BGuthrie Photos: DC -- Renwick Gallery -- Exhibit: No Spectators: The Art of Burning Man

DC -- Renwick Gallery -- Exhibit: No Spectators: The Art of Burning Man:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

Recognize anyone? If you recognize specific folks (or other stuff) and I haven't labeled them, please identify them for the world. Click the little pencil icon

underneath the file name (just above the picture). Spammers need not apply.

Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

Accessing as Spider: The system has identified your IP as being a spider.
IP Address: 3.144.109.5 -- Domain: Amazon Technologies
I love well-behaved spiders! They are, in fact, how most people find my site. Unfortunately, my network has a limited bandwidth and pictures take up bandwidth. Spiders ask for lots and lots of pages and chew up lots and lots of bandwidth which slows things down considerably for regular folk. To counter this, you'll see all the text on the page but the images are being suppressed. Also, some system options like merges are being blocked for you.
Note: Permission is NOT granted for spiders, robots, etc to use the site for AI-generation purposes. I'm sure you're thrilled by your ability to make revenue from my work but there's nothing in that for my human users or for me.
If you are in fact human, please email me at guthrie.bruce@gmail.com and I can check if your designation was made in error. Given your number of hits, that's unlikely but what the hell.

Help? The Medium (Email) links are for screen viewing and emailing. You'll want bigger sizes for printing. [Click here for additional help]

[1] BURNAR_180329_002.JPG

[2] BURNAR_180329_007.JPG

[3] BURNAR_180329_009.JPG

[4] BURNAR_180329_013.JPG

[5] BURNAR_180329_016.JPG

[6] BURNAR_180329_022.JPG

[7] BURNAR_180329_025.JPG

[8] BURNAR_180329_027.JPG

[9] BURNAR_180329_032.JPG

[10] BURNAR_180329_033.JPG

[11] BURNAR_180329_036.JPG

[12] BURNAR_180329_038.JPG

[13] BURNAR_180329_043.JPG

[14] BURNAR_180329_046.JPG

[15] BURNAR_180329_050.JPG

[16] BURNAR_180329_058.JPG

[17] BURNAR_180329_061.JPG

[18] BURNAR_180329_065.JPG

[19]

BURNAR_180329_066.JPG

[20]

BURNAR_180329_070.JPG

[21] BURNAR_180329_072.JPG

[22] BURNAR_180329_075.JPG

[23] BURNAR_180329_079.JPG

[24] BURNAR_180329_083.JPG

[25] BURNAR_180329_088.JPG

[26] BURNAR_180329_094.JPG

[27] BURNAR_180329_097.JPG

[28] BURNAR_180329_102.JPG

[29] BURNAR_180329_108.JPG

[30]

BURNAR_180329_112.JPG

[31] BURNAR_180329_116.JPG

[32] BURNAR_180329_120.JPG

[33]

BURNAR_180329_124.JPG

[34]

BURNAR_180329_127.JPG

[35] BURNAR_180329_130.JPG

[36] BURNAR_180329_134.JPG

[37] BURNAR_180329_138.JPG

[38] BURNAR_180329_141.JPG

[39] BURNAR_180329_147.JPG

[40] BURNAR_180329_151.JPG

[41] BURNAR_180329_154.JPG

[42] BURNAR_180329_158.JPG

[43] BURNAR_180329_159.JPG

[44] BURNAR_180329_163.JPG

[45]

BURNAR_180329_165.JPG

[46] BURNAR_180329_172.JPG

[47] BURNAR_180329_178.JPG

[48] BURNAR_180329_188.JPG

[49] BURNAR_180329_192.JPG

[50] BURNAR_180329_199.JPG

[51] BURNAR_180329_202.JPG

[52] BURNAR_180329_209.JPG

[53] BURNAR_180329_219.JPG

[54] BURNAR_180329_221.JPG

[55] BURNAR_180329_223.JPG

[56] BURNAR_180329_226.JPG

[57]

BURNAR_180329_228.JPG

[58]

BURNAR_180329_230.JPG

[59]

BURNAR_180329_233.JPG

[60]

BURNAR_180329_235.JPG

[61] BURNAR_180329_238.JPG

[62] BURNAR_180329_240.JPG

[63] BURNAR_180329_242.JPG

[64]

BURNAR_180329_243.JPG

[65] BURNAR_180329_250.JPG

[66] BURNAR_180329_255.JPG

[67] BURNAR_180329_257.JPG

[68] BURNAR_180329_263.JPG

[69] BURNAR_180329_266.JPG

[70] BURNAR_180329_268.JPG

[71] BURNAR_180329_273.JPG

[72] BURNAR_180329_276.JPG

[73] BURNAR_180329_277.JPG

[74] BURNAR_180329_284.JPG

[75] BURNAR_180329_290.JPG

[76] BURNAR_180329_293.JPG

[77] BURNAR_180329_302.JPG

[78] BURNAR_180329_311.JPG

[79] BURNAR_180329_317.JPG

[80] BURNAR_180329_322.JPG

[81] BURNAR_180329_327.JPG

[82] BURNAR_180329_333.JPG

[83] BURNAR_180329_343.JPG

[84] BURNAR_180329_348.JPG

[85] BURNAR_180329_360.JPG

[86] BURNAR_180329_363.JPG

[87]

BURNAR_180329_374.JPG

[88] BURNAR_180329_376.JPG

[89] BURNAR_180329_382.JPG

[90] BURNAR_180329_383.JPG

[91] BURNAR_180329_384.JPG

[92] BURNAR_180329_388.JPG

[93] BURNAR_180329_389.JPG

[94] BURNAR_180329_390.JPG

[95] BURNAR_180330_003_STITCH.JPG

[96] BURNAR_180330_006_STITCH.JPG

[97] BURNAR_180330_007_STITCH.JPG

[98] BURNAR_180330_008_STITCH.JPG

[99] BURNAR_180330_011_STITCH.JPG

[100] BURNAR_180330_016.JPG

[101] BURNAR_180330_021.JPG

[102] BURNAR_180330_022.JPG

[103] BURNAR_180330_023.JPG

[104] BURNAR_180330_024.JPG

[105] BURNAR_180330_029.JPG

[106] BURNAR_180330_035.JPG

[107]

BURNAR_180330_036.JPG

[108]

BURNAR_180330_039.JPG

[109]

BURNAR_180330_042.JPG

[110]

BURNAR_180330_045.JPG

[111] BURNAR_180330_048.JPG

[112]

BURNAR_180330_053.JPG

[113] BURNAR_180330_055.JPG

[114]

BURNAR_180330_059.JPG

[115] BURNAR_180330_066.JPG

[116] BURNAR_180330_070.JPG

[117] BURNAR_180330_082.JPG

[118] BURNAR_180330_087.JPG

[119] BURNAR_180330_089.JPG

[120] BURNAR_180330_092.JPG

[121] BURNAR_180330_093.JPG

[122] BURNAR_180330_096.JPG

[123] BURNAR_180330_101.JPG

[124] BURNAR_180330_104.JPG

[125] BURNAR_180330_108.JPG

[126] BURNAR_180330_115.JPG

[127] BURNAR_180330_122.JPG

[128] BURNAR_180330_123.JPG

[129]

BURNAR_180330_126.JPG

[130]

BURNAR_180330_128.JPG

[131] BURNAR_180330_130.JPG

[132] BURNAR_180330_135.JPG

[133]

BURNAR_180330_137.JPG

[134]

BURNAR_180330_139.JPG

[135] BURNAR_180330_142.JPG

[136]

BURNAR_180330_145.JPG

[137]

BURNAR_180330_147.JPG

[138] BURNAR_180330_152.JPG

[139] BURNAR_180330_154.JPG

[140] BURNAR_180330_158.JPG

[141] BURNAR_180330_159.JPG

[142] BURNAR_180330_163.JPG

[143] BURNAR_180330_166.JPG

[144] BURNAR_180330_174.JPG

[145] BURNAR_180330_176.JPG

[146] BURNAR_180330_179.JPG

[147] BURNAR_180330_187.JPG

[148] BURNAR_180330_191.JPG

[149] BURNAR_180330_194.JPG

[150] BURNAR_180330_198.JPG

[151] BURNAR_180330_199.JPG

[152] BURNAR_180330_200.JPG

[153] BURNAR_180330_201.JPG

[154] BURNAR_180330_204.JPG

[155] BURNAR_180330_207.JPG

[156] BURNAR_180330_209.JPG

[157] BURNAR_180330_212.JPG

[158] BURNAR_180330_217.JPG

[159] BURNAR_180330_225.JPG

[160] BURNAR_180330_231.JPG

[161] BURNAR_180330_235.JPG

[162] BURNAR_180330_239.JPG

[163] BURNAR_180330_243.JPG

[164] BURNAR_180330_247.JPG

[165] BURNAR_180330_254.JPG

[166] BURNAR_180330_255.JPG

[167] BURNAR_180330_256.JPG

[168] BURNAR_180330_257.JPG

[169] BURNAR_180330_261.JPG

[170] BURNAR_180330_264.JPG

[171] BURNAR_180330_268.JPG

[172] BURNAR_180330_269.JPG

[173] BURNAR_180330_273.JPG

[174] BURNAR_180330_274.JPG

[175] BURNAR_180330_276.JPG

[176] BURNAR_180330_278.JPG

[177] BURNAR_180330_284.JPG

[178] BURNAR_180330_288.JPG

[179] BURNAR_180330_292.JPG

[180] BURNAR_180330_297.JPG

[181] BURNAR_180330_300.JPG

[182]

BURNAR_180330_308.JPG

[183] BURNAR_180330_311.JPG

[184] BURNAR_180330_315.JPG

[185] BURNAR_180330_318.JPG

[186] BURNAR_180330_329.JPG

[187] BURNAR_180330_333.JPG

[188] BURNAR_180330_336.JPG

[189] BURNAR_180330_341.JPG

[190] BURNAR_180330_343.JPG

[191] BURNAR_180330_344.JPG

[192] BURNAR_180330_346.JPG

[193] BURNAR_180330_347.JPG

[194] BURNAR_180330_348.JPG

[195] BURNAR_180330_349.JPG

[196] BURNAR_180330_351.JPG

[197] BURNAR_180330_353.JPG

[198] BURNAR_180330_362.JPG

[199]

BURNAR_180330_366.JPG

[200]

BURNAR_180330_369.JPG

[201]

BURNAR_180330_373.JPG

[202]

BURNAR_180330_376.JPG

[203]

BURNAR_180330_380.JPG

[204] BURNAR_180330_383.JPG

[205] BURNAR_180330_389.JPG

[206] BURNAR_180330_393.JPG

[207] BURNAR_180330_396.JPG

[208] BURNAR_180330_401.JPG

[209]

BURNAR_180330_406.JPG

[210] BURNAR_180330_413.JPG

[211] BURNAR_180330_416.JPG

[212] BURNAR_180330_421.JPG

[213] BURNAR_180330_434.JPG

[214] BURNAR_180330_436.JPG

[215] BURNAR_180330_444.JPG

[216] BURNAR_180330_447.JPG

[217] BURNAR_180403_002_STITCH.JPG

[218] BURNAR_180403_003_STITCH.JPG

[219] BURNAR_180403_005_STITCH.JPG

[220] BURNAR_180403_007_STITCH.JPG

[221] BURNAR_180403_008_STITCH.JPG

[222] BURNAR_180403_009_STITCH.JPG

[223] BURNAR_180403_010_STITCH.JPG

[224] BURNAR_180403_012.JPG

[225]

BURNAR_180403_021.JPG

[226] BURNAR_180403_035.JPG

[227] BURNAR_180403_037.JPG

[228] BURNAR_180403_040.JPG

[229] BURNAR_180403_044.JPG

[230] BURNAR_180403_048.JPG

[231]

BURNAR_180403_055.JPG

[232] BURNAR_180403_070.JPG

[233] BURNAR_180403_083.JPG

[234] BURNAR_180403_087.JPG

[235] BURNAR_180403_092.JPG

[236] BURNAR_180403_099.JPG

[237] BURNAR_180403_105.JPG

[238] BURNAR_180403_112.JPG

[239] BURNAR_180403_128.JPG

[240] BURNAR_180403_134.JPG

[241] BURNAR_180403_138.JPG

[242] BURNAR_180403_151.JPG

[243] BURNAR_180403_153.JPG

[244] BURNAR_180403_155.JPG

[245] BURNAR_180403_157.JPG

[246] BURNAR_180403_162.JPG

[247] BURNAR_180403_180.JPG

[248]

BURNAR_180403_189.JPG

[249] BURNAR_180403_199.JPG

[250] BURNAR_180403_207.JPG

[251] BURNAR_180403_213.JPG

[252] BURNAR_180403_217.JPG

[253] BURNAR_180403_220.JPG

[254] BURNAR_180403_223.JPG

[255] BURNAR_180403_227.JPG

[256] BURNAR_180403_232.JPG

[257] BURNAR_180403_235.JPG

[258] BURNAR_180403_239.JPG

[259] BURNAR_180403_243.JPG

[260] BURNAR_180403_246.JPG

[261] BURNAR_180403_249.JPG

[262] BURNAR_180403_252.JPG

[263] BURNAR_180403_255.JPG

[264] BURNAR_180403_262.JPG

[265] BURNAR_180403_265.JPG

[266] BURNAR_180403_269.JPG

[267] BURNAR_180403_272.JPG

[268] BURNAR_180403_275.JPG

[269] BURNAR_180403_278.JPG

[270] BURNAR_180403_288.JPG

[271] BURNAR_180403_290.JPG

[272]

BURNAR_180403_291.JPG

[273] BURNAR_180403_292.JPG

[274]

BURNAR_180403_293.JPG

[275] BURNAR_180403_300.JPG

[276] BURNAR_180403_307.JPG

[277] BURNAR_180403_310.JPG

[278]

BURNAR_180403_313.JPG

[279] BURNAR_180403_323.JPG

[280] BURNAR_180403_326.JPG

[281] BURNAR_180403_333.JPG

[282] BURNAR_180403_335.JPG

[283] BURNAR_180403_344.JPG

[284] BURNAR_180403_347.JPG

[285] BURNAR_180403_354.JPG

[286] BURNAR_180403_358.JPG

[287] BURNAR_180403_362.JPG

[288] BURNAR_180403_364.JPG

[289] BURNAR_180403_368.JPG

[290] BURNAR_180403_379.JPG

[291] BURNAR_180403_390.JPG

[292] BURNAR_180403_393.JPG

[293] BURNAR_180403_404.JPG

[294] BURNAR_180403_410.JPG

[295] BURNAR_180403_418.JPG

[296] BURNAR_180403_430.JPG

[297] BURNAR_180403_447.JPG

[298] BURNAR_180403_451.JPG

[299] BURNAR_180403_471.JPG

[300] BURNAR_180403_486.JPG

[301] BURNAR_180410_001_STITCH.JPG

[302] BURNAR_180410_003_STITCH.JPG

[303] BURNAR_180410_008.JPG

[304] BURNAR_180410_019.JPG

[305] BURNAR_180410_025.JPG

[306] BURNAR_180410_032.JPG

[307] BURNAR_180410_041.JPG

[308] BURNAR_180410_051.JPG

[309] BURNAR_180410_091.JPG

[310] BURNAR_180410_093.JPG

[311] BURNAR_180410_099.JPG

[312] BURNAR_180410_103.JPG

[313] BURNAR_180410_105.JPG

[314] BURNAR_180410_109.JPG

[315] BURNAR_180410_123.JPG

[316] BURNAR_180410_130.JPG

[317] BURNAR_180410_135.JPG

[318] BURNAR_180410_142.JPG

[319] BURNAR_180410_144.JPG

[320] BURNAR_180410_152.JPG

[321]

BURNAR_180410_155.JPG

[322] BURNAR_180410_160.JPG

[323] BURNAR_180410_164.JPG

[324] BURNAR_180410_175.JPG

[325] BURNAR_180410_178.JPG

[326] BURNAR_180410_185.JPG

[327]

BURNAR_180410_188.JPG

[328] BURNAR_180411_001_STITCH.JPG

[329] BURNAR_180411_012.JPG

[330] BURNAR_180411_014.JPG

[331] BURNAR_180411_018.JPG

[332]

BURNAR_180411_019.JPG

[333]

BURNAR_180411_032.JPG

[334] BURNAR_180411_035.JPG

[335] BURNAR_180411_037.JPG

[336] BURNAR_180411_048.JPG

[337] BURNAR_180411_066.JPG

[338] BURNAR_180411_068.JPG

[339] BURNAR_180411_071.JPG

[340] BURNAR_180411_073.JPG

[341] BURNAR_180411_074.JPG

[342] BURNAR_180411_077.JPG

[343] BURNAR_180411_081.JPG

[344] BURNAR_180411_086.JPG

[345] BURNAR_180411_102.JPG

[346] BURNAR_180411_105.JPG

[347] BURNAR_180411_118.JPG

[348] BURNAR_180411_126.JPG

[349] BURNAR_180411_133.JPG

[350] BURNAR_180411_135.JPG

[351] BURNAR_180411_144.JPG

[352] BURNAR_180411_147.JPG

[353] BURNAR_180411_153.JPG

[354]

BURNAR_180411_159.JPG

[355] BURNAR_180411_163.JPG

[356] BURNAR_180411_168.JPG

[357] BURNAR_180411_170.JPG

[358]

BURNAR_180411_174.JPG

[359]

BURNAR_180411_175.JPG

[360]

BURNAR_180411_176.JPG

[361]

BURNAR_180411_177.JPG

[362]

BURNAR_180411_178.JPG

[363] BURNAR_180411_179.JPG

[364] BURNAR_180411_181.JPG

[365]

BURNAR_180411_182.JPG

[366]

BURNAR_180411_185.JPG

[367]

BURNAR_180411_192.JPG

[368]

BURNAR_180411_195.JPG

[369] BURNAR_180411_199.JPG

[370] BURNAR_180411_202.JPG

[371] BURNAR_180411_207.JPG

[372] BURNAR_180411_210.JPG

[373] BURNAR_180411_217.JPG

[374] BURNAR_180411_225.JPG

[375] BURNAR_180411_231.JPG

[376] BURNAR_180411_245.JPG

[377] BURNAR_180411_258.JPG

[378] BURNAR_180411_265.JPG

[379] BURNAR_180411_267.JPG

[380] BURNAR_180411_281.JPG

[381] BURNAR_180411_295.JPG

[382] BURNAR_180411_298.JPG

[383] BURNAR_180411_299.JPG

[384] BURNAR_180411_300.JPG

[385] BURNAR_180411_301.JPG

[386] BURNAR_180411_305.JPG

[387]

BURNAR_180411_307.JPG

[388]

BURNAR_180411_308.JPG

[389]

BURNAR_180411_309.JPG

[390]

BURNAR_180411_310.JPG

[391]

BURNAR_180411_312.JPG

[392]

BURNAR_180411_314.JPG

[393]

BURNAR_180411_315.JPG

[394] BURNAR_180411_319.JPG

[395] BURNAR_180411_327.JPG

[396] BURNAR_180411_330.JPG

[397]

BURNAR_180411_334.JPG

[398] BURNAR_180411_337.JPG

[399]

BURNAR_180411_341.JPG

[400]

BURNAR_180411_343.JPG

[401]

BURNAR_180411_346.JPG

[402] BURNAR_180411_349.JPG

[403]

BURNAR_180411_350.JPG

[404] BURNAR_180411_355.JPG

[405]

BURNAR_180411_357.JPG

[406] BURNAR_180411_361.JPG

[407] BURNAR_180411_367.JPG

[408] BURNAR_180411_372.JPG

[409] BURNAR_180411_378.JPG

[410] BURNAR_180411_380.JPG

[411]

BURNAR_180411_383.JPG

[412] BURNAR_180414_02.JPG

[413] BURNAR_180414_15.JPG

[414] BURNAR_180414_19.JPG

[415] BURNAR_180414_23.JPG

[416] BURNAR_180414_39.JPG

[417] BURNAR_180430_001_STITCH.JPG

[418]

BURNAR_180430_002.JPG

[419] BURNAR_180430_007.JPG

[420] BURNAR_180430_010.JPG

[421]

BURNAR_180430_013.JPG

[422]

BURNAR_180430_017.JPG

[423] BURNAR_180430_023.JPG

[424]

BURNAR_180430_029.JPG

[425]

BURNAR_180430_038.JPG

[426]

BURNAR_180430_047.JPG

[427] BURNAR_180430_052.JPG

[428] BURNAR_180430_056.JPG

[429] BURNAR_180430_060.JPG

[430] BURNAR_180430_071.JPG

[431] BURNAR_180430_074.JPG

[432] BURNAR_180430_085.JPG

[433] BURNAR_180430_090.JPG

[434] BURNAR_180430_107.JPG

[435] BURNAR_180430_111.JPG

[436] BURNAR_180430_115.JPG

[437]

BURNAR_180430_121.JPG

[438] BURNAR_180430_126.JPG

[439] BURNAR_180430_131.JPG

[440] BURNAR_180430_138.JPG

[441] BURNAR_180503_06.JPG

[442] BURNAR_180503_20.JPG

[443] BURNAR_180508_002_STITCH.JPG

[444] BURNAR_180508_003_STITCH.JPG

[445] BURNAR_180508_013.JPG

[446] BURNAR_180508_017.JPG

[447] BURNAR_180508_021.JPG

[448] BURNAR_180508_027.JPG

[449] BURNAR_180508_030.JPG

[450] BURNAR_180508_038.JPG

[451] BURNAR_180508_042.JPG

[452] BURNAR_180508_048.JPG

[453] BURNAR_180508_059.JPG

[454] BURNAR_180508_067.JPG

[455]

BURNAR_180508_072.JPG

[456] BURNAR_180508_083.JPG

[457] BURNAR_180508_087.JPG

[458] BURNAR_180508_091.JPG

[459] BURNAR_180508_099.JPG

[460] BURNAR_180508_105.JPG

[461] BURNAR_180508_107.JPG

[462]

BURNAR_180508_111.JPG

[463] BURNAR_180508_115.JPG

[464] BURNAR_180508_125.JPG

[465]

BURNAR_180508_131.JPG

[466] BURNAR_180508_134.JPG

[467] BURNAR_180508_140.JPG

[468] BURNAR_180508_148.JPG

[469] BURNAR_180508_152.JPG

[470] BURNAR_180508_159.JPG

[471] BURNAR_180508_172.JPG

[472] BURNAR_180508_180.JPG

[473] BURNAR_180508_188.JPG

[474]

BURNAR_180508_196.JPG

[475] BURNAR_180508_227.JPG

[476] BURNAR_180508_229.JPG

[477]

BURNAR_180508_234.JPG

[478]

BURNAR_180508_238.JPG

[479]

BURNAR_180508_244.JPG

[480] BURNAR_180508_255.JPG

[481] BURNAR_180508_273.JPG

[482] BURNAR_180508_281.JPG

[483] BURNAR_180508_284.JPG

[484] BURNAR_180508_288.JPG

[485] BURNAR_180508_332.JPG

[486] BURNAR_180913_02.JPG

[487] BURNAR_180913_04.JPG

[488] BURNAR_180913_07.JPG

[489] BURNAR_180913_08.JPG

[490] BURNAR_180913_11.JPG

[491] BURNAR_180913_12.JPG

[492] BURNAR_180913_14.JPG

[493] BURNAR_180913_17.JPG

[494]

BURNAR_180913_18.JPG

[495] BURNAR_180913_22.JPG

[496] BURNAR_180913_23.JPG

[497] BURNAR_180913_26.JPG

[498] BURNAR_180913_27.JPG

[499]

BURNAR_181108_01.JPG

[500] BURNAR_181108_05.JPG

[501] BURNAR_181108_14.JPG

[502]

BURNAR_181224_009.JPG

[503]

BURNAR_181224_017.JPG

[504]

BURNAR_181224_021.JPG

[505]

BURNAR_181224_033.JPG

[506] BURNAR_181224_037.JPG

[507] BURNAR_181224_042.JPG

[508]

BURNAR_181224_043.JPG

[509]

BURNAR_181224_044.JPG

[510] BURNAR_181224_045.JPG

[511] BURNAR_181224_046.JPG

[512] BURNAR_181224_049.JPG

[513]

BURNAR_181224_051.JPG

[514] BURNAR_181224_052.JPG

[515]

BURNAR_181224_053.JPG

[516]

BURNAR_181224_054.JPG

[517]

BURNAR_181224_055.JPG

[518]

BURNAR_181224_056.JPG

[519]

BURNAR_181224_059.JPG

[520] BURNAR_181224_060.JPG

[521] BURNAR_181224_062.JPG

[522]

BURNAR_181224_063.JPG

[523] BURNAR_181224_064.JPG

[524]

BURNAR_181224_066.JPG

[525]

BURNAR_181224_067.JPG

[526] BURNAR_181224_068.JPG

[527] BURNAR_181224_069.JPG

[528]

BURNAR_181224_071.JPG

[529]

BURNAR_181224_073.JPG

[530] BURNAR_181224_074.JPG

[531] BURNAR_181224_078.JPG

[532] BURNAR_181224_080.JPG

[533] BURNAR_181224_081.JPG

[534]

BURNAR_181224_082.JPG

[535] BURNAR_181224_083.JPG

[536] BURNAR_181224_085.JPG

[537] BURNAR_181224_088.JPG

[538]

BURNAR_181224_089.JPG

[539]

BURNAR_181224_091.JPG

[540]

BURNAR_181224_093.JPG

[541] BURNAR_181224_094.JPG

[542] BURNAR_181224_095.JPG

[543] BURNAR_181224_096.JPG

[544]

BURNAR_181224_097.JPG

[545]

BURNAR_181224_098.JPG

[546] BURNAR_181224_100.JPG

[547] BURNAR_181224_101.JPG

[548] BURNAR_181224_102.JPG

[549] BURNAR_181224_103.JPG

[550] BURNAR_181224_104.JPG

[551] BURNAR_181224_107.JPG

[552] BURNAR_181224_109.JPG

[553] BURNAR_181224_110.JPG

[554] BURNAR_181224_111.JPG

[555] BURNAR_181224_112.JPG

[556] BURNAR_181224_113.JPG

[557]

BURNAR_181224_114.JPG

[558]

BURNAR_181224_122.JPG

[559]

BURNAR_181224_132.JPG

[560] BURNAR_181224_136.JPG

[561] BURNAR_181224_139.JPG

[562] BURNAR_181224_143.JPG

[563] BURNAR_181224_147.JPG

[564]

BURNAR_181224_151.JPG

[565] BURNAR_181224_160.JPG

[566]

BURNAR_181224_162.JPG

[567]

BURNAR_181224_165.JPG

[568] BURNAR_181224_169.JPG

[569]

BURNAR_181224_176.JPG

[570] BURNAR_181224_183.JPG

[571]

BURNAR_181224_188.JPG

[572]

BURNAR_181224_192.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. BURNAR_180329_066.JPG: Marco Cochrane Truth Is Beauty 2018 stainless steel rod, stainless steel mesh, and waterjet-cut metal Courtesy of the artist In 2007, Marco Cochrane's first trip to Burning Man inspired him to enlarge his work to monumental proportions. Together with his wife and partner, Julia Whitelaw, and with the help of dozens of volunteers (the Bliss Crew), he embarked on a series of three colossal sculptures of singer and dancer Deja Solis for the playa -- Bliss Dance (2010), Truth is Beauty (2013), and R-Evolution (2015), collectively known as The Bliss Project. For each sculpture, Solis chose her own pose and expression. Haunted by the abduction and sexual assault of a childhood friend, Cochrane intends the project to bring attention to the issue of violence against women, demystifying the female body and portraying the "feminine energy and power that results when women feel free and safe." Around the base of the Truth is Beauty installation this question appears in multiple languages: "What Would The World Be Like If Women Were Safe?" Cochrane first sculpts his pieces by hand before constructing them from steel triangles at grand proportions. Built using a mold of the original clay sculpture, the version of Truth Is Beauty in the gallery is one-third the size of the fifty-five-foot tall figure that appeared at Burning Man in 2013.
2. BURNAR_180329_070.JPG: Playing Dress Up: The People of Black Rock City (Gallery 103) "Burning Man is where children are treated like royalty and adults act like children." – Sara, age 9 "When you see someone putting on his Big Boots, you can be pretty sure that an Adventure is going to happen." – A. A. Milne The people of Black Rock City are the soul of Burning Man, and although massive installation art dominates imagery of the event, equally important to the culture are the smaller individual expressions of creativity, manifest in elaborate costumes, gifts, performances, and random acts of kindness. The "No Spectators!" mantra calls for individuals to step out of their shells to become leading actors in their own lives. At Burning Man, like nowhere else, you are the entertainment. Burners love to play dress up and the ceremonial shedding of "default world" clothing in favor of a freer attire, or none at all, is an important part of the experience. Clothing on playa reflects a break from the cultural limitations of the outside world, and especially for men from many Western cultures, a place to safely experiment with fashion --- often for the first time. Fashion choices must be functional as well as ornamental to meet the challenges of the environment: the intense sun in the desert can raise temperatures over 110 degrees, while nights may see dips below freezing. Lighting is a safety essential after dusk and survival equipment such as utility belts, back packs, goggles, and dust masks are standard uniform. In a city of more than 70,000, not everyone makes their own costumes; store-bought "festival" wear such as light-up vests and bright faux-fur jackets proliferate to the point of becoming clich�. Still, many participants take their costumes as a point of pride, working year-round to create one-of-a-kind ensembles. Many a Burner has learned to sew for that sole purpose. Inspiration for Burning Man fashion comes from varied sources, including burlesque, Carnival, Day of the Dead, steampunk, and rave culture. Early theme camps also had a strong influence on the Burning Man aesthetic, from the theatrical costumes of El Circo's Tiffa Novoa, which featured exaggerated headdresses and a lush, layered aesthetic, to the darker vision of Death Guild, which parodied the early Mad Max films, using black leather to promote a hard-edged post-apocalyptic vision. As worldwide awareness of Burning Man has risen, its influence can also be seen on runways in the work of designers like Manish Arora, a regular Burning Man attendee, who has created clothing lines inspired by the event.
3. BURNAR_180329_112.JPG: Richard Wilks with Michael Conn and Victor Rocarte Evotrope 2009 Filmed by the artist Courtesy of the artist Wilks ensures that all of his work has a distinctly human touch, and aims to inspire participation and a sense of connection to the natural world. His creative process has been shaped by 1970s bike culture, the Maker Movement, Burning Man, and his interest in social, environmental, and political issues. Wilks has brought several of his mobile art sculptures to Burning Man and has also exhibited them at museums, galleries and art fairs in California and New York. His Cupcake Car, which appeared on the 2015 season premiere of The Bachelorette, has proved to be particularly popular both on and off the playa. Richard Wilks is a Los Angeles–based artist, graphic designer, and builder/maker. He received a B.F.A. in 1988 from the Art Center College of Design in Pasadena, graduating with honors in packing (painting) and graphic design. Wilks began his career working for Walt Disney Imagineering, where he conceptualized environments for the Disney theme parks, and is now the creative director at Studio Wilks, a multidisciplinary design studio that specializes in exhibit, graphic, and identity design. He also creates mobile sculptures, working primarily with steel and aluminum and using a combination of physical and digital tools. Beyond Burning Man, Wilks has exhibited his mobile art sculptures at museums, galleries, and art fairs in California and New York. His Cupcake Car, which appeared on the 2015 season premiere of The Bachelorette, has proven particularly popular both on and off the playa.
4. BURNAR_180329_124.JPG: Duane Flatmo Tin Pan Dragon 2008 recycled found objects Courtesy of the artist To invent, you need a good imagination and a pile of junk. -- Thomas A. Edison Duane Flatmo built his first kinetic sculpture in 1982 for the Grand Championship Kinetic Sculpture Race, an annual event in which human-powered art sculptures race for three days and forty-two miles over land, water, and sand from the city of Arcata to Ferndale, California. With longtime friend Jerry Kunkel, Flatmo has since created more than thirty-three mutant vehicles, usually from recycled scrap metal and other found objects, including several entries for Burning Man. His unusual tinkering has also garnered attention in television and film: in 2001 he and his team, Art Attack, competed on the series Junkyard Wars. In 2006, he became a finalist on America's Got Talent, playing a guitar with an eggbeater, then a weed whacker. The pedal-powered Tin Pan Dragon (2008) was the first contraption Flatmo brought to Burning Man, and led to more grandiose works. In La Penita, Mexico, a show at a local art gallery inspired Flatmo to create the three-foot prototype for El Pulpo Mecanico (2011), a giant, flame-blowing octopus that would become one of the most beloved mutant vehicles ever on playa. After bringing it to Black Rock City for six years, Flatmo then mined the vehicle for parts for his most recent creation, Rabid Transit, which debuted at Burning Man in 2017.
5. BURNAR_180329_127.JPG: The Desert (Gallery 104) The visionary starts with a clean sheet of paper, and re-imagines the world. -- Malcolm Gladwell In 1990, as Burning Man first arrived in the Black Rock Desert during the Cacophony Society's infamous Zone Trip #4, in a mythic moment, co-founder Michael Mikel drew a line in the sand and announced, "On the other side of this line, everything will be different." He was right. The alien landscape of the Black Rock Desert has come to define Burning Man; the gathering's distinctive culture can be attributed to this place. The ancient lake bed, nestled between distant mountains, is so flat it is rumored you can see the curvature of the earth as you look out across it. Nothing grows here. Its surface, dubbed, "the playa," is covered with fine alkaline dust that clings to the skin and seeps into every crevice. The area is prone to high winds, white-out dust storms, and punishing temperatures. For the many city-dwellers who flock to the festival, the brutal environment seems designed to give pause, assuring only the serious make the trek. This is part of the essential character of Burning Man every participant must grapple with. No one wants to live in Black Rock City forever. It's hard. Yet co-founder Larry Harvey has also called the environment a tabula rasa, a blank slate where all things are possible. From the first step over the line, the frontier of the desert symbolized literal and figurative freedom. The early rules focused primarily on survival, and the emptiness invited the imagination to fill it. Here, where the featureless plain stretches out for miles in every direction, one can easily become disoriented and lose all sense of scale. Every element of the oasis that suddenly springs forth is manmade and must be carted in, erected, carted out --- the result of necessity, passion, and ingenuity. This return to subsistence living, and absence of luxuries like cell phone connectivity and regular showers, defines the experience. The bond participants feel derives largely from overcoming the desert's hardships together. Finally, when the event concludes and participants disperse, the community is responsible to leave no trace, returning the desert to its pristine state until the next year.
6. BURNAR_180329_165.JPG: City of Dust The Evolution of Burning Man
7. BURNAR_180329_228.JPG: Civic Design and the Birth of Black Rock City
8. BURNAR_180329_230.JPG: Zone Trip #4: Bad Day at Black Rock, 1990
9. BURNAR_180329_233.JPG: The Man
10. BURNAR_180329_235.JPG: Countercultural Roots in the San Francisco Bay Area
11. BURNAR_180329_243.JPG: Baker Beach, 1986-1989
12. BURNAR_180329_374.JPG: Gifting (Gallery 103 – case label) Burning Man has managed to construct a rather oddly enthusiastic culture of giving. The city functions on a gift economy, where both money and bartering are fiercely discouraged. Instead, everyone is expected to take joy by gifting something for free: art, food, or an experience. –- Gregory Ferenstein, Forbes Magazine Black Rock City operates on one simple, revolutionary idea: nothing is for sale.* While Burners interpret gifting broadly based on what they have to offer and what is needed, this system has given rise to a whole subculture of Burning Man jewelry and gifts created solely for the event and freely given. Anything that could become MOOP, or "Matter Out of Place," is heavily discouraged, so popular gifts are consumable (wood-fired pizza, grilled cheese sandwiches, shots of whiskey), small and portable (jewelry, patches), or intangible (a smile or hug, an offer of help, a meaningful interaction, a performance). Sometimes what you really need is a warm blanket on a cold night and on the playa, you're bound to find it. Many participants of all skill levels make pendants to hand out during the week, often customized to refer to Burning Man's art theme for the year; some memorialize a particular art piece or impart a personal message. Burners collect playa jewelry and gifts as symbols of one-on-one social interactions and badges of volunteerism, reminders of the experiences and encounters of the week. *Strictly speaking, this isn't true. Ice and coffee can be purchased on playa, one of Burning Man's many exceptions that seem to bring the rule into sharper focus. Nothing is as simple as it seems
13. BURNAR_180330_036.JPG: Leo Villa real Volume (Renwick) 2015 white LEDs, mirror-finished stainless steel, custom software, and electrical hardware Smithsonian American Art Museum, Gift of Janet and Jim Dicke, Tania and Tom Evans, Paula and Peter Lunder, and Debbie Petersen in honor of Elizabeth Broun, 2016.13 Leo Villareal's works are composed of light-emitting diodes (LEDs) that are controlled by custom computer programs. These programs use simple, mathematical rules with no preconceived outcome that, when put into motion, create complex, organic patterns of light. The artist's use of technology and numbers to evoke biological forms is influenced by mathematician John Conway's Game of Life, a computer simulation of how cells live and die based on their proximity to other cells. Like Conway, Villareal is interested in the concepts of chance and "emergence," or how complex behavior can develop from simple interactions. His work, which is often site-specific, includes The Bay Lights, a 1.8-mile-long permanent LED installation on San Francisco's Bay Bridge, as well as many pieces that have been acquired by prominent museums worldwide. Villareal is a prominent light sculptor based in New York City. He received a B.A. from Yale University in 1990 and an M.P.S. from the Interactive Telecommunications Program at New York University's Tisch School of the Arts in 1994. That year, he began working for Interval Research Corporation, a technology think tank based in Palo Alto, California, and attended Burning Man for the first time. Inspired by his initial, disorienting experience in the Black Rock Desert, Villareal brought his first light piece to the gathering in 1997 and has participated every year since.
14. BURNAR_180330_039.JPG: Burning Man Organization
15. BURNAR_180330_042.JPG: The Temple
16. BURNAR_180330_045.JPG: Maker Culture (Gallery 202) Burners devote themselves to the gloriously useless. Not unlike makers, they like to play and tinker for the sheer pleasure of seeing what will happen. – Richard Polt One of the most overlooked questions about Burning Man art is, why do people make it? Regardless the size of project -- whether a massive installation or a cache of pendants -- certainly, there is no money in it. Most artists put in long hours year-round preparing for the event, yet of the hundreds of artworks placed each year, only a portion receive funding from the Burning Man Project and grants, while generous in resources, rarely cover the full cost of production. To supplement the assistance they receive, artists run crowdsourcing campaigns to help realize their projects. And at the end of the event, many artworks are destroyed, given away, or mined for parts to begin the next installation. So what is the motivation? Simply put, Burning Man art may be the ultimate expression of the maker movement made by a network of enthusiasts that has risen in response to digital culture, who share passion for making and a custom of enthusiastic knowledge and resource-sharing. Digital tools and easy online communication have helped maker culture spread quickly, promoting a blend of handcraft and cutting-edge technology in an atmosphere that fosters ingenuity and learning by doing, and values every individual's unique contribution. One of the beauties of Burning Man art is that so much of it is created by people who don't identify as "artists" at all, but as engineers, programmers, architects, or inspired novices. These permeable boundaries give the work its engaging, populist character; it often lands somewhere between art and other realms. Though most art for Burning Man is made in advance, the weeks leading up to the event provide a space for experimentation amid a supportive, talented community and under extreme test conditions. Many projects still fail, but the challenge is the pursuit. A cheerful slogan, "the playa provides," reminds Burners that things have a way of working out through the kindness of strangers. Interestingly, some perennial artists admit they could forgo the actual weeklong gathering, but thrive on the preparation phase and the community built through it, with all its infectious energy. They enjoy sharing their skills, tinkering for the thrill of new discoveries, and creating for the pure joy of contributing to something larger than themselves as they entertain and inspire their fellow attendees.
17. BURNAR_180330_053.JPG: HYBYCOZO Yelena Filipchuk and Serge Beaulieu Deep Thought --- Insight 2015 powder-coated steel, LED lighting, and wood Courtesy of the artists HYBYCOZO Yelena Filipchuk and Serge Beaulieu Inner Orbit: Lvov 2017 painted steel, LED lighting, and wood Courtesy of the artists HYBYCOZO Yelena Filipchuk and Serge Beaulieu Trocto 2014 painted steel, LED lighting, and wood Courtesy of the artists In their work, Yelena Filipchuk and Serge Beaulieu, the artist duo behind art and design studio HYBYCOZO, investigate the influences of mathematics and geometry in the history of artwork, and human evolution, as well as the interconnections among contemporary physics, biological patterns, and ancient craft. Using advanced manufacturing and prototyping technology, their works generate tension between hard geometric surfaces and soft interior illumination, promoting a sense of contemplation and awe of the inherent beauty of universal forms. In 2014, the duo brought their first collaborative installation, Hyperspace Bypass Construction Zone (HYBYCOZO), to playa -- three steel polyhedral sculptures that, by day appear solid and, at night, cast otherworldly patterns of light and shadow on the surrounding earth. Soon after, they took the name HYBYCOZO for their continued collaboration, focusing on installations that reflect patterns drawn from mathematics, science, nature, and culture. The moniker comes from Douglas Adams's classic sci-fi novel, The Hitchhiker's Guide to the Galaxy, for which the artists share an affinity, and the titles of several subsequent works by the pair are drawn from that same source.
18. BURNAR_180330_059.JPG: There is an art to flying, or rather a knack. The knack lies in learning how to throw yourself at the ground and miss. -- Douglas Adams
19. BURNAR_180330_126.JPG: FoldHaus Art Collective Shrumen Lumen 2016 corrugated plastic, steel, aluminum, industrial linear actuators, RGB LEDs, and MiniMAD units and PixLite controllers running custom lighting sequences Courtesy of the artists FoldHaus is a collective of engineers, designers, and makers based in the San Francisco Bay area, that is dedicated to creating interactive kinetic art. A small core team focuses on the design and engineering of these complex pieces, while a large number of volunteers contributes to the time-intensive build process. FoldHaus builds its art at the design firm IDEO, where many of its members are current or former employees. The group is currently led by Joerg Student and Jesse Silver. The collective started to form in 2010, when a small group of designers built a yurt for Burning Man based on a collapsible emergency shelter design Student had created during his time at the Royal College of Art in London. The yurt's lightweight, folded construction proved to be efficient and durable on playa, and inspired the group's subsequent art pieces at Burning Man: Blumen Lumen (2014) and Shrumen Lumen (2016). The elements of this sophisticated, interactive cluster of fungi each has its own particular character and all delightfully respond to human interaction. As participants step on the footpads located beneath each cap, the mushrooms gently grow and breathe. In daylight the grouping appears ethereal white, while at night, it magically transforms with embedded LEDs that glow through the translucent outer skin to bring the installation to life.
20. BURNAR_180330_128.JPG: The Tech Connection (Gallery 206) The spirit of maker culture is very much alive in Silicon Valley and elsewhere at companies that have identified the link between play and innovation. Burning Man offers remarkably fertile ground for this kind of creative thinking. Moreover, the "Wild West" mentality inspired by this expanse of lawless desert parallels the thinking often found at internet startups. Burners, like tech entrepreneurs, are skeptical of the status quo: just because something has been done in a certain way doesn't mean that's how it should be done. An overwhelming sense of freedom pervades both environments. In a now-famous interview from 2014, Tesla and Space-X founder Elon Musk equated Burning Man to Silicon Valley, adding, "If you haven't been, you just don't get it..." With Burning Man's Bay Area roots, there has always been a strong connection to and overlap with the tech community. The first Google doodle, appearing in 1998, starred the Man as a "comical message" to Google users that its founders were "out of office" for the week; Musk brought an early version of a Tesla to the playa in 2007 in honor of Burning Man's "Green Man" art theme that year; and many celebrities and titans of American business and industry from Silicon Valley and beyond have attended regularly for well over a decade. Burning Man is where many go to recharge. Given this longstanding relationship, it's not surprising that Burning Man has always embraced technology. But while LEDs have largely replaced fire on playa and outside entities occasionally attempt to put up cell-phone towers to service the city, attendees are still strongly encouraged to cast off the technological leashes that connect them to the outside world and immerse themselves in firsthand face-to-face connection during the event. Indeed, much has changed since Burning Man's founding in response to the growing pains of a city increasingly in the public eye and in need of civic order. The pursuit of danger has been toned down in favor of a kinder, gentler culture and, while the community still extolls the virtues of self-reliance, some participants opt for caravans of luxury RVs that pack in creature comforts from generators to cooking staff, making the event not quite the survival experience it once was. In classic Burning Man style, a constant tongue-in-cheek refrain of "Burning Man was better last year" finally even stimulated a "Museum of It Was Better Last Year" installation on playa. But for the many who venture to the desert annually, and maybe especially those who surround themselves with ones and zeros in their daily lives, unplugging to seek authentic experience can be an awakening, the ideal foil to an increasingly digital world.
21. BURNAR_180330_137.JPG: David Best and the Temple Crew Temple 2018 wood Courtesy of the artists Since 2000, David Best has designed and coordinated the construction of approximately half of the Burning Man temples. Established as sacred spaces of reflection and prayer, all of these have been massive, incredibly intricate, wooden structures. During the week of Burning Man, the Temples are adorned by participants with memorials and inscriptions. The structure is burned in a cathartic ritual to inspire healing and community. Since 2005, Best has also built similarly ephemeral temples in public spaces outside of Burning Man, within the United States and in countries such as Ireland and Nepal. Committed to the values of inclusion and participation, he creates opportunities for anyone who wants to take part in his projects, augmenting a core group of volunteers known as the Temple Crew with members of each community where he works. Best received a B.F.A. from the College of Marin and an M.F.A. in sculpture from the San Francisco Art Institute; his paintings, sculptures, collages, art cars, and ceramics can be found in many distinguished public and private collections. He is, however, best-known as the Temple Builder at Burning Man.
22. BURNAR_180330_139.JPG: Spirituality & Ritual (2nd Floor Stair Hall) "Why do you burn the Man?" "So we can build him again." -- response from Burning Man co-founder Crimson Rose Towering forty feet high, the mischievous effigy at the heart of the event, the Man, stands like a beacon at the center of Black Rock City. Further out in open playa behind him is the Temple, a sacred companion to the secular. In the media, Burning Man has earned a reputation for its excesses -- extravagant parties, celebrity sightings, thumping rave music, nudity -- but for many who attend, the pilgrimage to the desert is also an intensely spiritual experience, and the Temple best embodies this quest for meaning. David Best and his crew built the first Temple, the Temple of the Mind, in 2000, from lacy wood remnants reclaimed from a toy dinosaur factory. When a member of the crew died in a tragic accident shortly before the event, the team dedicated it to his memory and invited the community to leave messages of mourning at the site. In recognition of the need for a space of reflection and healing, a Temple has been built each year since. Over the course of the week it disappears under a thick blanket of profound, personal messages in an emotional outpouring that can make the most stoic break down. The structure is then offered to the fire in a cathartic ritual on the event's final night. Even beyond the Temple, however, there is something inherently awe-inspiring and quasi-religious about this place. As one Burner put it, "If people can make this out of nothing, how can anything be impossible?" Days hum with the bustle of the city as strangers wipe away the cynicism of everyday life and engage each other, offering warm hugs, absurd performances, and showers of gifts. At night, the surreal landscape vibrates with lights, sounds, and unfettered human creativity, spreading as far as the eye can see. Wondrous, participatory art made for the sheer pleasure of others dots the open playa, rewarding those curious enough to walk or ride to it. Weddings occur several times a day. Capping the week, the Man burns on Saturday in a huge, primal display, followed by the Temple on Sunday. These acts serve not only to mark the end of the event, but emphasize the importance of letting go, to recommit and renew the following year.
23. BURNAR_180330_145.JPG: Five Ton Crane Capitol Theater 2018 steel, aluminum, wood, reclaimed objects, and mixed media Courtesy of the artists Founded by Sean Orlando, David Shulman, and Dr. Alan Rorie in 2007, Five Ton Crane is a team of more than 150 artists and innovators whose successes may be measured by the rewards of collaboration. By coming together, the artists of Five Ton Crane are able to take on more ambitious projects than they could individually, pooling resources, interests, and talent to create bigger, better, and bolder art, while providing a supportive network of skill sharing that feeds the Burning Man creative community. Over the years, the combined talents of Five Ton Crane have given rise to a number of well-loved installations on playa, including the Raygun Gothic Rocketship (2009), a forty-foot tall spacecraft which now permanently resides at the Wings over the Rockies Air & Space Museum in Denver, Colorado; the Nautilus Art Car (2011), a land-based "undersea" mutant vehicle created in collaboration with Christopher Bently; and Storied Haven (2015), led by Bree Hylkema, "an enchanted home inside of a grand boot," recently exhibited at the Hermitage Museum in Norfolk, Virginia. All of these are monumental, immersive pieces that originated with an appreciation for the importance of a boundless imagination and a shared story. Commissioned for this exhibition, Capitol Theater is Five Ton Crane's latest large-scale work of art; it is a 1920s-30s art deco movie theater on wheels, replete with bespoke silent films. Like all of Five Ton Crane's pieces, it has been conceived, designed, and fabricated with audience interaction and playfulness in mind, and displays a focus on craftsmanship down to the smallest detail.
24. BURNAR_180330_147.JPG: Candy Chang Before I Die... 2018 chalkboard paint, spray paint, and chalk Courtesy of the artist Drawing upon Michel de Montaigne's proposition that "to philosophize is to learn to die," the Before I Die project captures the ways we grapple with mortality and meaning as a community. After the death of a loved one, artist Candy Chang created the first wall on an abandoned house in her neighborhood in New Orleans. Since then, nearly four thousand such walls have been created in seventy-eight countries, including China, Iran, Russia, Brazil, and South Africa. These participatory installations serve as memento mori -- chances for individuals to reflect upon mortality with neighbors and passers-by. Each response represents an individual's unique desires and values and each wall offers a snapshot of our shared anxieties and hopes, our collective joys and struggles. By creating spaces where we can share our inner lives in public, Before I Die reimagines the walls of our cities as places where we can remember what really matters in an age of increasing distraction and flux. In 2012, a version of the project appeared in Black Rock City, installed by Susan Moore with help from Lisa Gorman, Richard Johnson, and Maria Partridge.
25. BURNAR_180330_308.JPG: Christopher Schardt Nova 2016 LED installation laser-cut aluminum, RBG LEDs, Raspberry Pi running custom software, and speakers Courtesy of the artist In 1998, Christopher Schardt's first Burning Man experience inspired him to apply his engineering and computer skills to art and he has participated in -- and brought a major art project to -- the event almost every year since. After four years making kinetic fire sculptures, in 2013 he switched to works using light-emitting diodes (LEDs), echoing the same gradual shift that has taken place in the larger Burning Man culture. A breakthrough in Schardt's work came with Firmament in 2015, when he hit upon the power of creating "art places" as opposed to art pieces. Firmament is a massive canopy of programmable LED lights that dance in celestial, earthly, and psychedelic patterns to classical musical accompaniment. In the vastness of the open playa, amid the sea of techno-rave music that dominates Black Rock City, the work becomes a transcendent environment where participants gather, relax, and linger. Closely related to Firmament, Schardt's Nova, featured here, runs on the same program and features the same number and configuration of LEDs, but is in a condensed format suited to smaller spaces. Schardt is a sculptor, musician, and computer programmer who earned his B.S.E.E. from the University of California, Berkeley, in 1985. Now widely known for his LED sculptures, he is also the author of LED Lab, an iPhone/iPad app used by thousands of LED artists worldwide.
26. BURNAR_180330_366.JPG: Civic Design and the Birth of Black Rock City
27. BURNAR_180330_369.JPG: The Early Years: 1991-1995
28. BURNAR_180330_373.JPG: Infrastructure, Safety, and Well-Being
29. BURNAR_180330_376.JPG: Into the Future: An Organization Evolves
30. BURNAR_180330_380.JPG: Burning Man's Global Reach: The Spread of a Cultural Ethos
31. BURNAR_180330_406.JPG: No Spectators: The Art of Burning Man @ Renwick Gallery
32. BURNAR_180403_021.JPG: Michael Garlington and Natalia Bertotti Paper Arch, 2018 plywood, hardboard, bond paper, fabric trim, and found objects Since 2013, Michael Garlington and his partner, Natalia Bertotti, have teamed up to create large-scale installations based on religious structures, incorporating Garlington's elaborately framed, signature photographs, which explore the range of human experience between "the horror and the wonder," the two extremes of being. Two of these were created for Burning Man and burned at the conclusion of the event. Though influenced by David Best's temples, one of which Garlington helped build, these installations are meant as places of raucousness and whimsy rather than solemnity and silence. Paper Arch, commissioned specifically for the Renwick, expands the pair's canon into secular architecture and evokes the symbolic threshold participants cross as they enter Burning Man. Exploding into a plume of paper flames that rises to the ceiling, the piece also suggests the ritual conclusion of the weeklong event and calls attention to the sculpture's ephemeral nature.
33. BURNAR_180403_055.JPG: Utopian Dreams (Gallery 102) The purpose of art is washing the dust of daily life off our souls. – Pablo Picasso In 1986, when co-founder Larry Harvey enlisted his friend Jerry James to help build and burn an effigy of a man on San Francisco's Baker Beach to mark the summer solstice, no one attending that first Burning Man could have predicted the journey that would follow. From the first, the act of burning the Man had a distinct anti-establishment flair, intensified by association with anarchist groups like the Cacophony Society that would eventually lure the event to the Nevada desert. Despite --- or perhaps because of --- these mischievous beginnings, utopian thinking has always permeated Burning Man. Of course, counterculture tendencies seed all utopian dreams. In the nineteenth century, utopian communities sprang up as part of the Arts and Crafts Movement --- a response to the mechanistic forces of the Industrial Revolution. These groups chose to focus on hand-making -- asserting values predicated on humanism rather than capitalist efficiency; their ideals resonate today in Burning Man's Ten Principles, the guiding philosophies to which Burners adhere: Radical Inclusion, Gifting, Decommodification, Radical Self-reliance, Radical Self-expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation, and Immediacy. It's worth noting several of these are direct outgrowths from the ethos of the Cacophony Society, and also shared by the maker community, an obvious cousin to the Arts and Crafts communities of yesteryear. In the new industrial revolution, Burning Man counteracts the anxiety caused by the fast-paced American consumer lifestyle and combats the loneliness of the digital age and passivity of "convenience culture." When the average person is alienated from production, the simple act of making becomes a symbol of empowerment and survival, and the act of letting go expresses a defiance of materialism. The desert underscores this proposition by confronting participants with basic survival concerns -- the opposite of "first world problems" -- despite the inherent incongruity that most participants spend months planning and thousands of dollars to attend. In fact, it's the stark disparity between these worlds that gives Burning Man its transformative power. While the environment is rife with irreverence and contradiction, it radiates a heavy idealism and questioning of the status quo; it is a remedy for cynical times. More than an escape from the "default world," then, Burning Man offers an invaluable lens through which to view it. Through the experience, participants gain an enlightening glimpse of the imperfect system in which they play a part, recognizing that every choice is a tradeoff: that not all value is monetary, that comfort often comes at the expense of freedom, and that they plan an active role in building the society they want to live in.
34. BURNAR_180403_189.JPG: No Spectators: The Art of Burning Man @ Renwick Gallery
35. BURNAR_180403_291.JPG: Put down your phone and look at the people in front of you
36. BURNAR_180403_293.JPG: Share your Sparkle
37. BURNAR_180403_313.JPG: The new No Spectators: The Art of Burning Man exhibit at the Smithsonian's Renwick Gallery (by the White House) is definitely worth a visit! Or two. Or three...
38. BURNAR_180410_155.JPG: Android Jones based Lyons, CO
39. BURNAR_180410_188.JPG: Welcome Home! -- Customary greeting to Burners as they enter Black Rock City
40. BURNAR_180411_019.JPG: No Spectators: The Art of Burning Man @ Renwick Gallery
41. BURNAR_180411_032.JPG: Please Read This Temple is a sacred place for memorial and reflection. Its intention is is to bring healing to the the world, and it was built by many hands, all who had lost something. Many places exist for celebration, but few places are created to honor the universal human experience of grieving and loss. This is such a place. Please respect it for its solemn purpose. The Temple is always for one person. If you have lost someone dear to you, if you are suffering, if you need forgiveness, or shelter, or comfort, this Temple is for you. If you wish to leave a memorial or testament meaningful to you, please write on the blocks of wood provided (please do not write on the walls). You are encouraged to take these blocks with you, think about them, and return to place them.
42. BURNAR_180411_159.JPG: Burning Man Founder Larry Harvey Hospitalized April 9, 2018 This is a difficult announcement to make. Our founder and friend Larry Harvey is currently hospitalized after suffering a massive stroke on Wednesday, April 4. Larry remains in critical condition. While his prognosis is unknown at this time, Larry is receiving excellent round-the-clock medical care and constant companionship from his family and very close friends. All prayers, healing vibes, and intentions are Deeply appreciated. Thank you
43. BURNAR_180411_174.JPG: Nolite te bastardes carborundorum [Latin --> English] Do not let the bastards grind you down
44. BURNAR_180411_175.JPG: I'm present more this year I.O.U. Come talk to me
45. BURNAR_180411_176.JPG: Isolina Bermudez March 31, 2018 "You will be in my heart for ever... Mamisolina." -- Jen
46. BURNAR_180411_177.JPG: I want to be all that I can be -- I want to reach my potential and have the world enjoy the things I offer it. I want to be happy. I want to succeed. I want to live. I want to love -- and be loved in return. I want a life without regrets. I want to be me.
47. BURNAR_180411_178.JPG: So dream. And dream big. Live like there is tomorrow -- and know when that "tomorrow" is. One day, you can have that waiting end and finally enjoy.
48. BURNAR_180411_182.JPG: An unintelligible passionate yearning drove them out into the desert -- T.E. Lawrence
49. BURNAR_180411_185.JPG: Burning Man 98
50. BURNAR_180411_192.JPG: Burning Man 2014 Black Rock City, Nevada
51. BURNAR_180411_195.JPG: The Green Man Burning Man 2007 August 27 to September 3 Black Rock City
52. BURNAR_180411_307.JPG: I never wanted to be a martyr like you
53. BURNAR_180411_308.JPG: You should have taught me about self-love over sacrifice
54. BURNAR_180411_309.JPG: Mom & Dad -- Why did you teach me to sacrifice for others instead of taking care of myself first.
55. BURNAR_180411_310.JPG: Dear Vincent, 9/2/16 --> I miss you everyday. If I could I wish I could go for you kid brother. I love you, please forgive me. I didn't protect you as an older sister should have. Vanessa
56. BURNAR_180411_312.JPG: (flip side of previous card) Dad + Mom + Vincent + Vinny + Vanessa Family
57. BURNAR_180411_314.JPG: Karen Sutherland Martin 4/26/33 - 3/2/18 Mom
58. BURNAR_180411_315.JPG: Fidelis Uzokwe Biafra
59. BURNAR_180411_334.JPG: Larry Harvey
60. BURNAR_180411_341.JPG: I am bored plus I think writing on wood is weird!
61. BURNAR_180411_343.JPG: America for sale
62. BURNAR_180411_346.JPG: The Temple of Stars Burning Man 2004
63. BURNAR_180411_350.JPG: The Temple
64. BURNAR_180411_357.JPG: This would cost too much to build
65. BURNAR_180411_383.JPG: First appearance of what would become the official Burning Man logomark on an envelope that Anita Moore designed and sent to the Burning Man offices, 1995
66. BURNAR_180430_002.JPG: Lori Boyd you are remembered loved + missed by all
67. BURNAR_180430_013.JPG: Caroline -- my Princess Steven -- my handsome son Teresa -- my beauty queen Charles -- my perfect grandson Luke -- my perfect grandson 4/18/2018
68. BURNAR_180430_017.JPG: Tinderella loves everyone
69. BURNAR_180430_029.JPG: Find your way back to your passions
70. BURNAR_180430_038.JPG: Karen Sutherland Martin 4/26/33 - 3/2/18
71. BURNAR_180430_047.JPG: Please Read This Temple is a sacred place for memorial and reflection. Its intention is is to bring healing to the the world, and it was built by many hands, all who had lost something. Many places exist for celebration, but few places are created to honor the universal human experience of grieving and loss. This is such a place. Please respect it for its solemn purpose. The Temple is always for one person. If you have lost someone dear to you, if you are suffering, if you need forgiveness, or shelter, or comfort, this Temple is for you. If you wish to leave a memorial or testament meaningful to you, please write on the blocks of wood provided (please do not write on the walls). You are encouraged to take these blocks with you, think about them, and return to place them.
72. BURNAR_180430_121.JPG: There is an art to flying, or rather a knack. The knack lies in learning how to throw yourself at the ground and miss. -- Douglas Adams
73. BURNAR_180508_072.JPG: Dana H., You brought us together. The Burning Opera lives through you, and you live through the opera family you created. With love and fire.
74. BURNAR_180508_111.JPG: Love you, dad!
75. BURNAR_180508_131.JPG: Larry Harvey 1948-2018
76. BURNAR_180508_196.JPG: A constellation of love always
77. BURNAR_180508_234.JPG: live on
78. BURNAR_180508_238.JPG: XO Love "life is what it is"
79. BURNAR_180508_244.JPG: Beauty of you never ends
80. BURNAR_180913_18.JPG: Please let me forget my parents divorce With love, M
81. BURNAR_181108_01.JPG: The previous banner for No Spectators: The Art of Burning Man comes down
82. BURNAR_181224_009.JPG: Please Read This Temple is a sacred place for memorial and reflection. Its intention is is to bring healing to the the world, and it was built by many hands, all who had lost something. Many places exist for celebration, but few places are created to honor the universal human experience of grieving and loss. This is such a place. Please respect it for its solemn purpose. The Temple is always for one person. If you have lost someone dear to you, if you are suffering, if you need forgiveness, or shelter, or comfort, this Temple is for you. If you wish to leave a memorial or testament meaningful to you, please write on the blocks of wood provided (please do not write on the walls). You are encouraged to take these blocks with you, think about them, and return to place them.
83. BURNAR_181224_017.JPG: Love Trumps Hate
84. BURNAR_181224_021.JPG: Frogman Isn't Dead
85. BURNAR_181224_033.JPG: Show Love Spread Love
86. BURNAR_181224_043.JPG: Yingzin Zhang 12.25.2018
87. BURNAR_181224_044.JPG: In our Darkest hour there is Hope
88. BURNAR_181224_051.JPG: Dance Explore Eat tiramisu We only get one time round.
89. BURNAR_181224_053.JPG: We try to love ourselves but considering everything is difficult you let me think clearly, you fascinated me and you made me feel loved. Now, like everyone else you have left me and my sorrow paralells [sic] the joy you brought me. As if I must pay for it. Why? It feels as though I will be alone forever, f-ck you. I love you. I wish I understood -- then I could forgive you.
90. BURNAR_181224_054.JPG: Every day is a reminder to be humble, kind, and thankful. Nothing that happens to U is chance. It's what you have worked for... or not. Always be humble + kind. Dec 23 '18
91. BURNAR_181224_055.JPG: Amazing Grace I once was lost but now I am found
92. BURNAR_181224_056.JPG: Mom
93. BURNAR_181224_059.JPG: Spend this season with those you love, or, in Trump's case, with those who fear you. [I wrote this one!]
94. BURNAR_181224_063.JPG: In loving memory Cynthia R. Belcastro January 21, 1969 - May 24, 2018
95. BURNAR_181224_066.JPG: Feeling the loss of safety and good people. My own idealism.
96. BURNAR_181224_067.JPG: Mom, Dad, Harold + Molly. Love to you always.
97. BURNAR_181224_071.JPG: Hi Trump We hate you so much you even can't be nice as people. I wish you a bad life. I know your hair is fake.
98. BURNAR_181224_073.JPG: Zoe In loving memory of the joy, happiness, I love you brought to our family I miss you daily. Barney Wold You helped me grow + I will love you forever.
99. BURNAR_181224_082.JPG: Blank walls, blank minds
100. BURNAR_181224_089.JPG: Louise at the Renwick on her 96th birthday 11/14/15
101. BURNAR_181224_091.JPG: B -- Well, we've made it to the Smithsonian brother. Washington f-cking DC. Bet you never could have dreamt this. Wish you could have been a part of it, I know David Best would have loved that. I miss you. We miss you. Hope the view is beautiful from up there.
102. BURNAR_181224_093.JPG: Bye Brother! Dear Leader!
103. BURNAR_181224_097.JPG: We are not Greece We are Rome [In another hand] And we deserve to fall.
104. BURNAR_181224_098.JPG: Empathy will rule the world. -- Bunz I'm gonna carry you with me and take you to places you'd never imagine.
105. BURNAR_181224_114.JPG: Burning Man Primer The Burning Man community has developed its own peculiar lexicon over the years. Below is a glossary of a few useful, irreverent, and colorful terms. Black Rock City (BRC): The annual, temporary metropolis that is home to the Burning Man event. Burner: One who pursues a way of life based on the values reflected in the Ten Principles of Burning Man. Cacophony Society: An influential source of many of the concepts and principles of Burning Man, the Cacophony Society was "a randomly gathered network of individuals united in the pursuit of experiences beyond the mainstream." Many of Burning Man's founders were members of the San Francisco group. Darkwad: Anyone who walks or rides on the playa at night without adequate lighting on the front and back of his/her person or vehicle. DBS: Decorative Bullsh*t. A term coined by artist David Best to describe the layers of unorthodox ornamentation he and his crew apply to the temple. Decommodification: One of the Ten Principles of Burning Man. "In order to preserve the spirit of gifting, our community seeks to create social environments that are unmediated by commercial sponsorships, transactions, or advertising. We stand ready to protect our culture from such exploitation. We resist the substitution of consumption for participatory experience." Deep Playa: In Black Rock City, the area of open playa beyond the Man and past the Temple in all directions, particularly the outer realms near the perimeter fence. Default World: The rest of the world that is not Black Rock City during the Burning Man event. FOMO: Fear of Missing Out, a harmless mental disorder caused by the overwhelming scope of things to do and see in Black Rock City. May lead to sleep deprivation. Java Cow: Community legend of a man-cow who appeared with hot coffee at sunrise on the morning of the Burn, asking the question: "Do you want cream or sugar?" MOOP: Matter Out of Place. Litter, debris, rubbish. Mutant Vehicle: A motorized conveyance that is radically, stunningly, (usually) permanently, and safely modified. Larry Harvey likens Mutant Vehicles to "sublimely beautiful works of art floating across the playa like a Miro painting." No Spectators: A central tenet of the Burning Man philosophy. By blurring the line between audience and performer, everybody is a superstar at Burning Man. Open Playa: The portion of the playa that is within the pentagonal event space, but is used for art installations and Mutant Vehicle cruising rather than camping space. Playa: The Spanish word for beach, also used to describe dry lake beds in the American West such as the Black Rock Desert. Playa Chicken: Community legend concerning a rare species of vicious, carnivorous poultry reputed to live in the Black Rock Desert. Any strange phenomenon that is not readily attributable to a known cause may be blamed on Playa Chickens. Playa Dust: The dried silt of Lake Lahontan, the prehistoric lakebed that is now the Black Rock Desert. Its alkaline pH makes it corrosive and its extremely fine particles get into just about everything. Playa Name: Originally spawned by the need for unique names on the staff's two-way radios, playa names have become almost ubiquitous and are sometimes used to provide an individual with an "alternate" personality or persona. Playa names are traditionally given to a person, rather than taken on. Sparkle Pony: Derogatory term for a participant who fails to embrace the principle of radical self-reliance, and is overly reliant on the resources of friends, campmates, and the community at large to enable their Burning Man experience. Often fashionably attired, since they packed nothing but costumes. TAZ: Temporary Autonomous Zone, a term coined by writer Hakim Bey. Burning Man isn't one. Ten Principles: The ten core guiding concepts of the Burning Man project. These include: Radical Inclusion, Gifting, Decommodification, Radical Self-reliance, Radical Self-expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation, and Immediacy. Theme Camp: A group camp designed to create an interactive experience for participants through art, architecture, and/or performance. White-out: A violent dust storm producing near–zero visibility.
106. BURNAR_181224_122.JPG: The Ten Principles of Burning Man In 2004, Burning Man co-founder Larry Harvey wrote the Ten Principles as guidelines for the organization's newly-formed Regional Network. They were crafted not so much as a directive, but as a reflection of the community's shared values and culture, which had organically developed since the event's inception. Radical Inclusion: Anyone may be a part of Burning Man. We welcome and respect the stranger. No prerequisites exist for participation in our community. Gifting: Burning Man is devoted to acts of gift giving. The value of a gift is unconditional. Gifting does not contemplate a return or an exchange for something of equal value. Decommodification: In order to preserve the spirit of gifting, our community seeks to create social environments that are unmediated by commercial sponsorships, transactions, or advertising. We stand ready to protect our culture from such exploitation. We resist the substitution of consumption for participatory experience. Radical Self-reliance: Burning Man encourages the individual to discover, exercise and rely on his or her inner resources. Radical Self-expression: Radical self-expression arises from the unique gifts of the individual. No one other than the individual or a collaborating group can determine its content. It is offered as a gift to others. In this spirit, the giver should respect the rights and liberties of the recipient. Communal Effort: Our community values creative cooperation and collaboration. We strive to produce, promote and protect social networks, public spaces, works of art, and methods of communication that support such interaction. Civic Responsibility: We value civil society. Community members who organize events should assume responsibility for public welfare and endeavor to communicate civic responsibilities to participants. They must also assume responsibility for conducting events in accordance with local, state and federal laws. Leaving No Trace: Our community respects the environment. We are committed to leaving no physical trace of our activities wherever we gather. We clean up after ourselves and endeavor, whenever possible, to leave such places in a better state than when we found them. Participation: Our community is committed to a radically participatory ethic. We believe that transformative change, whether in the individual or in society, can occur only through the medium of deeply personal participation. We achieve being through doing. Everyone is invited to work. Everyone is invited to play. We make the world real through actions that open the heart. Immediacy: Immediate experience is, in many ways, the most important touchstone of value in our culture. We seek to overcome barriers that stand between us and a recognition of our inner selves, the reality of those around us, participation in society, and contact with a natural world exceeding human powers. No idea can substitute for this experience.
107. BURNAR_181224_132.JPG: Maker Culture (Gallery 202) Burners devote themselves to the gloriously useless. Not unlike makers, they like to play and tinker for the sheer pleasure of seeing what will happen. –-Richard Polt One of the most overlooked questions about Burning Man art is, why do people make it? Regardless the size of project -- whether a massive installation or a cache of pendants -- certainly, there is no money in it. Most artists put in long hours year-round preparing for the event, yet of the hundreds of artworks placed each year, only a portion receive funding from the Burning Man Project and grants, while generous in resources, rarely cover the full cost of production. To supplement the assistance they receive, artists run crowdsourcing campaigns to help realize their projects. And at the end of the event, many artworks are destroyed, given away, or mined for parts to begin the next installation. So what is the motivation? Simply put, Burning Man art may be the ultimate expression of the maker movement made by a network of enthusiasts that has risen in response to digital culture, who share passion for making and a custom of enthusiastic knowledge and resource-sharing. Digital tools and easy online communication have helped maker culture spread quickly, promoting a blend of handcraft and cutting-edge technology in an atmosphere that fosters ingenuity and learning by doing, and values every individual's unique contribution. One of the beauties of Burning Man art is that so much of it is created by people who don't identify as "artists" at all, but as engineers, programmers, architects, or inspired novices. These permeable boundaries give the work its engaging, populist character; it often lands somewhere between art and other realms. Though most art for Burning Man is made in advance, the weeks leading up to the event provide a space for experimentation amid a supportive, talented community and under extreme test conditions. Many projects still fail, but the challenge is the pursuit. A cheerful slogan, "the playa provides," reminds Burners that things have a way of working out through the kindness of strangers. Interestingly, some perennial artists admit they could forgo the actual weeklong gathering, but thrive on the preparation phase and the community built through it, with all its infectious energy. They enjoy sharing their skills, tinkering for the thrill of new discoveries, and creating for the pure joy of contributing to something larger than themselves as they entertain and inspire their fellow attendees.
108. BURNAR_181224_151.JPG: Call to Artists Burning Man 1996
109. BURNAR_181224_162.JPG: Remnant pieces of neon, metal, ashes, and nails collected by Crimson Rose the morning after the Man burns; she refers to these materials as "Burning Man Vintage" 1998-2016
110. BURNAR_181224_165.JPG: The Man
111. BURNAR_181224_176.JPG: Burning Man Vintage 2017 Radical Ritual [Note that the sign stops in 2016 and they hadn't updated it.]
112. BURNAR_181224_188.JPG: No Spectators: The Art of Burning Man Each August in Nevada's inhospitable Black Rock Desert, a thriving metropolis rises from the dust for a single week. During that time, many societal norms are put on hold as a civic structure emerges based on personal accountability, radical self-expression, collaboration, and a gift economy. Lights and music fill the empty desert. Multi-story buildings and massive, interactive art installations are erected; some are burned to the ground. Then at the end of the week, the city disappears like a mirage. Burning Man has always been difficult to characterize. Variously called an arts festival, a bacchanal, and a utopian experiment, it exists outside the boundaries of everyday life, where immediacy and serendipity reign. Its organizers describe it as "a city in the desert, a culture of possibility, a network of doers and dreamers." Now, just over thirty years since it originated as a small bonfire on San Francisco's Baker Beach, it draws 70,000 participants annually, rivaling the largest art fairs worldwide, and has evolved beyond its temporal limits into the largest year-round "intentional community" in the world. Though artistic expression has always been a part of the Burning Man experience, the past decade has seen the artwork grow in scale and complexity and draw global attention for its imagination and ingenuity. More significantly, though, the work of Burning Man resembles that of past artistic movements -- from dada to land art -- the unique environment of this event, the ethos behind it, and its link to contemporary maker culture and industry, make it wholly unique. Today, Burning Man is a hotbed of experimentation, a creative laboratory attended by many of the world's most innovative minds, where ideas are inspired and tested, free from the confines of the market. For the first time in our nation's capital, No Spectators presents a comprehensive display of the stunning, participatory work that has emerged from this annual gathering by many of the artists and collectives who have become synonymous with the event, celebrating its importance to the American story as one of the most influential cultural events of our time.
113. BURNAR_181224_192.JPG: The first floor of this exhibition is now closed. The second floor remains on view through January 21, 2019. [The end came sooner because of the Trump-Fox shutdown.]
AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
Description of Subject Matter: No Spectators: The Art of Burning Man
March 30, 2018 – January 21, 2019
The exhibition takes over the entire Renwick Gallery building, bringing alive the maker culture of Burning Man through artworks, room-sized installations, jewelry, costumes, and ephemera that will transport visitors to the gathering’s famed desert location, the “playa.” Immersive works by individual artists and collectives highlight the ingenuity and creative spirit of this cultural movement. Photographs and archival documents drawn from the Burning Man Archives at the Nevada Museum of Art and their exhibition City of Dust: The Evolution of Burning Man will trace Burning Man’s growth and its bohemian, counterculture roots.

PLEASE NOTE: THE EXHIBITION WILL CLOSE IN TWO PHASES
The first floor galleries will be open through September 16, 2018. This includes works by Candy Chang, Marco Cochrane, Duane Flatmo, Michael Garlington and Natalia Bertotti, Five Ton Crane Arts Collective, Scott Froschauer, Android Jones, and Richard Wilks.
The second floor galleries will be open through January 21, 2019. This includes works by David Best, FoldHaus Art Collective, Aaron Taylor Kuffner, HYBYCOZO (Yelena Filipchuk and Serge Beaulieu), Christopher Schardt, and Leo Villareal.
Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
Connection Not Secure messages? Those warnings you get from your browser about this site not having secure connections worry some people. This means this site does not have SSL installed (the link is http:, not https:). That's bad if you're entering credit card numbers, passwords, or other personal information. But this site doesn't collect any personal information so SSL is not necessary. Life's good!
Photo Contact: [Email Bruce Guthrie].