Today, I am going to feature the creative and humorous Temple of Babel brought to Burning Man 2023 by the artists Michael Garlington and Natalia Bertotti, but first I want to speculate on how Burning Man has been so successful at developing, attracting and supporting top artists, and second, why six of the best come from Petaluma, a small city north of San Francisco. 

The international status of Burning Man art is not surprising. It is often mind blowing, thought provoking, monumental and beautiful. In 2018, the Renwick Gallery of the Smithsonian Art Museum recognized its status by featuring an exhibit of some of the events most creative artists. Titled, No Spectators: The Art of Burning Man, it took up the whole building! From there, the exhibit traveled on to the Cincinnati Art Museum and the Oakland Museum of California.

Here is what the Renwick had to say about the exhibit:

Each year in Nevada’s Black Rock Desert, a city of more than 70,000 rises out of the dust for a single week. During that time, enormous experimental art installations are erected and many are ritually burned to the ground. The thriving temporary metropolis known as Burning Man is a hotbed of artistic ingenuity, driving innovation through its principles of radical self-expression, decommodification, communal participation, and reverence for the handmade. Both a cultural movement and an annual event, Burning Man remains one of the most influential phenomenons in contemporary American art and culture.

The words that stood out for me in the Smithsonian description were , “a hotbed of artistic ingenuity.” The Burning Man organization credits four of its ten principles as being the driving force and I agree they are important, particularly its emphasis on creativity, community support, and appreciation. I would add that the venue provides artists with:

1. The largest art gallery or ‘canvas’ in the world. A place that is a natural for monumental art to be put on display in a remote and highly scenic area.
2. A ready made audience of 70,000 people, most of whom appreciate, support, and admire the art.
3. Instant national and international recognition from both the participants and media. Burning Man enhances this by selecting a large number of artists each year for nominal financial support and recognition through its publications and at the event. 

I’m going to add another factor that has been important to some of the best art: The evolution of local centers for the development of art and artists that 1) combine a variety of artists working in different mediums, 2) volunteers who offer to help the artists with their projects, especially the monumental art, and 3) a broader community that supports and takes pride in the artists and their work.  The best way that I can describe these communities is to use the Smithsonian’s words, they have become hotbeds of artistic ingenuity.

One such center is The Reno Generator. It’s a huge warehouse space in Reno, Nevada packed with artists and art. While Burning Man was the original inspiration that led to the development of the Generator, it is open to all artists who want to become members— billing itself today as a Maker Space. Peggy and I visited the Generator in 2015 and found it fascinating. I blogged about the visit. The post is worth checking out. Here are two of my favorite works at Burning Man art that came out of the Generator around that time.

Petaluma, a city of 50,000 people less than an hour north out of San Francisco on Highway 101, is another major source of Burning Man Artists and art. Four of the main artists/teams featured in the Smithsonian exhibit come from here: The team of Michael Garlington and Natalia Bertotti who work as photographers/sculptures, David Best who is an architect/sculpture best known for his Burning Man Temples, and the team of Marco Cochrane, Julia Whitelaw who are known for their towering female sculptures.

Unlike Reno, the artists from Petaluma I am featuring all have their own studios. The dynamics of community support, artist interaction, and volunteers are all similar, however. As noted above, I am featuring Garlington and Bertotti today. Here is art from the others that I have blogged about in the past. 

I first visited Petaluma in 1959, well before it was noted for its art. Instead, its claim to fame was being the World’s Egg Basket. Thousands of egg-laying chickens lived in long, low barns and called it home. I went there for a conference of Episcopal Church youth leaders. It was my first trip without family and the first time I ever stayed in a motel. A quick sniff confirmed we had arrived. I’ve been through Petaluma numerous times since, starting in the late 60s and early 70s. The chickens are long gone. Wealthy escapees from the Bay Area have replaced chicken farmers.

Michael Garlington made his first trip to Burning man in 2007 as a volunteer in helping to build one of David Best’s temples. When not busy learning how to use the tools, he was busy photographing fellow Department of Public Works volunteers. By profession and passion, he is a photographer.

By 2013, Garlington had decided try his hand at Burning Man art by joining Laura Kempton in her creation of the sculpture EGO. The following year he struck out on his own and created the aptly named Photo Chapel that featured many of his whimsical, bizarre and humorous photos, which, as he notes, travel a path between reality and imagination. In 2015 he had joined with Nancy Bertotti and they entered the category of Burning Man legends with their Totem of Confessions. It featured a photo of LSD guru Timothy Leary. But there was more. Leary’s already burned ashes were about to be burned again. It was a true Burning Man type of event.

Here’s what I blogged in 2015 about the night they burned the Totem:

“Susan Sarandon (who had inherited a portion of Leary’s ashes) put on a low-cut, white, wedding dress. Her camp members walked beside her, stirring up the Playa dust. Timothy Leary came along behind, his ashes riding in a casket. A New Orleans style jazz band led the joyful procession of live and dead people making their way out to the Man and then on to the towering Totem of Confession. A 26 foot tall Octopus (El Pulpo Mechanico) rolled along behind. Leary would have loved it. Maybe he did.” Rumor has it that they toasted Leary before the procession with champagne mixed with a tad of LSD and Leary’s ashes.

And now, for some final photos that Peggy and I took of Garlington and Bertotti’s 2023 Chapel of Babel.

But briefly, back to the Temple of Confession— and mine. Peggy and I are running away from Word Press for a few more weeks as we head to Africa, which isn’t news to my fellow bloggers since we have been running away a lot. 😳But we will be back in mid-November with lions and giraffes and hippos, oh my. Not to mention more Burning Man, and Nile, and national parks, and… The good news is we will never run out of things to blog about; the bad news is that we will never catch up.