#pinus lambertiana

[syngoniums]

Assorted selected seedlings, l-r, top to bottom: sugar pine (Pinus lambertiana), American persimmon (Diospyros virginiana), Acacia tysonii (now with phyllodes!), Erythrina herbacea, Bursera fagaroides, jojoba (Simmondsia chinensis), and Kentucky coffeetree (Gymnocladus dioicus).

[jusiri]

Pinus strobus

Pinus monticola

Pinus Lambertiana

Pinus Taeda

Pinus Sylvestris

Pinus Echinata

Pinus Ellotti

Pinus Rigida

Pinus Palustris

Pinus Ponderosa

Pinus Contorta

Pinus Resinosa

[deanschlichting]

Giant Sugar pine, Willamette National Forest, Oregon USA

[toadstoolgardens]

Conifer Needle Tea

Conifer needles like pine, fir, or spruce are both edible and medicinal! Making a tea out of them is an easy way to ingest this tasty and health-beneficial forage, especially in the winter when other plants are sparse.

Types of Conifer Needles to Use for Tea:

*It's so important to properly identify any tree you're wanting to use! Many conifer species are safe to ingest, but not all! The main conifer trees to avoid is the Yew family because they are highly toxic. Use a reliable guide or bring someone knowledgeable along with you so you can sip your tea in confidence.*

Pine Needles:

Great Choices:

Eastern White Pine (Pinus strobus)

Western White Pine (Pinus monticola)

Red Pine (Pinus resinosa)

Sugar Pine (Pinus lambertiana)

Most species of pine are safe to use, but there area few varieties to avoid if you're pregnant! There's a chance they could cause miscarriage in large doses.

Ponderosa Pine (Pinus ponderosa)

Lodgepole Pine (Pinus contorta)

With that said, ponderosa pine has been safely used medicinally by Indigenous Americans throughout history.

Fir Needles:

As far as my research has shown, all fir trees have edible needles.

Great Choices:

White Fir (Abies concolor)

Grand Fir (Abies grandis)

Noble Fir (Abies procera)

Balsam Fir (Abies balsamea)

Douglas Fir (Pseudotsuga spp.) (not a true fir but still really yummy for tea)

Spruce Needles:

As far as my research has shown, all spruce trees have edible needles.

Great Choices:

Blue Spruce (Picea pungens)

Norway Spruce (Picea abies)

Sitka Spruce (Picea sitchensis)

White Spruce (Picea glauca)

Hemlock Needles:

Not to be confused with poison hemlock, which is a highly toxic plant and not a tree!

All three of the common hemlock trees are edible:

Western Hemlock (Tsuga heterophylla)

Eastern Hemlock (Tsuga canadensis)

Mountain Hemlock (Tsuga mertensiana)

Other Edible Conifer Needles:

Coast Redwood (Sequoia sempervirens)

Conifer Needle Tea Recipe

Properly identify and forage your conifer needles.

Strip or snip the needles off the branch. If the needles are very long you can cut them into smaller pieces.

Place a spoonful of needles at the bottom of a mug or into a tea strainer if you have one.

Pour boiling water over the needles and let it steep for about 5 minutes.

Enjoy! You can add other herbs, spices, or sweeteners to the recipe as you desire. Cinnamon is a great choice!

This tea is packed with vitamin C. Most conifer needles also help with coughs, relieve chest congestion, and aid with respiratory ailments. Conifer needles also have pain-relieving and antibacterial properties! Brew some for comfort, healing, and relaxation. As always happy foraging and STAY SAFE!

Source

[typhlonectes]

Enormous cones of the Sugar Pine, Yosemite National Park, California, USA

Early park naturalist Enid Michael is seen here holding up sugar pine cones for a photo. These cones of unusual size, the longest of any tree, can be over 20 inches long! Sugar pines (Pinus lambertiana) are a stately tree with long straight branches. The sugary, sappy cones can be seen dangling off the tips of branches from a great distance making the trees easy to identify. Seeds are also large and very nutritious. Birds, squirrels, and bears all rely on the seeds as a high value food. Currently sugar pines are in decline as they are facing a triple threat of drought stress, expanded bark beetle populations, and white pine blister rust (a fungus). There is some good news in that there seems to be certain trees that are naturally resistant to the fungus. It can be tempting to want to use these beautiful cones as home decoration. But save yourself the headache of staining, sticky sap all over your car and home and leave the cones where you found them so the birds and animals can continue to have good access to the seeds. (P.S. it’s illegal to remove anything from a national park).

via: National Park Service

[carnegiemuseumnaturalhistory]

Herbarium specimens hold more information than we realize

The first herbarium I visited was the Pringle Herbarium at the University of Vermont as part of an undergraduate class on plant taxonomy and systematics. Prior to this visit, I assumed herbaria were fairly mundane collections of dead, dry, flattened plants, and that they couldn’t possibly interest me as much as emerald-green plants thriving in the wild. However, within moments of entering the Pringle Herbarium, I was captivated by the football-sized cones of the sugar pine (Pinus lambertiana). These giant cones, of a species native to mountain slopes in California and Oregon, were the largest of any gymnosperm I had seen at that time, and I quickly discovered that herbaria were fascinating resources for studying plant diversity around the world.

Plant specimens capture important information on plant traits across species, continents, and centuries. With over 390 million specimens worldwide and becoming increasingly available online (500,000 specimens at Carnegie Museum alone), that’s a lot of potential information! We found that measurements using herbarium specimens strongly correlate to those measured in the field, including two leaf traits and one stem trait.

Years later as a graduate student interested in plant functional ecology, I was reminded of the diversity contained within herbaria, but learned that herbarium specimens were rarely used to study plant functional traits. Functional traits are characteristics that provide ecologists with information about growth, reproduction, or survival strategies, and in plants they are often measured using living tissue. For example, three commonly measured functional traits are specific leaf area, wood density, and leaf thickness. Specific leaf area (equal to the fresh area of a leaf divided by its dry mass) indicates how much dry mass plants invest in their leaves, a factor coordinated with their rate of photosynthesis. More specifically, plant photosynthetic rates tend to increase the bigger leaves get relative to their dry mass. On the other hand, wood density is used to understand carbon storage, which is important for studying carbon sequestration and climate change. Leaf thickness can help understand leaf thermoregulation, herbivory, and gas exchange. Currently, it’s unclear if herbarium specimens can provide reasonable estimates of these traits, but if so herbaria can vastly expand our understanding of plant functional diversity.

Recently, I teamed up with scientists Jessica Rodriguez and Dr. Mason Heberling (Assistant Curator of Botany at Carnegie Museum of Natural History) to understand if and to what extent herbarium specimens could be used as proxies for functional traits collected from fresh plant tissues. In our study just published in the American Journal of Botany, we found that herbarium specimens can provide accurate estimates of specific leaf area, branch wood density, and leaf thickness. Although drying plant tissues may lead to some inaccuracies in functional traits that are typically measured using fresh tissues, our study suggests the dead, dry, flat plants I once considered uninteresting could rapidly advance what scientists know about plant functional diversity. Importantly, our research highlights herbaria as rich sources of functional trait data with the potential to accelerate the study of important ecological processes like species responses to climate change.

Timothy M. Perez, Ph.D. is a postdoctoral scholar at the University of British Columbia whose research focuses on plant heat tolerance and the conservation of plants in the tropics.

[jayu123-me]

Pinitol Market Investment Opportunities, Industry Share & Trend Analysis Report to 2028

Pinitol Market Outlook

Pinitol also called as D-pinitol was primarily noticed as an active compound in sugar pine, which is also called as Pinus lambertiana. Pinitol is an inherently present form of inositol, which can be gained from certain plant species. It is been noticed as one of the active compound found in many soy and legumes. It is a sweet crystalline compound which can also be found and extracted from sugar pine and carob tree.

In plants, a pinitol function is to improve the tolerance of plants to drought stress or heat. Having many possible benefits, pinitol is also known for being anti-diabetic, antioxidant, inflammatory, anti-hyperlipidemic, and cardio protective. A recent study was done on pinitol also shows that it has an anti-cancer possibility.

The studies revealed that it could be very operative against numerous cancer types such as lung, breast, and bladder cancer. A large number of players are entering the pinitol market as a manufacturer, wholesaler and distributors. Increasing competition has compelled manufacturers to come up with competitive prices in the pinitol market.

The key regions that have gained a larger market share in the pinitol market are Latin America, Europe, and the Asia Pacific regions. Some of the leading players in the global pinitol market include FBRI LLC, The Good Scents Company, Euronutra s.l., TCI AMERICA, Inc., Capot Chemical Co., Ltd., Shanghai Zheyan Biotech Co., Ltd., Career henan chemical Co., Ltd., Shaanxi Yikanglong Biotechnology Co., Ltd., and Chemwill Asia Co., Ltd.

Increase in the Diabetic and Cardiovascular Problems Is Increasing the Demand for Pinitol

The key factor behind the rise in the pinitol market is the increasing diabetic and cardiovascular problems in the people across the globe. The World Health Organizations’ data states that one in ten adults in Latin America already live with diabetes and the rate is rising rapidly mainly in the middle and low-income countries. It also states that diabetes was the seventh highest cause of death in 2016.

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In addition to this, cardiovascular diseases are the number one cause of death globally. It also says that over 31% of global deaths were caused because of cardiovascular diseases. This data clearly states that there is a rapid rise in the health issues amongst people, which is driving the demand for pinitol at large.

Moreover, a large number of people across the world are inclined towards consuming supplements in their daily diet which is supporting the growth of the pinitol market. Consumers’ shift towards daily workouts and going to the gym is also one of the reasons for the rise in the global pinitol market.

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Global Pinitol Market: Segmentation

On the basis of the source, the pinitol market is segmented as:

Sugar Pine

Soy

Legumes

Carob tree

On the basis of the distribution channel, the pinitol market is segmented as:

Specialty stores

Medical stores

Online stores

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On the basis of the end use, the pinitol market is segmented as:

Pharmaceuticals industry

Health and nutritional supplements

Global Pinitol Market: Key Players

Some of the major players in the pinitol market are FBRI LLC, The Good Scents Company, Euronutra s.l., TCI AMERICA, Inc., Capot Chemical Co., Ltd., Shanghai Zheyan Biotech Co., Ltd., Career henan chemical Co., Ltd., Shaanxi Yikanglong Biotechnology Co., Ltd., Chengdu Biopurify Phytochemicals Ltd., Nanjing Dolon Biotechnology Co., Ltd., Chemwill Asia Co., Ltd., and Chemwatch Global.

Some of the distributors in the global pinitol market are Parchem fine & specialty chemicals, Natural Partners, Inc., Adooq Bioscience LLC, Vital Nutrients, Selleck Chemicals, and many more key distributors across the world.

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[clevercrowapothecary]

Herb Of The Day   Pine Nut(s)

 Here’s a herb..but not really a herb of the day!

Pine nuts! (also called pignoli /pinˈyōlē/) are the edible seeds of pines (family Pinaceae, genus Pinus). About 20 species of pine produce seeds large enough to be worth harvesting; in other pines the seeds are also edible, but are too small to be of notable value as a human food.

Species and geographic spread

In Europe and places with a Mediterranean climate species are widely harvested, Korean pine (Pinus koraiensis) in northeast Asia (the most important species in international trade), and chilgoza pine (Pinus gerardiana) in the western Himalaya. Four other species, Siberian pine (Pinus sibirica), Siberian dwarf pine (Pinus pumila), Chinese white pine (Pinus armandii) and lacebark pine (Pinus bungeana), are also used to a lesser extent. Russia is the largest producer of Pinus sibirica nuts in the world followed by Mongolia which produces over 10,000 tonnes of forest grown nuts annually, the majority of harvest is exported to China. Afghanistan is an important source of pine nuts, behind China and Korea.

Pine nuts produced in Europe mostly come from the stone pine (Pinus pinea), which has been cultivated for its nuts for over 5,000 years, and harvested from wild trees for far longer. The Swiss pine (Pinus cembra) is also used to a very small extent.

In North America, the main species are three of the pinyon pines: Colorado pinyon (Pinus edulis), single-leaf pinyon (Pinus monophylla), and Mexican pinyon (Pinus cembroides). The other eight pinyon species are used to a small extent, as are gray pine (Pinus sabineana), Coulter pine (Pinus coulteri), Torrey pine (Pinus torreyana), sugar pine (Pinus lambertiana) and Parry pinyon (Pinus quadrifolia). Here, the nuts themselves are known by the Spanish name for the pinyon pine: piñon (plural: piñones).

In the United States, pine nuts are mainly harvested by Native Americans, particularly the Uto-Aztecan: Shoshone, Paiute Navajo [Dine], and Hopi, and Washoe tribes.[5] Certain treaties negotiated by tribes and laws in Nevada guarantee Native Americans' right to harvest pine nuts.

The Pinus monophylla seeds, commonly known as the Nevada Soft Shell Pine Nut, are harvested by commercial harvesters in Nevada, and sold throughout the western US.

Species list

For those seeking to grow edible landscapes, these are the more commonly used species.

Old World

New World

Pinus pinea – Mediterranean Stone pine

Pinus cembra – Swiss pine

Pinus koraiensis – Korean pine

Pinus gerardiana – Chilgoza pine

Pinus sibirica – Siberian pine

Pinus pumila – Siberian dwarf pine

Pinus armandii – Chinese white pine

Pinus bungeana – lacebark pine

Pinus cembroides – Mexican pinyon

Pinus orizabensis – Orizaba pinyon

Pinus johannis – Johann's pinyon (includes P. discolor – Border pinyon)

Pinus culminicola – Potosi pinyon

Pinus remota – Texas pinyon or papershell pinyon

Pinus edulis – Two-needle piñon or Colorado pinyon (when grown in Colorado)

Pinus monophylla – Single-leaf pinyon

Pinus quadrifolia – Parry pinyon

Culinary Uses

Pine nuts have been eaten in Europe and Asia since the Paleolithic period. They are frequently added to meat, fish, salads and vegetable dishes or baked into bread.

In Italian they are called pinoli (in the US they are often called pignoli, but in Italy pignolo is actually a word far more commonly used to describe a fussy, overly fastidious or extremely meticulous person) and are an essential component of Italian pesto sauce; the upsurge in the popularity of this sauce since the 1990s has increased the visibility of the nut in America, primarily on the West Coast. Torta della nonna (literally "granny's cake") is a generic Italian dish name that in most families indicates an old family recipe for any kind of cake but often is used for a tart or a pie filled with custard, topped with pine nuts and optionally dusted with icing sugar. Pignoli cookies, an Italian American specialty confection (in Italy these would be called biscotti ai pinoli), are made of almond flour formed into a dough similar to that of a macaroon and then topped with pine nuts.

In Catalonia, a sweet is made of small marzipan balls covered with pine nuts, painted with egg and lightly cooked, and those are called "Panellets". Pine nuts are also featured in the salade landaise of southwestern France. The Nevada, or Great Basin, pine nut has a sweet fruity flavor and is promoted for its large size, sweet flavor and ease of peeling. Pine nuts are also widely used in Middle Eastern cuisine, reflected in a diverse range of dishes such as kibbeh, sambusak, desserts such as baklava, and many others.

Throughout Europe and Middle East the pine nuts used are traditionally from Pinus pinea (stone pine). They are easily distinguished from the Asian pine nuts by their more slender shape and more homogeneous flesh. Because of the lower price, Asian pine nuts are also often used, especially in cheaper preparations. Pine nuts contain thiamine (vitamin B1) and protein.

Pine nut coffee, known as piñón (Spanish for pine nut), is a specialty found in the southwest United States, especially New Mexico, and is typically a dark roast coffee having a deep, nutty flavor; roasted and lightly salted pine nuts can often be found sold on the side of the road in cities across New Mexico to be used for this purpose, as well as a snack.

Taste disturbances

Pine nuts can cause taste disturbances, lasting from a few days to a few weeks after consumption. A bitter, metallic, unpleasant taste is reported. There are no known lasting effects, with the FDA reporting that there are "no apparent adverse clinical side effects". This phenomenon was first described in a scientific paper in 2001.

The Nestlé Research Centre has hypothesized that nuts from Pinus armandii, which occurs mostly in China, are the cause of the problem. The nuts of this species are smaller, duller, and more rounded than typical pine nuts. A 2011 study found results consistent with this hypothesis and also suggested that chemicals used in the shelling process might be responsible.

Metallic taste disturbance, known as metallogeusia, is typically reported 1–3 days after ingestion, being worse on day two and typically lasting up to two weeks. Cases are self-limited and resolve without treatment. Möller has postulated a hypothesis—to explain both the delayed onset of, and the long-lasting nature of, the metallic or bitter taste sensation—involving a well-known physiological process known as enterohepatic recirculation (EHR), which Möller describes as a "remove-recycle-repeat" digestive process where toxins could potentially circulate through the digestive tract multiple times.

Magickal Uses of Pine

Planetary Association: Mars

Gender: Air

Elemental Association: Air

Deity Association: Cernunnos, Attis

Magickal Properties: Strength, life and immortality, rejuvenation. External symbol of life and immortality. It is one of the few trees that are androgynous. It was also worshiped by the ancients as a symbol of fire because of its resemblance to a spiral of flame. It is regarded as a very soothing tree to be near. Attracting prosperity, purifying ritual areas and new homes, helping “stay the course” during difficult times. A pine wand or pine cone kept on the altar wards off evil influences. Carry pine cones to increase fertility and have a vigorous old age. Floor washes with pine oil cleanse a space of negativity and ward off illness. Throw pine needles into winter fires for protection, or burn pine incense for purification and divination. Place pine branches over the bed to keep sickness away, or to aid the ill. Hang a pine branch over the main door of your house to ensure continuous joy within.

Burned for purification, and to banish negative energies, exorcise evil supernatural entities, and attract money, as well as to break hexes and return them to their senders. Pine is the “tree of peace” of the Native American Iroquois confederacy. Burn pine to purify the home and decorate with its branches to bring healing and joy. Mix with equal parts of Juniper and Cedar, burn to purify the home and ritual area. The cones and nuts can be carried as a fertility charm. Placing pine needles in a loose-woven bag and running bathwater over this makes a good magical cleansing and stimulating bath. To purify and sanctify an outdoor ritual area, brush the ground with a pine branch. The oil is commonly added for purification, protection, money and healing mixtures. Burn as incense for, money, purification, healing and exorcism.

[masonsawyerfieldguide]

Sugar Pine • Pinus lambertiana

Plant Community: N/A

Native Status: Native to Western United States

Mature Size (h, w): 175-200 ft, 100-150 ft

Habitat/Preferred Conditions: Full sun to partial shade. Prefers medium moisture, well-drained soils. Fire-resistant 

Eco-indicator: N/A

Hardiness zone: 5-9

Leaf Color:  Green (evergreen)

Flower Color: N/A

Bloom Time:  N/A

Theme: 

The Sugar pine has been identified as a key source fo both shelter and sustenance for Douglas’ Squirrels

https://www.naturekidsbc.ca/shop/memberships/family-membership-3/ 

and White-Headed Woodpeckers.

https://www.allaboutbirds.org/guide/white-headed_woodpecker/id/

Furthermore, the massive size of this pine means that it serves as a habitat for a wide range of small mammals and arboreal birds. 

Sources:

https://plants.usda.gov/core/profile?symbol=PILA

https://www.srs.fs.usda.gov/pubs/misc/ag_654/volume_1/pinus/lambertiana.htm

https://www.fs.fed.us/database/feis/plants/tree/pinlam/all.html 

[farmer-v]

Pinus lambertiana (sugar pine) cones are the longest of any conifer, often reaching one to two feet in length. Sugar pine is also the largest and tallest pine species. This one was found in the western portion of Glacier National Park.

[micaramel]

James Benning in Joshua Tree (December 25), 2011. Photo by Heinz Peter Knes

  Artist: James Benning

Exhibition Title: Down the Rabbit Hole: JB in JT

Arranged by: Julie Ault and Martin Beck

In Collaboration With: O-Town House, Los Angeles

Note: at the request of O-Town House we have adjusted this project’s presentation.

  Shortly after I arrived in Joshua Tree some three weeks ago, going into lockdown with Julie and Martin, we decided this was a perfect time to realize our plan for a James Benning exhibition of his works in their home. The idea for a private exhibition of James’s works here was hatched last Christmas, a time when the gang usually descends on Joshua Tree for some quality time at the kitchen table and in front of the fireplace. But now, considering the current circumstances, developing this exhibition as a virtual one seems to resolve several issues—of privacy, access to the public, and keeping busy and engaged with the world. Down the Rabbit Hole: JB in JT is conceived as part of a continuum with two earlier exhibition projects. The first, Tell It To My Heart, which traveled from the Kunstmuseum Basel to Culturgest in Lisbon and ultimately to Artists Space in New York, was an exhibition based on the artworks Julie has collected over decades, many of them the results of conversations and collaborations with other artists. The curatorial team was equally significant, and the project strove to develop a different mode of mapping the ways art and history touch our lives through relationships and collaborations. The second project in this lineage was inspired by the first, titled 31 Friends by James, for which he made 31 artworks for as many friends. The works were shown at the Marfa Book Company in Marfa, TX, and, after the exhibition ended, were given to their intended owners. James then asked everyone to send him a photograph of the works in their new homes. Those framed photographs were presented at O-Town House. James described 31 Friends as an “attempt to pay homage to the ability of art to produce community as opposed to just commerce.” The line drawn from Tell It To My Heart to 31 Friends to Down the Rabbit Hole is indicative of an ongoing effort to sustainably engage artistic practices and align the language around this work meaningfully with our lives. Down the Rabbit Hole  brings together (nearly) all the artworks and some artifacts made by James that are distributed in Julie and Martin’s house and grounds in Joshua Tree. Many of these objects are on permanent display, others were unearthed from drawers and closets. Most objects we photographed as they are installed, others we staged, and, collectively, we put together an annotated checklist, supplying details about the work and some stories of how they came about. Picking up on the aspirations of Tell It To My Heart and 31 Friends, this exhibition also reads as a conversation. The works are listed in chronological order to make present the unfolding of friendship over many years; the show becoming an extension of ongoing collaborations with a view toward the future. Moments of recollection, such as Down the Rabbit Hole represents, become crucial to finding fresh ways of thinking about the role art can play in the construction of community. By drawing lines across time, as we rummage through James’s traces here at the house, together, we are taking stock, reviewing, and recounting the conversations that grew into plans and then into actions. Enduring interests and subjects, obsessions, and curiosities have become shared experiences and the medium with which we solidify our lives together.

— Scott Cameron Weaver

    After Traylor, 2004 Colored pencil on cardstock Two parts 6 1/2 × 4 1/4 inches and 6 1/2 × 8 3/8

James often came to Joshua Tree around the holidays to visit our mutual friend Dick Hebdige. In 2003 they came over to our house a couple evenings. Sitting by the fire, James said, “I usually don’t like places like this, but I like it here.” I think he was referring to all the colors. When Dick and James came over the following Christmas, JB brought this wonderful gift. It seems reasonable to me now, but at the time, copying Bill Traylor imagery, and doing it well, was astonishing. (JA)

    Two sugar pine cones (Pinus lambertiana) from Hatchet Peak near Pine Flat, ca. 2005 Approx. 11 × 4 × 4 inches each

When coming to JT from his place in the Sierras, James sometimes brings a couple of large pine cones with him. We integrated most of them into the landscape, and some have disintegrated over the years. These two we kept on a stand on the patio. They sometimes get blown off by the wind and we find them somewhere between the cactuses. (MB)

    Clock, 2006 9 inches diameter Acrylic paint on clock

I needed to keep busy, part of my nature, so inspired by the many cans of paint in the garage (due to the many different colors used inside and outside of the house [what is it 36? I think it’s 42]), I decided to paint a clock I had just found in a local thrift store using a few of those colors. (JB)

  Continue the exhibition after the jump.

    AFTER JESSE HOWARD (DETAIL) J.B., 2007 Colored pencil on cardstock Two parts 6 1/2 × 4 1/4 and 6 1/2 × 8 ½ Pencil (verso of larger part): A MAN HAS NO RIGHT TO DEFEND HIS FAMILY DECATUR. ILL. OCT. 11. 1961 OF ALL THE UN=AMERICAN. UN=CIVIL- IZED WAY OF LIFE! ARREST: A MA- N AND THROW HIM IN JAIL! BECA- USE HE HAD NO PERMIT TO CON- STRUCT A FALLOUT SHELTER, FOR HIMSELF=AND=HIS=FAMILY. JESSE HOWARD

This was the second set of drawings made for this two-part frame. The first set was two Bill Traylor drawings (see After Traylor, 2004), but they looked rather silly so small, so I replaced them with these two truncated drawings of a Jesse Howard painting that I copied and is hanging in the replica Kaczynski cabin I built in the Sierras. I’m not sure what happened to the first set. (JB)

Once taken out of the frame, the first set, After Traylor (2004), was kept in the bottom shelf of a covered sideboard, visible right when opening its door. The unprotected drawings were vulnerable. This display, if one could call it that, always felt a bit treacherous and, recently, Julie packed the drawings in glassine and cardboard and stored them safely in the Christmas closet. (MB)

    Freedom Club, 2009 Wood carving 2 × 9 7/8 inches

Kaczynski embedded a signature of sorts—the letters FC—in the bombs he made from 1980 on, and in the mid-nineties signed letters to public figures and editors FC. FC (Freedom Club) was supposed to be an anarchist terrorist group. Kaczynski’s 1995 letter to Scientific American is worth repeating: “Scientists and engineers constantly gamble with human welfare, and we see today the effects of some of their lost gambles: ozone depletion, the greenhouse effect, cancer-causing chemicals to which we cannot avoid exposure, accumulating nuclear waste for which a sure method of disposal has not yet been found, the crowding, noise and pollution that have followed industrialization, massive extinction of species and so forth…. We emphasize the negative PHYSICAL consequences of scientific advances often are completely unforeseeable….  But far more difficult to foresee are the negative SOCIAL consequences of technological progress. The engineers who began the industrial revolution never dreamed their work would result in the creation of an industrial proletariat or the economic boom and bust cycle.” This carving was a step in James’s process of furnishing his Kaczynski cabin. After a while, he replaced it with one reading FC, and I asked if I could have this one. (JA)

    James Benning and Sadie Benning Untitled, 2010 Pencil on cardstock, framed Two parts (left part drawn by Sadie Benning, right part drawn by James Benning) Drawing: 6 1/2 × 4 1/4 inches and 6 1/2 × 8 1/2 inches Frame: 8 × 14 1/2 inches

This was the third set of drawings made for this two-part frame. I was going to continue to change the drawings for this frame, but since this is the only collaboration between Sadie and I, it seemed best to end the series here. (JB)

James and Sadie like to settle on the couch in front of the fireplace when they visit. One Christmas we got a new couch. Knowing that we wouldn’t be home when they arrived, and that they would immediately take their places in front of the fire, we wrapped a large ribbon around the couch and made it an in situ present to them. (MB)

    After Traylor by J.B., 2010 Colored pencil on paper Drawing: 12 3/4 × 8 1/2 inches Frame: 21 1/2 × 14 1/4 inches Pencil on backing board: APARTMENT FOR PEOPLE TO GO AND THEN COME OUT UP A ELEVATOR AND THEN JUMP OUT THE WINDOW. ONLY THE MANAGERS CAN GO THROUGH THE FRONT DOOR. NAME OF THE APARTMENT IS “THE PEOPLE’S APARTMENT”. 100 PEOPLE LIVE IN IT, EVERONES THE SAME AGE, BUT SOME ARE 10, 20, AND 40. by VANESSA

    Vanessa’s name is Vanessa Basilio. She was about eleven at the time, 2010. She was a CAP student. CAP is Community Arts Partnership. CalArts students teach kids in disadvantaged communities, and then the kids have a show at CalArts. When I saw her piece (house and text), I was most impressed and asked her if I could trade her an artwork for it. She was excited to make a trade, but told me she wanted to see what I could offer. I told her I could trade her a house for her house. The next day I met her and her mother, and showed her the After Traylor house. She really liked it and we made the trade, and I took a picture of her holding her house but can’t find the photo. (JB)

James made another version of the After Traylor (2010) drawing that he gave Vanessa for our house; he transcribed Vanessa’s description of her house on the frame’s backing board. A photograph of the work by Heinz Peter Knes, showing the drawing in context at the house, adorns the back cover of the first volume of Tell It To My Heart. Proofing the catalog, none of us noticed the image was reversed, the bird looking to the left rather than to the right. (MB)

    (FC) Two Cabins by JB, 2011 Edited by Julie Ault Contributions by Julie Ault, James Benning, Dick Hebdige, Theodore J. Kaczynski, and Henri David Thoreau Designed by Martin Beck Published by A.R.T. Press, New York

I still intend to write something about the Two Cabins constellation and Thoreau and Kaczynski copies James gave me. (JA)

    After Thoreau, 2011 Ink on chipboard, framed Drawing: 10 × 8 inches Frame: 18 1/2 × 15 1/2 inches

This is a copy of one of Henry David Thoreau’s many drawings that he made as the town surveyor of Concord, Massachusetts. The frame is tramp art from the 1930s. (JB)

The autodidactic orientation of both Thoreau and Kaczynski finds a correlation in Benning, who takes immense pleasure in learning. Ted Kaczynski created a numeric code to shield his most self-incriminating journal entries about his bombing campaign. JB meticulously copied the dense document and hung it in his Kaczynski cabin. He made a second copy for me, but it’s not in Joshua Tree. Empathy is palpable in his copies, and so is James, who leaves traces. I regard the reproduced TK code and the Thoreau survey as outlying companions linked by James’s acts of copying, thereby completing the triad of primary protagonists in FC: Two Cabins by JB. (JA)

    intertitle study for Stemple Pass, 2012 Typewriting on paper 11 × 9 1/4 inches

I spent a few weeks working on Stemple Pass at the kitchen table in JT. This was made while I was working on the intertitles. I believe there is a photo of me doing just that, in the first Tell It To My Heart catalog. (JB)

Tell It To My Heart was an exhibition about the artworks given to and acquired by Julie over a few decades. For the catalog, the works were photographed in situ, “at home” in our NY apartment and the JT house, installed on the walls, packed up in closets, under the couch, in drawers, and other odd places. Some of the images didn’t even show artworks, just the environment. The only person appearing in the catalog’s photography is James, seen from behind, with headphones on, sitting at the JT kitchen table, editing a film. (MB)

    After Beck 11 × 15 3/4, 2013 Acrylic paint on wood panel 11 × 15 3/4 inches

Martin gave me a painting of his that was hanging on the wall in JT. It was a painting that I always admired. I was going to make an exact copy of it and replace it in the same place. It proved to be too difficult for me to reproduce, so I made this painting instead. It was the same dimensions as the painting I tried to copy. (JB)

Back in 1996, I gave a painting I had made as an art student to Julie. It was the first painting I considered to be quite good and therefore was precious to me. Soon after we got the house in JT, the painting moved out here, which is where James saw it. Expressing his admiration, he wondered if there were others like it. I had a similar same-size one from that time in storage at my parents house in Austria. James and I then cooked up a trade: I would give him that painting and he would copy it for me. When visiting my parents next I took the painting to NY and sent it to him in the mail. Quite a few months later, at Christmas out in JT, James gave me his version of it. While James was working on the copy, Sadie painted a white version as a companion piece. Unbeknownst of the impending gifts, I had made two drawings, to give them as presents, one for James, one for Sadie, both saying “the same thing can be done in different ways.” (MB)

    Thinking about the Unabomber, 1987/2014 Enlarged photobooth photograph, framed Image: 4 3/4 × 4 3/4 inches Frame: 12 1/2 × 12 1/2 inches

Thinking about the Unabomber, 1987/2014 Enlarged photobooth photograph, framed Image: 4 3/4 × 4 3/4 inches Frame: 12 1/2 × 12 1/2 inches

In 1987 a woman witnessed a man wearing aviator glasses and a hooded sweatshirt placing a package outside a computer store in Salt Lake City that turned out to be a bomb. The widely circulated police sketch made from her description was the first representation of the Unabomber. (JA)

The last year I lived in NYC, Sadie visited me and we went to Coney Island and made this photo in a photobooth. I was thinking about the Unabomber because a number of my friends and I thought the Unabomber might have been Leo Burt, the only person never to be arrested for the Sterling Hall bombing at the University of Wisconsin, in protest against the Vietnam War. In 2014 I re-photographed the photo. (JB)

    Three Paper Airplanes, 2014 Signed contract; three one hundred-dollar bills, folded Laser print on paper, framed Print: 9 3/4 × 8 inches Frame: 12 1/2 × 10 1/2 inches Bills: 1 1/2 × 6 × 1 1/4 inches each

Julie bought this piece for $600 and paid with 563 single dollar bills. I then gave the three secretaries (the three women who keep the CalArts film school running) $200 each. The piece was in the spirit of Douglas Huebler—he was teaching at CalArts in the 1980s—and was one of the reasons I took a job there. I like his art very much, and he was an amazing guy. (JB)

For several years, whenever James needed a book for his Kaczynski library and research into artists he was copying, he asked me to scope out the possibilities online and order the books, since I had a credit card. This provided a productive exchange about the books’ contents and various editions. Periodically I’d give him the tally. On one occasion, he owed me $563 and paid me in one-dollar bills stuffed into a big envelope. Not needing the cash at that moment, I kept the reimbursement “as is.” A few years later, James told me about his paper airplanes made from one-hundred dollar bills and said he wanted to get more than their value to split the money between the three women that run the film department, who do a lot for him. So I pulled out the envelope and made up the difference to $600. (JA)

This work was really hard to photograph—it is usually stored in a protective box in a cabinet. Scott and I kept moving the paper airplanes around the house and tried about a dozen different settings until we settled on this one. Another image we shot looks very similar except that the hundred-dollar bills sit on a pink ground with a yellow glow coming in from the sides. Julie liked the green ground better, so we went with that. (MB)

    After Ono by J.B., 2014 Photocopy, framed Print: 7 1/4 × 5 3/8 inches Frame: 11 1/8 × 9 1/8 inches

This is a reproduction of a call for entries by Yoko Ono for a show (This is Not Here) at Emerson Museum, Syracuse, NY, to open on October 9, 1971. (JB)

    After Ono by J.B., 2014 Photocopy, framed Print: 7 1/4 × 5 3/8 inches Frame: 10 7/8 × 8 3/4 inches

    After Warhol (smiling), 2014 Serigraph, silver and black oil-based ink on paper Print: 25 × 24 1/2 inches Frame: 26 1/2 × 26 inches

I love this sexy exuberant photograph of Andy Warhol, grabbing Parker Tyler’s crotch. JB made it in the spirit of Warhol, as part of a diptych, the other half being After Noland (smiling). I’m often amazed by the images and narratives James annexes and activates. (JA)

    After Noland (smiling), 2014 Serigraph, silver and black oil-based ink on paper Print: 25 × 24 1/2 inches Frame: 26 1/2 × 26 inches

For quite a few years, I’ve been spending summers in JT, mostly by myself. The only friend who doesn’t mind the heat and visits regularly is James. During the hot days, we both work and tool around, he under the covered patio, I in the garage studio. In the evenings, I prepare food; he makes gin-and-tonics, we listen to music and talk about work and life. At first, I wasn’t sure why James thought I should have an image of Ruth Ann Moorehead (“Ouish” of the Manson girls). I know he likes Cady Noland’s work and I do too. I love the image and, of course, understand why he chose it. (MB)

    Thirty-one Friends (October), 2015 Published by Marfa Book Company, Marfa, TX

In the years 2014–15 James Benning made 31 works of art for 31 friends, and produced a book, recounting a story of each friendship and describing the works created with them in mind. Some of the works referenced work by other artists—Andy Warhol, Marie Menken, Bill Traylor, Jean-Luc Godard, Jesse Howard, Henry Darger, Henry David Thoreau, Cady Noland, Robert Smithson, Jasper Johns, Miroslav Tichý, and Ted Kaczynski—inferring another set of (imagined) friends. In the summer of 2015, these works were exhibited together along with the publication at the Marfa Book Company, in Marfa, TX. At the show’s closing event, the artworks were removed from the walls and given to each of the friends for whom they’d been made. The works then traveled to places near and far—Bastrop, Texas, Duisburg, Germany, Sydney, Austria, downtown Los Angeles…. The final chapter of this project happened in 2018 at O-Town House, and consisted of the photographs James asked each friend to take of his gifted artwork in situ— gathered together from their disparate locations. 31 Friends represented a self-professed exercise in prioritizing the mechanisms in art that foster genuine examples of community. (SCW)

    June 2nd, 1984, 2015 Acrylic paint on thermometer 15 1/2 × 2 3/4 inches

In the summer of 2015 James generously helped me with the shoot and edit for the Last Night film which is based on the records David Mancuso played on June 2nd, 1984, at the last party at the Prince Street Loft. To keep the sound clean we had to film with windows closed and swamp cooler off, making for a rather hot environment. To get a little break, one afternoon we went to the 99 Cent Store where James bought a thermometer. He painted it pink and, after thinking for a while what other decoration it should have, decided on June 2nd 1984. (MB)

    After Chris B., 2018 Acrylic paint on match-head on nickel coin in wrapping paper 1 × 2 inches Edition 7/20

After Chris B., 2018 Acrylic paint on match-head on nickel coin in wrapping paper 1 × 2 inches Edition 19/20

I made this work in JT while recuperating from major surgery. (JB)

James was pretty under the weather after his surgery. We were all worried about his vulnerability and waiting it out. One morning I was going to the store and asked if anyone needed anything. James suddenly perked up and said he needed twenty nickels, some metallic paper, and a box of red-tip matchsticks. I couldn’t find red matches anywhere, only Diamond-brand green tips. He then asked for red paint and a small paintbrush and proceeded to meticulously color twenty of the green tips red. With his obsession and ambition restored, we knew he was recovering. (JA)

James made this edition as gifts for friends while convalescing under Julie and Martin’s and Dick Hebdige’s doting care in Joshua Tree, staying at their places a few days each, wearing the pajamas bought for him by Sharon Lockhart. The work was inspired by the 1979 installation, The Reason for the Neutron Bomb, by Chris Burden. The original work, now in the collection of the Museum of Contemporary Art San Diego, comprises fifty thousand nickels and match sticks, all placed on the floor in a grid, with the red match-heads all pointing in the same direction and the words of the title painted across the wall behind them. With each red match and nickel representing a Soviet tank, Burden’s installation spoke to the escalating arms race at the height of the Cold-War. (SCW)

    Ault + Beck, 2019 Acrylic paint on wood board 9 1/4 × 23 inches Sign reads: AULT + BECK 9224 VIA ROCOSA PSALMS=148=8

Soon after we bought the house, Jennifer Bolande and Cannon Hudson stayed here for a few weeks. They were having some packages sent and, in order for the carrier to find the house, painted a sign showing our names and address. Over the years, the sun burned off the paint and made it illegible. When James arrived for the recent Christmas holidays, we asked him to make a new sign, which he eagerly took on, commenting: “Now I have something to do and don’t have to stare at the walls.” His sign uses Jesse Howard’s lettering and cites a psalm Howard included in one of his paintings. Psalm 148:8 reads “lightning and hail, snow and clouds, stormy winds that do his bidding.” The day after we installed the sign, it snowed—a rare and lovely occurrence in the desert. (MB)

    Genius Christ, 2019 Acrylic paint on wood board 5 7/8 × 12 7/8 inches

In celebration of our favorite genius. (JB)

    Love Saves the Day, 2019 Acrylic paint on wood board 10 7/8 × 12 7/8 inches

Once James finished the two signs and needed more things to do in order to stay busy we started thinking of other signs that might be needed. I asked him if he could make one for the garage studio, referencing the Loft and David Mancuso. We decided on the phrase Mancuso used on the invitation to the first Loft party in 1970. (MB)

JB has copied Jesse Howard’s signs for many years, and replica signs figure into his recent projects Found Fragments and Alabama. A hand-painted recycled license plate that hangs from a thick rusty chain crossing his driveway in Pine Flat reads: “POSTED Henry David Thoreau KEEP OUT.” For some time previously, it read, “POSTED T.J. Kaczynski KEEP OUT.” (JA)

    Sketches for Genius Christ and Love Saves the Day, 2019 Laser print and pencil on paper 5 × 13 inches and 8 1/4 × 17 1/4 inches

These scraps of paper contain the scale calculations and printouts James used to transfer the sign layouts to the boards. They now are in the same place in the sideboard which the two-part After Traylor (2004) drawing inhabited for a long time. (MB)

    after Darger (Welcome), 2020 Acrylic paint on garage door 6 feet 11 inches × 25 feet

This work doesn’t exist yet. James had the idea for it over the holidays but wanted to wait for warmer weather to paint it. We thought including a mock-up here might insure it happens—hopefully soon as he can safely come to JT. (MB)

We were all talking about the influx of people to Joshua Tree over the last few years and envisioning a message to anyone coming up the driveway who didn’t belong there that they’re in the wrong place (or, perhaps, the right one). Naturally, the Vivian Girls came to mind, and James had just the Darger image on his laptop to extract from, Second Battle of McAllister Run they are pursued. The section he plans to superimpose on the garage door shows Glandelinians bearing bayonets, hunting for the girls, who hide behind trees, as if to say: welcome to the realm of the unreal. (JA)

  Images courtesy of O-TOWN HOUSE, Los Angeles

  Shortly after I arrived in Joshua Tree some three weeks ago, going into lockdown with Julie and Martin, we decided this was a perfect time to realize our plan for a James Benning exhibition of his works in their home. The idea for a private exhibition of James’s works here was hatched last Christmas, a time when the gang usually descends on Joshua Tree for some quality time at the kitchen table and in front of the fireplace. But now, considering the current circumstances, developing this exhibition as a virtual one seems to resolve several issues—of privacy, access to the public, and keeping busy and engaged with the world. Down the Rabbit Hole: JB in JT is conceived as part of a continuum with two earlier exhibition projects. The first, Tell It To My Heart, which traveled from the Kunstmuseum Basel to Culturgest in Lisbon and ultimately to Artists Space in New York, was an exhibition based on the artworks Julie has collected over decades, many of them the results of conversations and collaborations with other artists. The curatorial team was equally significant, and the project strove to develop a different mode of mapping the ways art and history touch our lives through relationships and collaborations. The second project in this lineage was inspired by the first, titled 31 Friends by James, for which he made 31 artworks for as many friends. The works were shown at the Marfa Book Company in Marfa, TX, and, after the exhibition ended, were given to their intended owners. James then asked everyone to send him a photograph of the works in their new homes. Those framed photographs were presented at O-Town House. James described 31 Friends as an “attempt to pay homage to the ability of art to produce community as opposed to just commerce.” The line drawn from Tell It To My Heart to 31 Friends to Down the Rabbit Hole is indicative of an ongoing effort to sustainably engage artistic practices and align the language around this work meaningfully with our lives. Down the Rabbit Hole  brings together (nearly) all the artworks and some artifacts made by James that are distributed in Julie and Martin’s house and grounds in Joshua Tree. Many of these objects are on permanent display, others were unearthed from drawers and closets. Most objects we photographed as they are installed, others we staged, and, collectively, we put together an annotated checklist, supplying details about the work and some stories of how they came about. Picking up on the aspirations of Tell It To My Heart and 31 Friends, this exhibition also reads as a conversation. The works are listed in chronological order to make present the unfolding of friendship over many years; the show becoming an extension of ongoing collaborations with a view toward the future. Moments of recollection, such as Down the Rabbit Hole represents, become crucial to finding fresh ways of thinking about the role art can play in the construction of community. By drawing lines across time, as we rummage through James’s traces here at the house, together, we are taking stock, reviewing, and recounting the conversations that grew into plans and then into actions. Enduring interests and subjects, obsessions, and curiosities have become shared experiences and the medium with which we solidify our lives together.

— Scott Cameron Weaver

  Link: James Benning at O-TOWN HOUSE

from Contemporary Art Daily https://bit.ly/2Vr0Hq6

[saltyloverrebel]

Pinus Lambertiana Mother Tincture from Reckeweg, Sbl, Schwabe

Pinus Lambertiana Mother Tincture from Reckeweg, Sbl, Schwabe

Pinus lambertiana (Sugar Pine) Mother Tincture has its action on the female reproductive system. Indicated in amenorrhea, abortion. Has gentle cathartic (providing psychological relief through the open expression of strong emotions; causing catharsis) and laxative (tending to stimulate or facilitate evacuation of the bowels) action.

Dosage

3-6 drops in half cup of water thrice a day or as…

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Effect of fire and thinning on fine-scale genetic structure and gene flow in fire-suppressed populations of sugar pine (Pinus lambertiana Douglas)

http://dlvr.it/QnyS2X

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The role of auxin metabolism in root meristem regeneration by Pinus lambertiana embryo cuttings

http://dlvr.it/PK61bG

[artscult]

Gigantic Pine, pinus lambertiana - high resolution image from old book.