20 March 2018
Make art about who’s watching.
21 March 2018
Make art about self-acceptance.
22 March 2018
Make art about what you’re hiding from.
23 March 2018
Make art about what you’re searching for.
24 March 2018
Make art about getting messages from the dead.
25 March 2018
Make art about when the mothership returns.
26 March 2018
“In this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard.”-Toni Morrison
Make art about that magical machine you inhabit.
27 March 2018
Make art about the growth that can come from encountering opposition.
28 March 2018
Always a visitor, always away.
Make art inspired by my visitor this morning.
Hey Virginia Peeps! Come help me celebrate my speed limit birthday! Poetry Reading!!! 
❤
I’m thrilled to be reading with Seth Michelson at the Nu-Beginning Farm Store in Staunton, VA next month! Thanks and Big Love to the beautiful and generous Stan Driver for putting this event together
Come on out and join us!
Saturday, April 7, 2018, 2-4pm
221 North Lewis Street
Staunton, Virginia
Check out this wonderful venue here!
17 March 2018
Make art about the ancestors.
18 March 2018
Make art about a chance encounter with a stranger.
19 March 2018
Make art waking caught still in a dream.
Amelia Williams is an artist/poet/activist from the Rockfish Valley area of Nelson County, Virginia, and author of Walking Wildwood Trail: Poems and Photographs.
Walking Wildwood Trail is more than just a beautiful books of poems. It is a brilliant artful act of protest against the Atlantic Coast Pipeline. Amelia is planting copyrighted art works with poems incorporated into them along the pending path of the Atlantic Coast Pipeline and copyrighting the entire installation.
When the proposed pipeline path was changed, another alarmed landowner contacted Amelia, and she started a second series of art installations. The newest project in Bath County consists of three parts in a large triangle, each separated by a thirty minute walk from the next, made of materials that include rocks, bone, copper pipe and jewelry parts. They represent the pipeline itself, the blast zone for construction, and the threatened homes.
Williams decided to begin this creative journey when she read about Canadian artist Peter von Tiesenhausen, who waylaid a mining company when he registered his 800 acres as intellectual property in the form of land art.
Now Amelia is teaching others how to do this, both the art and the copyright process, in an ongoing fight against the construction of this dangerous pipeline through farmlands, old growth woodlands, national forest, and near homes and schools.
“Amelia’s artworks are designed with place in mind; the sixteen on the Wildwood Trail are in muted earth tones and made of biodegradable materials. They will not be permanent in the landscape. A GPS map and trail map allow people to track down each piece, often located off the ground in trees. Working with wool, recycled paper, wood, found materials and beeswax, both plain and colored, her work looks almost as if it has grown there.”
Read More About Amelia’s Art Activism Here
Buy Amelia’s Beautiful Book Here!
Proceeds donated to Wild Virginia for the battle against construction.
Submission Details
Prose: 5000 words or less, open to content, form, structure.
Fiction: We welcome short stories of all shapes and sizes, from the mind-blowing traditional story to fiction that blurs the lines between forms, genre fiction, experimental fiction, etc. We also welcome flash and micro fiction.
Nonfiction: We’re looking for slow burns in a world of hot takes, questions asked instead of answers proved. We welcome a wide variety of nonfiction—traditional essay, narrative nonfiction, micro/flash memoir—and encourage experimentation, though not at the expense of factual truth. Too many true stories go untold, and we want to offer space to honor those voices.
Poetry: 3-5 poems, open to content, form, structure. Please don’t forget the power voice, sound, and time can have in poetry.
For all submissions, simultaneous submissions are permitted, but please let us know. To withdraw one part of a submission, please add a note in Submittable so that the information is instantly available to all editors. We will not process emailed withdrawal requests.
Experimental, traditional, playful, prayerful, celebratory, challenging: human—try us. Show us a new way to tell one of the millions of stories under that glorious sun.
15 March 2018
Make art about what the light reveals.
16 March 2018
“Do the transformations of memory
become the changing lines of divination?
Is the continuum of a moment a red
poppy blooming by a fence?” – Arthur Sze
Make art about the transformation of memory.
Geographer Otto Schlüter is credited with having first formally used “cultural landscape” as an academic term in the early 20th century. He defined two forms of landscape: the Urlandschaft (transl. original landscape) or landscape that existed before major human induced changes and the Kulturlandschaft (transl. ‘cultural landscape’) a landscape created by human culture. The major task of geography was to trace the changes in these two landscapes.
It was Carl O. Sauer, a human geographer, who was probably the most influential in promoting and developing the idea of cultural landscapes. Sauer was determined to stress the agency of culture as a force in shaping the visible features of the Earth’s surface in delimited areas. Within his definition, the physical environment retains a central significance, as the medium with and through which human cultures act. His classic definition of a ‘cultural landscape’ reads as follows:
“The cultural landscape is fashioned from a natural landscape by a cultural group. Culture is the agent, the natural area is the medium, the cultural landscape is the result.”
A 2006 academic review of the combined efforts of the World Heritage Committee, multiple specialists around the world, and nations to update and apply the concept of ‘cultural landscapes’, observed and concluded that:
“Although the concept of landscape has been unhooked for some time from its original art associations … there is still a dominant view of landscapes as an inscribed surface, akin to a map or a text, from which cultural meaning and social forms can simply be read.”
Make art about a cultural landscape, on reading cultural meaning in the shaping of land.
Saturday! Come celebrate St. Paddy’s Day in CVille with a crew of amazing PerSister Poets! Reading 7-9pm!
This event part of The Bridge’s Women’s History Month Calendar. For more information on our full month of programming, visit our Facebook Calendar or www.thebridgepai.org.
Mighty persisters, nasty women all, carry the poetic torch toward life, liberty, pursuit of happiness for women too!
Featuring:
Patricia Asuncion
Cynthia Atkins
Mary Carroll-Hackett
Courtney LeBlanc
Amelia Williams
Mary Carroll-Hackett: Poetry and Prose 
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