As part of ‘Harvest: Art, Film + Food’ at GOMA from 28 June to 21 September 2014, Fallen Fruit present a site specific installation of the pineapple. Fallen Fruit of Brisbane: Pineapple Express! 2014 comprises of a major photographic-collage pineapple wallpaper, video and a large-scale cabinet of pineapple-related objects and paraphernalia featuring objects from local members of the public.
Thank you to the following people for their contributions towards Fallen Fruit of Brisbane: Pineapple Express! 2014:
Albie Allan, Amelia van Ravenswaay, Analie Lally, Andy Monks, Angelina Martinez & Paul Andrew, Anna Jacobson, Annabelle Crow, Ashleigh Newbery, Betty Grigg, Bianca Batstone, Bronwen Jones, Cameron Parker, Cate Strange, Claudia Hyles, Deb Mostert, Dianna Campbell, Elizabeth Willing, Ellie Anderson, Elly O’Neill, Fab Hatters, Gemma Smith, Georgia Gordon, Glenn Cooke, Grace Kevill-Davies, Greta Umbers, Jane Grigg, Jenny Sathngam, Josephine Perkins, Justin Stenton-Dozey, Karen Benjamin, Kate Summers, Kenneth Lyons, Keren Brown, Kerryanne Farrer, Kirsten Devitt, Kyla Stephan, Laura Horrocks, Lisa Pieca Pineapple (AKA Lisa Burnett), Lyle Duncan, Marie Fitzgibbon, Melissa Crothorn, Michael Gilmore (Pineapple from the Dawn of Time), Michelle Fleur, Miya White, Nicole James, Rachel Long, Renee Steenstra, Rodney Jensen, Sandra Eastern, Sandra McLean, Susan Dryden, Tim Askew and Matt Carroll, Tory Jones, Una Hollingworth, Vanessa Bovee, and Zara Monteith.
The artists would also like to thank Doug Jones at Golden Circle, and Ken Fullerton Jnr at Fullerton Farms.
Fallen Fruit (David Burns & Austin Young) / Fruit Machine: Yellow Pineapple 2014 / Image courtesy: The artists
Fallen Fruit’s name is derived from a passage in the book of Leviticus: “When you reap the harvest of your land, you shall not reap all the way to the edges of your field, or gather the gleanings of your harvest. You shall not pick your vineyard bare, or gather the fallen fruit of your vineyard; you shall leave them for the poor and the stranger.” Fallen Fruit’s community-based projects use fruit as a medium to explore social engagement. The themes of generosity and sharing that guide their work align with the Skirball’s mission of hospitality, equality, and civility.
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After studying the Skirball’s collection of Jewish cultural artifacts, Burns and Young found inspiration for their project in a seventeenth-century ketubbah (marriage contract). They also discovered how prominently the pomegranate figures in Jewish tradition, particularly as a symbol of fertility and marriage. Focused on this fruit, the artists researched the emotional, cultural, and intellectual “ingredients that make for a great relationship” during the course of their residency at the Skirball. The exhibition combines their interest in both the cultural ritual of marriage and the beauty of the pomegranate by featuring specially designed wallpaper created from photographs of pomegranate fruits and trees in Southern California. The latest addition is a selection of portraits of people who love each other, accompanied by a Love Score—an artfully designed composite of love advice submitted by the public.
Fallen Fruit is an art collaboration originally conceived in 2004 by David Burns, Matias Viegener, and Austin Young. Since 2013, David Burns and Austin Young have continued the collaborative work.
Urban Fruit Trails is a network of walking trails, populated with fruit trees and planted, tended, and harvested by the public.
Fallen Fruit of Atlanta
Curated by Stuart Horodner
Oct 19, 2013-Dec 14, 2013
Fallen Fruit is the Los Angeles-based collaborative team of David Burns and Austin Young, whose various projects use fruit as a filter to examine distinct places and histories, issues of representation and ownership, and address questions of public versus private space. ACAC commissioned the artists to develop their first exhibition addressing a Southern context and during the past several months they have visited Atlanta three times; Burns and Young engaged the Antioch Baptist Church North, New Horizon Baptist Church, Atlanta History Center, Hammonds House Museum, Margaret Mitchell House and Museum, Souls Grown Deep Foundation, The Wren’s Nest, WonderRoot, Create Your Dreams, and numerous antique stores, farmer’s markets, and private homes. The resulting exhibition operates as a multi-layered installation pulling paintings, maps, and collected “data” from these archives, collections, and experiences in order to provide insights and draw parallels between past and contemporary Atlanta.
Fallen Fruit of Atlanta will include specially-designed and lavish peach wallpaper (playing with themes of abundance), hand-drawn and photographic portraits, and a range of objects chosen to index the diversity and complexity of Atlanta. Like their previous work in cities including Los Angeles, Hawaii, and Salt Lake City, this Fallen Fruit project features a specific fruit, the peach—with its associations of ripeness, optimism, and pleasure—chosen for its ability to reconfigure relationships of sharing and generosity. Issues of legacy and personal narrative animate many of the artists’ encounters in Atlanta—an inquiry into what becomes documented, celebrated, and spoken about, and conversely what is not. A common understanding is that people construct their own histories, through stories and their cherished objects, be they valuable or common. Photography is a constant and ubiquitous element in Fallen Fruit’s artistic practice—utilized both as documentary process and image production—as well as an informal way of establishing trust with a range of citizens, and asking them to lend specific for inclusion in their installations.
In conjunction with the opening of their exhibition the artists have asked Rev. Sean B. Smith, pastor of New Horizon Baptist Church in Atlanta, to speak on connections between fruit and generosity.
Fallen Fruit is an art collaboration originally conceived in 2004 by David Burns, Matias Viegener and Austin Young. Since 2013, David and Austin have continued the collaborative work.
FALLEN FRUIT FACTORY
a public participatory project by Fallen Fruit (David Burns and Austin Young).
The Fallen Fruit Factory is a public participatory art project that allows the public to collaborate with Fallen Fruit and contemporary artists to create fast-art pieces. The Factory is co-hosted by a contemporary artist and Fallen Fruit and creates an immersive art experience where the public can participate in making works of art. In exchange for working on Factory art projects, the public gets Fruit Dollars redeemable for Fallen Fruit or Factory art at the Fruitique! or online at the Fallen Fruit store. Projects are always group-authored, meaning there isn’t one person who creates each individual work. Often the works are inspired both by the guest artist and Fallen Fruit, but it is the stranger or passerby who sets the color, tone, or unique dimensionality of each piece. No two works of art will be the same!
In exchange for a cold glass of lemonade, participants will be asked to create self-portraits using black ink markers on lemons and to share stories of sadness and disappointment, or happiness and positive self-reflection.
Del Aire Public Fruit Park, public art installation, 2012
Working with residents of the Del Aire neighborhood in Hawthorne, California, this public fruit park attempts to transform the entire community. While focused on a single “eye” with 12 fruit trees, it is surrounded by 24 other fruit trees scattered throughout the park, and 48 trees adopted by residents and planted on the periphery of private and public property throughout the neighborhood. Commission from the Los Angeles County Department of Cultural Affairs.
New York Times article “Tasty, and Subversive, Too” by PATRICIA LEIGH BROWNHERE
Instructions (read Carefully)
Hold the banana.
Close Your eyes.
As you connect with the banana allow a question,
a childhood memory, personal story, dream,
feeling, wish or request to come to mind.
Take a deep breath and press record.
Banana Hotline will translate our voices
into a living monument of sound.
ps. If you ask the banana a question,
your answer will come by morning.
Be prepared with pen and paper
and share your answers.
send us a link to your sound or video files or mail to email@example.com
Read about our project at TED Active 2013
One image of a series of public service-like announcements designed for Fair Exchange at The Los Angeles County Fair, a large exhibition of work based on the space of the city and the new artists, collectives and activists working on issues of urbanism, social justice and the environment. Urban Fruit Action encourages the planting of fruit trees in urban neighborhoods as a way to create a new culture of shared resources and engaged participation.
Public Fruit Maps, dimensions variable, 2004 – ongoing
One of Fallen Fruit’s core projects is to map neighborhoods to which we are invited, mapping all the fruit trees that grow in or over public space. The maps are hand-drawn and distributed free from copyright as jpgs and PDFs. They are regularly reproduced in the media and have been exhibited in museums and gallery exhibitions internationally. The dimensions of the maps are variable and range from 8” x 10” to 40” x 60”. This is an ongoing and ever-expanding project.
Public Fruit Tree Adoptions, public participatory project, 2007 – ongoing
Working with a variety of donors or organizations like TreePeople and civic groups, Fallen Fruit distributes free bare-root fruit trees in a variety of urban settings. We encourage the planting of these trees in either public space or on the periphery of private property, in order to create new kinds of communal life based on generosity and sharing. Each recipient signs an adoption form promising to care for the tree — initiating a relationship with it.
Fruit Machine, video, variable configuration, 2009 – ongoing
An ongoing project in which we videotape teenagers (age 12 to 17) eating a variety of fruit. A study in how we actually eat, the portraits range from graceful to awkward and comical, as the teenagers navigate what they quickly come to realize is a not-so-simple task. The videos are screened in configurations of 3 to 5 in a row in order to resemble a slot machine (whose windows often use fruit as symbols). Each video portrait runs for about 30 seconds then spins to another, in hopes that all the windows will align to the same fruit: the jackpot.\
Fallen Fruit of LACMA, solo exhibition, 2010
Drawing on the museum’s permanent collection, The Fruit of LACMA assembled work in several media (painting, photography, and decorative arts) to examine the haunting persistence of fruit in art. This exhibition examines the symbolic and sociological aspects of fruit in art, from religious symbolism to embedded social messages. Drawing on the museum’s permanent collection, The Fruit of LACMA assembled work in several media (painting, photography, and decorative arts) to examine the haunting persistence of fruit in art. This exhibition examines the symbolic and sociological aspects of fruit in art, from religious symbolism to embedded social messages. It includes a LACMA-commissioned piece from Fallen Fruit, as well as custom-designed wallpaper. The website for EATLACMA was participatory and integrated into the overall project, collecting videos, tweets, artist’s blogs and images. It includes a LACMA-commissioned piece from Fallen Fruit, as well as custom-designed wallpaper. The website for EATLACMA was participatory and integrated into the overall project, collecting videos, tweets, artist’s blogs and images.
American Family, giclee print, 40” x 60”, 2008
A large format, composited digital photograph re-staging Gericault’s Raft of the Medusa as an inquiry on the state of the American family, especially in regard to the food they eat – reflecting issues brought up by writers such as Michael Pollan in The Omnivore’s Dilemma. The image has four characters standing in for the figures in Gericault’s painting, looking towards the horizon for rescue. In Gericault they have their backs to the viewer; here the parents and the children look past the viewer for hope and perhaps rescue from an unknown agent, perhaps the government, the world, or the spectator.
Public Fruit Wallpaper Salt Lake City, dimensions variable, 2011
Created for the Utah Museum of Contemporary Art, this wallpaper depicts apple blossoms and budding apples against a Utah-sky blue backdrop. Everything in the image was collected over two days in Salt Lake City and the apple was chosen because of its place in the history of North American westward colonization.
Public Fruit Wallpaper Los Angeles, dimensions variable, 2010
A wallpaper consisting of all the public fruit found in our neighborhood of Silver Lake in Los Angeles on a single day in March, arranged in a traditional lattice-and-medallion pattern against a gradient sky. Because of the season, all of it is citrus, and it includes fallen fruit found in the gutter, some of it split, rotting, or with insects. Commission for the Los Angeles County Museum of Art.
Public Fruit Theater, Los Angeles County Museum of Art, 2010-11
Rather than looking at fruit trees as simply a source of food, Public Fruit Theater examines the tree as a durational performance. Viewers complete the story through observation, witnessing the tree’s leafing out, blooming, and ripening of its fruit. The space is open to both performance and contemplation, observing the public or the fruit. The broken concrete of the installation indexes the margins of the city, the sidewalks that both connect us and separate us. Created in collaboration with La Loma Development.
Public Picnic Tables York, Alabama, installation, 2012
A set of ten picnic tables at the Coleman Arts Center engraved with quotations from the community of York, Alabama. Gathered at Gobble Gobble Cobbler, a fruit cobbler and public conversation event by Fallen Fruit, the quotes reflect the residents’ feelings about fruit, history and public space. The tables were crafted by a York carpenter, Dennis Sturdivant, of local materials.
Public Fruit Meditation, public participatory performance, 2011 – ongoing
An array of meditations and visualizations designed for small groups in intimate settings. Each sequence imagines fruit differently to raise consciousness about symbolic values, politics, social relations and fruit itself. Working within individual consciousness as well as interpersonal relationships, the various parts reconfigure how we might think about fruit and use it as a personal and social tool.
Fallen Fruit of Utah, solo exhibition, 2011
An eclectic collection of art, craft and domestic objects depicting fruit in various forms, assembled against a backdrop of specially designed wallpaper. Created for the Utah Museum of Contemporary Art, the work was selected from the collections of ten regional museums and numerous Utah residents. Among the themes they explore are the social meaning of the watermelon, the role of the grape and wine, the symbolism of fruit orchards, and the variety of interpretations found in the Garden of Eden and the Tree of Life.
Fallen Fruit of Utah brings together two types of collections through the common ground of fruit. One is sweeping – museums and historical archives – and the other is personal and intimate. Fruit is seen both as deeply symbolic and simply decorative, both ordinary and special, sometimes at the same time. Eight historic collections and archives and over twenty families agreed to collaborate with the artists of Fallen Fruit to assemble works that range from spiritual and symbolic to representational landscapes to the commonplace (or everyday objects). This exhibition draws our attention to the meaning of fruit, a way to investigate symbolism, the aesthetics of deliciousness, and the bounty and goodness of the familiar.
MEET THE ARTISTS OF FALLEN FRUIT on the corner of 9th South and 9th East for a Nocturnal Fruit Forage. Bring a picker and some old grocery bags and hunt for free fruit in the public way.
When you reap the harvest of your land, you shall not reap all the way to the edges of your field, or gather the gleanings of your harvest. You shall not pick your vineyard bare, or gather the fallen fruit of your vineyard; you shall leave them for the poor and the stranger.
EATLACMA, exhibition in three parts, 2010
EATLACMA was a yearlong residency at the Los Angeles County Museum of Art with three major parts. The first was an exhibition of work from the permanent collection curated around the social topic of fruit, installed in a gallery with our Public Fruit Wallpaper, a LACMA commission. Six curated artist’s gardens probed the definition of the garden, asking if it could express an idea, or serve as a container for a set of questions and concepts. The culmination was a one-day event, curated with over fifty artists and collectives: Let Them Eat LACMA, which focused on the interaction of food, art and the public with a great variety of performances, installations, and participatory events.
Accion Fruta Urbana / Urban Fruit Action Tijuana, outdoor public installation, 2010
Our Urban Fruit Actions differ from Fruit Tree Adoptions in being more hands-on. They are direct, cooperative plantings of fruit trees in an urban neighborhood. An ongoing project, they were first initiated in Tijuana, Mexico and Madrid, Spain. Each Urban Fruit Action is site-specific, designed to address the neighborhood that it occupies, and intended to transform the function of the place. Tijuana’s trees are located in 55-gallon barrels to facilitate their mobility in the rapidly transforming border neighborhood of Colonia Federal. The barrels were designed by Peruvian artist Giacomo Castagnola with the colors of the Mexican and United State’s flags.
Our Urban Fruit Actions differ from Fruit Tree Adoptions in being more hands-on. They are direct, cooperative plantings of fruit trees in an urban neighborhood. An ongoing project, they were first initiated in Tijuana, Mexico and Madrid, Spain. Each Urban Fruit Action is site-specific, designed to address the neighborhood that it occupies, and intended to transform the function of the place. The trees in Madrid were originally intended to be dispersed in public space in the neighborhood around the Matadero arts complex, but their planting was stopped by the city. The trees found a home in Esta es una plaza, a communal garden in the neighborhood of Arganzuela: there they transform a former urban wasteland into a shared, multivalent space.
One of a pair of images on the politics of food and the relation of cities to the food they eat. The artists of Fallen Fruit stand before Los Angeles City Hall with a set of posters protesting the city’s insistence on barren landscaping. Much of Fallen Fruit’s work is in exploring alternative modes of sustainable landscaping, including public fruit trees. Our agrarian values call for turning the city into a sort of communal garden, which looks beautiful and begins to accommodate the food needs of its residents.
Fruit Stories, audio, video & photograph archive, 2008 – ongoing
One part of our long-term project The Colonial History of Fruit, is an archive of individual Fruit Stories on videotape. We’re interested in two kinds of colonialism: the history of the fruit itself, how it got from one part of the world (in the case of the banana, from New Guinea to Central America), and which political and economic forces pushed it along. The second history is more personal and social: how the banana (and other fruits) has touched individuals, from those who eat them to those who pick them, personal stories of the many different relations one can have to a fruit. These could be memories, dreams, fruits they heard of and never had, fruits they love or fruits they hate. This archive grows as we travel.
Neighborhood Infusions, 2008 – ongoing
An ongoing project by Fallen Fruit, in collaboration with Greenbar collective (greenbar.com) in which we pick the fruit we find on a certain street or locale, infuse it in vodka, and name it for the neighborhood. We’re interested in the essence of that place, to think about its unique qualities but also look at it as a template for creating more livable and individualized neighborhoods. The question Neighborhood Infusions asks is tinged with irony: can you capture the essence of a place in a bottle? The work is served off the wall by docents (rather than bartenders), who take time to interpret its implications for those interested in consuming it.
The Path is the Journey, video, 2009
Shot during a residency in Copenhagen, this video meditates on what is local and what it means to pay attention to place. An eleven-year-old boy leaves home, wondering about his place in the world. He finds bright yellow plums growing wild on the edge of his neighborhood and decides to pick them. Returning home alone, he makes jam out of them, and when he is done he leaves home to begin again. Without dialogue, the video has two voiceovers by the boy and two by his mother; the texts are from Kierkegaard, the Danish existential philosopher who lived his whole life in Copenhagen. They pose the question of how far beyond home you must go to find truth.
The Loneliest Fruit in World, video, 2010
While in a residency in Tromsø, Norway, 200 miles above the arctic circle, we became fascinated by arctic berries. The lingonberry, the salmonberry and the blueberry grow without any human involvement and for a few short weeks become the site of intense activity as people come to pick them. Against a beautiful, spare landscape peppered with tiny blueberries, the video follows a group of Norwegians who while picking negotiate the relation between solitude, gleaning and company. Following the berries, one gleaner leaves the group and has to decide whether to continue on her own path or re-join the group.
Love Apples, public art project with Islands of LA, 2008
An installation of seventy tomato plants on twelve traffic islands in LA, carefully tracked to see which thrive and which perish, à la Survivor, and then harvested in a public festival in August. “Love Apples” is an early European name for the tomato, which was considered an aphrodisiac. Our tomatoes were planted on unoccupied and irrigated public space, and nothing was destroyed or removed in placing them. The project was a test of the definition and use of public space in the city of Los Angeles, imagining new ways in which such spaces could be utilized for the enjoyment of all. Visitors were asked to sample but not hoard any tomatoes they find in public. To encourage people to explore the city’s forgotten spaces, a complete map was released in the final weeks of the project. Love Apples was a collaboration between Islands of LA (islandsofla.org) and Fallen Fruit.