interest in using your printing techniques as scientific tools. How do you envision your techniques contributing to the work of soil scientists, botanists, and others?

TS: What I can see with my prints is exactly where pigment is located within the structure of the plant. I can see where it begins and ends and can see even small areas of pigment. As far as I understand it, the scientific study of plant pigments removes leaves, for example, and grinds them to see the quantities of pigments by spectrophotometric means but doesn’t show the exact location within the plant. I would like to know more about this. One of the things I often see is a small area of blue pigment where the stem meets the root. I recently read that Theophrastus, a Greek who was the first to attempt to categorise plants believed that the soul of a plant was located where the stem meets the root. I love the idea that this blue pigment is the visualisation of the ‘soul of the plant’!

The other use I envision for my prints is akin to the traditional herbarium. Instead of using the dried, pressed plant I believe the print would provide an accurate (and beautiful) record of the plant.


AP
: Your pigment prints make me think of the books about flower pounding. Only your work is far more elegant and descriptive. How do you achieve such grace and detail in your prints?

TS: This is largely luck! Yet selecting the right plant at the right time and using the right pressure can make it into an art that relies on experiential knowledge. For every successful print, there are many disappointing results.


AP
: When you create your graphite and ink prints, are they the result of plants making direct contact with graphite and ink or do you prepare plates using material like ImagOn, for example?

TS: I wasn’t aware of ImagOn. The prints I make use the plant directly. I have also briefly tried some traditional zinc or steel plate etchings that used the plants directly. Some trials I did with photopolymer etching and waterless lithography used only the digital image of the plant, yet I prefer the textural quality my prints have through the use of the actual plant rather than a digital image.

I was recently part of a print exchange with Nova Scotia College of Art & Design in Canada. My own prints are all monoprints and in an attempt to produce a print run for this exchange I tried the waterless lithography technique with a digital image of one of my monoprints. I found the results very disappointing in comparison to my own. Admittedly it was my first attempt with this so they might have been improved. Later, finding out about the photopolymer etching technique and trying this out, I realised that this would probably have been more successful. (The work was shown from the 4-8th July this year in an exhibition entitled, ‘Resources’ at the Anna Leonowens Gallery in Halifax, Nova Scotia).

AP: The decision you made to present plant species observed in a small patch of grass made me think of the book series, One Small Square, which encourages children to study the diversity of life within one square foot. What suggestions do you have for classroom teachers and informal science educators who may want to use nature printing or flower pounding as a way to enhance student understanding of what they observe in a small square of garden, lawn, etc.?

TS: I love the idea of this series and again wasn’t aware of this. I run very simple workshops using spoons to press the plants. Children seem to love them and if reluctant adults can be persuaded to give it a go, they are usually hooked too. The wonder of seeing the plant pigments on the paper seems to fascinate and generates the desire to see ‘what that one looks like, and that one…’. There are lots of surprises – a pink flower might produce a purple or blue print, white flowers can print brown. The colours change too as the season changes. Seeing the beautiful forms and delicate colours of these little, overlooked weeds can bring a whole new relationship with the natural world. It can enhance weeding and turn something unwanted into something beautiful to marvel at. At an event recently I bumped into a parent who had previously attended a workshop. It was great to hear him tell me that although his children are very engaged with technology, since the workshop they’ve been having moments of putting down the iPads etc., running into the garden for weeds saying, ‘get the spoons’!




Readers
:
You are invited to ask Tina questions about her work, upcoming classes, and exhibitions. She will be available to take your questions through
Friday, July 28, 2017. Please enter your questions and comments below.




Take a Class

Tina’s classes are now posted at Classes Near You > Scotland.
Here are the learning opportunities Tina will lead next:


Tina Scopa, Edaphic Plant Art

http://tinascopa.wixsite.com/website
Tina is an artist with a particular focus on wild plants/weeds and soil and has coined the term, Edaphic Plant Art. She mostly works in plant printing and has developed a number of techniques where plants ‘draw’ themselves. Tina conducts

Tina Scopa prepares for her workshop. Image courtesy Tina Scopa.

plant printing workshops suitable for most ages and abilities, although some strength and dexterity are required. In the future, she plans to teach short courses about how people can learn about the world through a contemporary art practice.


Save These Dates!

Tina’s work will be on view in three upcoming exhibitions. Flyers for two of them are below. A third exhibition will open in December at the Dundee Botanic Garden.

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The ART+BIO Collaborative has announced a professional development workshop for educators teaching in formal and informal learning environments. Program participants will have special access to art work from the public and non-public collections of the new Harvard Art Museums, as well as areas not frequently accessed by the public.

Information about the new workshop, plus information about upcoming trips to Puerto Rico and the southwest are listed below. This information has been added to the Classes Near You sections for Massachusetts, Texas and New Mexico.

After reading about the new classes, be sure to move on to the conversation with the instructors of the professional development workshop.


    ART+BIO Collaborative

    www.artbiocollaborative.com
    The ART+BIO Collaborative in Cambridge, MA fosters the integration of science, nature, and art through novel collaborations, research, and education. They design innovative art+science curriculum and turn public spaces into interactive learning environments.


    NEW! Professional Development Workshop for Educators

    Combining Comparative Anatomy & the Visual Arts:
    A Professional Development Workshop for Educators

    Dates: April 20- 22, 2015 from 1-4:30pm

    Location: Harvard Art Museums, 32 Quincy St., Cambridge MA, 02138
    
Fee: $25, Does not include museum admission

    This ART+BIO Collaborative workshop introduces educators to creatively combining visual art and life sciences to engage students in creative art-making and deeper learning of advanced scientific concepts. Working from museum collections and exhibits at the Harvard Art Museums and Harvard Museum of Natural History, participants will use biological illustration to learn about comparative anatomy and evolution. Participants will design creative art+science collaborations for their own classrooms and participate in collaborative art-making.  This workshop is ideal for 6th-12th grade Art and Science teachers, however, all grade levels and informal educators welcome, along with any artists, naturalists or students interested in creative, interdisciplinary teaching and learning approaches. No previous drawing or science experience necessary.  This workshop is part of the 2015 Cambridge Science Festival. 
    Pre-Registration required. Participants will earn 10 Professional Development points.

    Sign-up Today!

    Download flyer, share with friends and colleagues

    Download flyer


    ISLAND LIFE: Tropical Field Studies of Art+Nature in Puerto Rico, March 8-14, 2015- Spring Break

    Embark on an artistic exploration of the diverse tropical wildlife of Puerto Rico, including rainforest, mountain, beach and coastal environments.
    View Details/Register


    DESERT LIFE: Field Studies of Art+Nature in the Southwest
    June 26-July 2, 2015

    Discover the unique beauty of the desert in this one-of-a-kind artistic journey through white sand dunes, black lava rock, desert caves, and mountain landscapes of West Texas and New Mexico.
    View Details/Register


A Conversation with Stephanie Dowdy-Nava and Saul Nava

Stephanie Dowdy-Nava, primary instructor of the professional development (PD) workshop and co-founder of the ART+BIO Collaborative would like to start a conversation with you about science and art. You can join in the conversation by responding to her prompt below. Please respond by typing your comments in the Comment box.

Integrating biology and art helps students understand advanced scientific concepts more deeply and fully engage their creativity through informed, thoughtful artmaking. The PD program focuses on designing creative collaborations between natural history and the visual arts using comparative anatomy and biological illustration.  What are some creative ways you have successfully integrated art and science in your classroom, studio or lab? Share your ideas here and they could become part of our workshop discussion.

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By Botanical Art Society of the National Capital Region

Postcard image courtesy BASNCR.

Go to the Anthenaeum

Preserving Our Heritage:
Native and Heirloom Plants

Anthenaeum
North Virginia Fine Arts Association
November 13, 2014 – January 4, 2015

Each year, the artists of the Botanical Art Society of the National Capital Region (BASNCR) hold at least one juried exhibition in the Washington area to promote awareness of botanical art as a living art form. BASNCR artists work in a variety of media including the traditional watercolor on paper, as well as ink, graphite, gouache, colored pencil, oil, and silverpoint.

This year’s exhibition, Preserving Our Heritage, will be held at the Athenaeum in Old Town Alexandria, VA. The exhibition opens on November 13, 2014 and continues through January 3, 2015. Susan Frei Nathan of Susan Frei Nathan Fine Works on Paper juried the exhibition. Susan has over two decades of experience evaluating botanical art, and is a passionate expert and champion of botanical artwork.

The exhibition offers the artists of BASNCR an opportunity to showcase their favorite native or heirloom plants. There are a variety of definitions for both types of plants. A generally accepted definition for a native plant is one that occurs naturally in a particular region, ecosystem, or habitat without direct or indirect human intervention.

Some define heirloom plants in terms of the length of time a cultivar has been grown, or its existence before a specific date (e.g., 1951). Some use heirloom in its traditional sense and define an heirloom plant as a cultivar that has been handed down from one family or group member to another for many generations.

Whatever the definition for either category of plant, BASNCR artists each have favorite plants that they grow or admire (or anguish over not being able to grow), and will present them in their artwork at the Athenaeum.

Participating Artists:

      Ann Baker
      Carol Tudor Beach
      Judy Brown
      Tina Thieme Brown
      Esther Carpi
      Anne Clippinger
      Karen Coleman
      Jane Dowling
      Lee Boulay D’Zmura
      Bonnie Driggers
      Joan Ducore
      Mary Elcano
      Margaret McPherson Farr (Betsy)
      Lara Gastinger
      Gail Harwood
      Mary Page Hickey
      Juliet Kirby
      Jerry Kurtzweg
      Pamela Mason
      Elena Maza-Borkland
      Linda C. Miller
      Marsha Ogden
      Berit Robertson
      Mary Jane Zander

An opening reception will be held on Sunday, November 16, 2014 from 4-6 pm.

Gallery Hours:
Thursday, Friday and Sunday from 12–4 pm and Saturdays from 1–4 pm.
The Athenaeum is closed on holidays. Admission to the gallery is free.

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Shasta Daisy. © Nancy Wheeler Klippert. All rights reserved

Shasta Daisy. © Nancy Wheeler Klippert. All rights reserved

The Legacy of Luther Burbank,
A Gallery Show

Sebastopol Center for the Arts
Sebastopol, CA
September 11 – October 25, 2014

Fourteen Sonoma County botanical artists will show paintings of plants from the Luther Burbank Experiment Garden in Sebastopol and the Luther Burbank Home & Garden in Santa Rosa. The paintings were created in colored pencil on a variety of papers and films. The colored pencil paintings feature botanically accurate portraits of selected plants, fruits, vegetables, flowers and trees created through Burbank’s experiments. The artists worked directly with specimens at both locations and have created a “florilegium” of Burbank’s work in Sonoma County. Learn more about Luther Burbank’s legacy.



You’re Invited!
Wild Black Cherry. © Suzanne Cogen. All rights reserved

Wild Black Cherry. © Suzanne Cogen. All rights reserved


An opening reception will be held on Thursday,
September 11, 2014 from 6-7:30 PM at Sebastopol Center for the Arts in Sebastopol, CA (see map).

Gallery Hours:
Tuesday – Friday 10 AM – 4 PM
Saturday 1-4 PM

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Sustainability: Supporting long-term ecological balance.

— Dictionary.com

What does sustainability mean to you?

In this issue of Plants, Life, Riverside we talk about achieving sustainability in an urban setting with Taher Bhaijee, a recent graduate of UC Riverside and co-founder of SustainRiverside.org, a new resource that will show residents how to adopt new approaches to living.

SustainRiverside.org is well on its way of becoming an informative resource for the residents of Riverside, CA. The soft launch for the site occurred earlier this month during Earth Week. Currently the site features a long list of sustainability events happening in the city. Soon new posts and videos will be added every other Monday.

Visit SustainRiverside online and you will see that the organization has laid out its objectives clearly. Taher is actively working with community groups to achieve the following goals:

    Community Goal
    To develop Green Teams in every neighborhood in Riverside.

    Energy Goal

    To reduce peak load demand by 10%.

    Food Goal

    Create 5% increase participation in community gardens.

    Water Goal

    To reduce Riverside’s water consumption by 20%.

    Waste Goal

    To reduce Riverside’s waste by 20%.

    Health Goal

    To reduce obesity rates by 20%.

    Transportation Goal

    To increase ridership on public transportation by 50%.

I spoke with Taher about some of these goals. I asked him to explain what a Green Team is and what such a team should strive to accomplish in their respective neighborhoods. Taher explained that his idea of a Green Team is modeled after the Wood Streets Green Team, an established team of residents actively involved in helping other residents achieve a sustainable lifestyle. They conduct workshops, involve themselves in city issues and support related groups in the city. Taher hopes to establish a Green Team in each of Riverside’s 26 neighborhoods.

Another objective of SustainRiverside is to increase participation in community gardens by five percent. What does this 5% look like?

Taher explained that by “five percent”, he means 5% of Riverside’s population. The city has a population of 300,000 residents, so he hopes to get at least 15,000 residents involved with existing and future gardens. Taher hopes the involvement with community gardens will encourage residents to lead healthier lives. He says that his work at the UCR Community Garden cleaning, watering and growing vegetables taught him how to live more sustainably and taught him how to live more healthfully. 

Recruiting 15,000 residents may sound like a bold goal, but it really isn’t that outrageous. Especially given the success of the recent Grow Riverside conference, a conference about urban agriculture and the development of a sustainable food system in the city. Taher says he hopes SustainRiverside can play a role in communicating the efforts of all parties involved in the Grow Riverside movement and to communicate these efforts through one platform.

SustainRiverside is making great strides reaching out to the public and showing people how they can live more sustainably. The next lesson in sustainability is scheduled for May 17, 2014. On this day SustainRiverside and the Wood Streets Green Team will embark on a progressive bus tour to promote community, public transportation, local businesses and recycled art. Bus tour participants will meet at a local bus stop, board the bus together and then visit the Riverside Farmer’s Market in downtown. They will then go to Tio’s Tacos to eat lunch and to view the gallery of recycled art.

Would you like to join the progressive bus tour and learn more about SustainRiverside.org? Contact Taher Bhaijee or visit SustainRiverside on Facebook.



About Taher Bhaijee

Taher has a Bachelor of Science in Biology and a Bachelor of Arts in History and has been actively involved with sustainability efforts around UC Riverside. As President of Sustainable UCR, he worked on projects such as the UCR Community Garden, the Power Rangers Program, the Recycling Proposal, the Composting Initiative, and the Grid Alternative Solarton. He is now working on Riverside-wide sustainability projects as an intern at the Mayor’s office. He hopes to build a healthier and greener Riverside.

Who else is working on creating a greener Riverside? Take a look.






Related Articles

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Plants, Life, Riverside is an ongoing interpretive project about plants in an urban setting. How are natural areas managed around the 12th largest city in California? Let’s find out.


Martha Mclean Anza Narrows Park and the Santa Ana River Trail

Martha Mclean Anza Narrows Park and the Santa Ana River Trail

The City of Riverside is home to more than 311,000 residents and is divided into twenty-six distinct neighborhoods covering 81 square miles (Riverside Office of Economic Development, 2014). There is a lot of concrete, asphalt and stucco out here and commutes during rush hour can be absolutely horrible. 

Riverside is located on the western edge of Riverside County, a county covering over 7,200 square miles of southern California (County of Riverside, 2014). While heavily populated, it does have natural areas where plants and animals are protected. These areas, and other open space areas in western Riverside county, are protected by the Multiple Species Habitat Conservation Plan.

The Multiple Species Habitat Conservation Plan (MSHCP) was created to establish a balance between land development, the protection of plants and animals, and the establishment of a sustainable economy while complying with state and federal Endangered Species Acts. Implemented in 2003, the MSHCP is a component of a larger project called the Riverside County Integrated Project (RCIP).

The MSHCP addresses many issues. To learn more about the Plan, I contacted Patricia Lock-Dawson, former grant writer for the County who was involved with the creation of the MSHCP. She is also one of the authors of the MSHCP Implementation Guidance Manual used to train city planners working in the fourteen cities covered by the Plan.

According to the MSHCP, the population of Riverside county will increase 400% by the year 2040 to 4.5 million people, with most of this growth occurring in the Inland Empire (MSHCP, Section 1.2.1). To prevent fragmenting open space and creating small islands of habitat unable to sustain local species, the Plan establishes a protocol guiding land use decisions. The Plan covers 1.26 million acres and 146 listed and unlisted species (MSHCP, ES.6 Goals of the MSHCP).

The Habitat Conservation Plan took about 8 years to complete. The specific function of the Plan, according to Lock-Dawson, is to streamline the economic development of the region by offering a “one-stop shop” where developers can satisfy permitting requirements with the County, the state and the federal government without running around pulling permits from every agency. The Plan enables developers to satisfy permit requirements by working with one entity — the County’s Habitat Conservation Authority.

A search of published newspaper articles revealed that the Plan has both supporters and opponents. The Plan has always had its ups and downs when it comes to public perception and Lock-Dawson says the biggest challenge the Plan faced was getting cities and developers to sign-on. Everyone was suspicious of the Plan. Cities and developers thought the Habitat Conservation Plan would interfere with development and natural resource agencies were concerned the County would not be a good steward of local natural resources and let development go wild. The County had to work diligently to earn the confidence of all parties. 

The MSHCP is a document with good intentions and is designed to benefit both people and nature. However I think it’s safe to say that only a small number of people have browsed through it. This is unfortunate because this document is not only for county officials, biologists and land owners. Anyone can read the Plan. Residents of western Riverside county can even see how the MSHCP applies to their area by entering their Assessors Parcel Number into the Conservation Summary Report Generator

In addition to being a comprehensive and thorough conservation plan, the MSHCP is a great interdisciplinary educational tool. I asked Lock-Dawson how she would explain the MSHCP to kids to teach them about local natural resources. She said she would begin by not using the acronym and would refer to it as something other than a “conservation plan” because the concept might be too much for young children to comprehend. She says she would present it first as a big map and say, “Here’s where plants and animals live” and then show how habitat has changed over time. She would then explain to kids that many people worked together to make sure the natural areas in our region would be preserved for them and for their children. 

I asked Lock-Dawson what she would like people to know about this often misunderstood document. She said she would like them to understand that these types of efforts keep Riverside from becoming a place where no one wants to live. She adds, “It is what keeps our world beautiful. Natural resources need to be managed and controlled. We are not the only ones here. We have a responsibility towards the future.”


The MSHCP in the Classroom

The Multiple Species Habitat Conservation Plan is much more than a heavy government document. It is a treasure chest of ideas for the classroom. I quickly made note of some topics in the MSHCP and then spent time on the website of the Next Generation Science Standards browsing topics and core ideas. What a way to make a school-home-nature connection!



Literature Cited

City of Riverside, Office of Economic Development. Retrieved March 24, 2014 from http://www.riversideca.gov/econdev/data-and-demographics.

County of Riverside, California. Riverside County History. Retrieved, March 24, 2014, from http://www.countyofriverside.us/Visitors/CountyofRiversideInformation/RiversideCountyHistory.aspx.

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