M - Antennae The Journal of Nature in Visual Culture

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has the potential for significant mainstream success, but do you also have goals for how the film could be used educationally? It has always been my vision and hope that MINE would contribute to the betterment of the lives of non-human animals. I think the mainstream appeal of the film positions it to do just that. Our plans for distribution include an outreach program that makes the film accessible to animal rescue and welfare groups all over and allows them to share in the revenue of the film through independent screenings and DVD sales. Educational distribution is also a key piece of our overall plan. We’ll make the film available for University programs, and while it’s of particular interest to animal studies programs, we’ve also been contacted by people in the areas of social justice, environmental studies and women’s studies. We’re really excited that MINE could be of use across so many fields of interest. Geralyn, not long after your experiences in New Orleans you adopted a dog that was displaced by Katrina. What would you do if her previous guardian suddenly came back into the picture? Would you have answered this question differently if you hadn’t made this documentary? I fostered and then adopted a snaggle-toothed little survivor after Katrina, and it was the question of “what would I do if Nola’s family wanted her back?” that really made the process of making this documentary a deeply personal experience for me. The answer still doesn’t come easy, because I’ve had her for four years now and no one has ever contacted me about her. To this day her picture is still posted on PetFinder and I still periodically scour PetFinder and other New Orleans based sites where people could search for their lost pets, and have yet to discover anyone looking for her by those means. But even if they weren’t looking, it doesn’t mean they didn’t or don’t love her, and maybe they wanted her and didn’t have the resources to find her, which is a likely scenario. I’d like to think if someone showed up one day and had the kind of bond with Nola that I feel, I’d try to put aside my personal attachment and return her. Ultimately I think anyone in this position (which for me has always been hypothetical) would just want to know that this animal is going to be loved and cared for. Do you have any new projects in the works? I do have another project in development, a collaboration with one of the subjects of MINE. It’s about “the homeless” and is another film that will challenge a lot of our preconceived and un-conceived notions, this time about a population that’s generally treated with lower regard than animals in our society. 90 Geralyn Pezanoski Mine: Taken By Katrina, film still, 2008 � Geralyn Pezanoski Geralyn Pezanoski, Co-Founder of Smush Media, has 12 years experience in film and video production and makes her feature directorial debut with MINE. Film producing credits include the narrative short, On A Tuesday (Santa Barbara & LAIFF) and the feature-length Motherland (SXSW), and directing credits include the doc series Firehouse (Sony Pictures Entertainment). She lives in San Francisco with her husband Peter and their dog Nola. For more information please visit: http://minethemovie.com Geralyn Pezanoski was interviewed by Antennae in Spring 2009
91 MAUSOLEUM The extraordinary botanical diversity for which Western Australia is internationally renowned is deposited in various collections. Gregory Pryor first worked with a 19th century collection of Western Australian plants he found in the Natural History Museum Vienna during a residency in 2002. In this account he takes us through his work in herbaria for the creation of Black Solander, his installation work for HEAT. Text by Gregory Pryor Gregory Pryor Black Solander (installation shot at PICA Perth) ink, graphite and spirit-based ink on sugar paper, 2004 � Gregory Pryor
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Antennae Issue 10 - Summer 2009 ISS
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T his issue of Antennae is fully de
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‘Y ou don’t need a Ph.D. in lin
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Simon Starling Kakteenhaus, 2002, V
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BEYOND CLASSIC FIELD BIOLOGY: BATRA
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Brandon Ballengée DFA 83, Karkinos
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empathy in viewers. The intention i
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Brandon Ballengée The Ever Changin
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investigations; for example, explor
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F ood production, energy consumptio
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W hat is a Translocal Curator? We u
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The feminist challenge to patriarch
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Julian Montague The Stray Shopping
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Julian Montague The Stray Shopping
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L ondon Fieldworks’ latest projec
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London Fieldworks Stalin Animal Sho
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and violence; keeping urban reality
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E ndangered Species began as a resp
Page 39 and 40: Todd Gilens Top images: Waiting at
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Page 47 and 48: CAPE FAREWELL: THE ULTIMATE JOURNEY
Page 49 and 50: David Hinton Director David Hinton
Page 51 and 52: Nathan Gallagher Ryuichi Sakamoto o
Page 53 and 54: Patrick Huse Bølgende landskap, wa
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Page 71 and 72: Ackroyd & Harvey Green brick, green
Page 73 and 74: Ken Yonetani The Dead Sea, 2008, ce
Page 75 and 76: Mark Wilson and Bryndís Snæbjörn
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Page 79 and 80: Art Orienté Objet have been creati
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M - Antennae The Journal of Nature in Visual Culture

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