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Pollen Balls Project (installation view)
Presidio Habitats

Amy Lambert

Pollen Balls Project

Digger bees have little cultural significance in our society: there are no stories, songs, or myths about these unfamiliar insects. Using methodologies that rely on community participation, artist and biologist Amy Lambert generated data on the bees in the Presidio and concurrently brought the digger bee into our consciousness. These newly created “stories” about the bees were manifest in the inscribed wax pollen ball forms that Lambert situated among plants at the Presidio’s native plant nursery.

  • Amy Lambert, Pollen Balls Project, 2010 (detail); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (installation view); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (installation view); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (detail); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (installation view); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (installation view); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (detail); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (installation view); photo: Monique Deschaines
    Amy Lambert, Pollen Balls Project, 2010 (installation view); photo: Monique Deschaines
    Installation Views
Amy Lambert
Amy LambertAmerican, born 1972

Amy Lambert is an environmental artist and restoration ecologist. In addition to carrying out ongoing field research in ecology, Lambert teaches at the University of Washington, where students in her art and restoration classes reclaim wilderness areas from invasive species and create artwork with the waste materials produced in order to visually engage the public in habitat restoration activity.

Top: Amy Lambert, Pollen Balls Project, 2010 (installation view); photo: Monique Deschaines

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  • Allison Stone talks Art in the Presidio

  • Art in the Parks and “Home Land Security”: A Partner’s Perspective

  • Q&A with “Home Land Security” Curator Cheryl Haines

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Sanctuary Salon (February 23, 2018)

Sanctuary Salon (February 23, 2018)

Echoing Sanctuary's ethos of plurality, the "Sanctuary Salon" series weaves together the voices of artists whose practices span creative disciplines, including ...

Brendan Fernandes: Safely (2017)

Brendan Fernandes: Safely (2017)

As part of his commission for "Sanctuary," Brendan Fernandes presented a site-specific durational performance that explored themes of reverence and sacred ...

Panel Discussion: Approaching the Rug as a Critical Form

Panel Discussion: Approaching the Rug as a Critical Form

Panel Discussion "Above the Rug: Approaching the Rug as a Critical Form" February 11, 2018 Historically and traditionally, rugs are a medium for cultural ...

Sanctuary

Sanctuary



Sanctuary Salon (January 26, 2018)

Sanctuary Salon (January 26, 2018)

Echoing the ethos of plurality embodied within FOR-SITE's exhibition "Sanctuary," the "Sanctuary Salon" series weaves together the voices of artists whose ...

Sanctuary Salon (December 14, 2017)

Sanctuary Salon (December 14, 2017)

Echoing the ethos of plurality embodied within FOR-SITE's exhibition "Sanctuary," the "Sanctuary Salon" series weaves together the voices of artists whose ...

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  • It's a full house (er, Chapel) tonight for FOR-SITE's first #Sanctuary Salon https://t.co/ABOANPBfeV
  • Happening now: Free #silkscreening workshops with #SanctuaryPrintShop outside #Sanctuary @FortMasoninSF Chapel https://t.co/4BGs628mct

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  • Before closing out our 5-year “Tree Fall” anniversary, we want to give another shout-out to all the volunteers who gave their time and sweat to making “Tree Fall” possible. 5 years on and we’re still incredibly grateful for their dedication. The installation was tough, but they all jumped into those Tyvek suits, pulled on their gloves, got down and dirty with the clay, and GOT. IT. DONE. #ArtAboutPlace
  • It’s here—day 9 of our 5-year “Tree Fall” anniversary where we get to share the finished work you all know and love! After 72 hours (3 days) the work dried and cracked. The cracking pattern was natural—no scoring, carving, or coaxing on the part of the artist was done to the work (except the impeccable planning and execution of the clay production and application, of course). After about a month, dehumidifiers were installed inside the work to ensure complete drying and mitigate any potential for mold growth. In October 2013, the work was open to the public. #ArtAboutPlace
  • It’s Day 8 of FOR-SITE’s 5-year “Tree Fall” anniversary and we have now arrived at the penultimate step of the installation process—the application of the clay! Once the patties were rolled out and prepped, they were then smooshed (“smooshed” is a technical term, right?) by hand onto the hay/slip base layer. Although a seemingly simple process, it was actually one of the most tedious, time-sensitive, and labor-intensive. Creation of the patties had to be timed carefully to match the speed of application in order to ensure uniform drying. The application itself was back- and shoulder-breaking work that didn’t allow for much rest (again, due to concerns over uneven drying). When at last the entire installation had been covered, a professional plasterer came into provide a final smoothing to the entire surface before it was left to dry and crack. #ArtAboutPlace
  • For Day 7 of our 5-year “Tree Fall” anniversary we’re jumping in right where we left off on Day 6 with the clay patties. Once made, the clay patties were scored, given a light layer of slip, and sprinkled with a dusting of the prepped hair in order to give the patties texture for adhering to the base layer. __ If any of you have seen the recent documentary “Leaning Into the Wind,” the woman in this photo may look familiar. It’s Holly Goldsworthy, Andy’s daughter. Holly has worked closely with her father on many of his projects the past few years, and helped manage the clay work team for “Tree Fall.” #ArtAboutPlace

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Field Notes

  • Allison Stone talks Art in the Presidio

  • Art in the Parks and “Home Land Security”: A Partner’s Perspective

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