An architectural masterpiece in Miami Beach: take the tour

On the waterfront in Miami Beach is a new a few-tale dwelling that is presently producing its mark. 

The dream retirement house, overlooking Biscayne Bay with stunning skyline views of downtown Miami, was inspired by the iconic, mid-century modern-day Stahl House in Hollywood Hills in Los Angeles, California, which attributes a minimalist glance with expanses of glass, exposed concrete and a cantilevering roof.  

Get water conservation, landscaping ideas at free workshop

Wanting for techniques to reduced your h2o bill? Make your home’s landscape far more hearth-resistant? Then a absolutely free workshop at the Sikes Adobe Historic Farmstead is for you.

The San Dieguito River Valley Conservancy is opening a second absolutely free session for its Upcoming to Mother nature workshop on Sunday, March 13 soon after the initially rapidly filled up.

Joseph Rivera, SDRVC’s interim conservation supervisor who is arranging the celebration, said “not in the slightest” did he imagine the initially session established for 10 a.m. to noon would be so popular.

The no cost second session will be held from noon to 2 p.m. Rivera said there will also be a wait record shaped and “if individuals just appear who are not on the checklist they will be a lot more than welcome.”

Topics and presenters will be:

• H2o administration and conservation with Brook Sarson from Catching H2O. Her presentation focuses on rain h2o and grey water harvesting.

“Water harvesting can be carried out in so a lot of means,” Rivera mentioned. “From a simple method connected to gutters or even a compact spot.”

Making use of gray h2o in landscaping — which is domestic wastewater from sinks and washing machines, for example, but not from toilets — is a way to save h2o and hold it from just flowing into the ocean, he mentioned.

• Fireplace chance reduction with Conor Lenehan of the Rancho Santa Fe Fire Safety District. He will talk about gas reduction and fire basic safety.

Rivera claimed it is not stunning the expression “spreading like wildfire” is affiliated with invasive vegetation given that they grow in these types of abundance and add to wildfire threat. Attendees can find out a lot more about the appropriate vegetation to have around structures and plant tips to make a 100-foot zone for fireplace avoidance.

• Landscape site structure with Cody Harrison of Cornona Enterprises, who will communicate about web site style and design.

• Permaculture with Diane Kennedy from the Finch Frolic Backyard. Permaculture includes the examine of soil, nutrients and microorganisms. An case in point is the mycorrhizal fungi, effective for the expansion of tree root programs, Rivera said.

“It is tremendous valuable for San Diego native vegetation,” he mentioned.

• Drinking water harvesting with Pam Meisner from the San Diego Water Conservation Backyard garden. She will chat about distinctive and uncomplicated ways to seize h2o.

• Upcycling eucalyptus trees with Tom Hamilton from Lymbercycle. Rivera reported eucalyptus are an invasive tree species in San Diego and incredibly flammable, as a result posing a “huge fire hazard.”

Via upcycling, the eliminated trees are repurposed into logs for climbing trails or turned into tables, desks and skateboards, and changed with more appropriate trees, he stated.

“These are the six most essential subject areas and places in which individuals can do the job (at their homes),” Rivera said. “There are a quantity of steps they can consider … with h2o, crops and landscape structure.”

He said there will be solutions for each individual that can match any budget.

“These are workable, simple … whichever operate for you,” Rivera explained.

The in-human being celebration is an enlargement on a webinar sequence the conservancy presented previous summer time. Rivera claimed he suggests workshop attendees check out the movies in advance for the subject areas they are interested in. They involve the issue and response periods that transpired when the livestreams had been to begin with held. This way attendees will have background on the topics and can carry more issues not previously posed when they converse one-on-a single with the presenters.

The workshop will be held at the Sikes Adobe Historic Farmstead, 12655 Sunset Travel in Escondido. It is element of the San Dieguito River Park.

To register, go to tinyurl.com/SDRVC-Mar13. To see the webinar subject video clips in advance, go to tinyurl.com/SVRVP-following2character.

Latest News: New Martin Art Gallery Exhibit: “Funny Ball”

New Martin Artwork Gallery Show: “Funny Ball”

Sculptor and installation artist Claire Lieberman explores the relationship concerning enjoy and conflict in modern society.

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 Thursday, March 10, 2022 08:56 AM


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Amusing Ball by Claire Lieberman. Photograph by Ken Kashian, 2022.

A new show by multidisciplinary artist Claire Lieberman is featured in the primary exhibition place at Muhlenberg College’s Martin Artwork Gallery.

Amusing BALL operates March 10April 9. An opening reception will be held from 6–7:30 p.m. on Thursday, March 10. 

Lieberman’s solo show functions very polished black marble sculptures put in in a dynamic, activity-like structure and similar solid paper prints. Her task explores the romance involving play and conflict in contemporary tradition. The exhibition catalog contains an essay by Nancy Princenthal.

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Claire Lieberman Demonstration

While on campus, Lieberman held a stone carving workshop for superior sculpture college students.

Lieberman is a sculptor and set up artist who brings together such resources as marble, Jell-O and video clip. In accordance to her web site, her work explores a vary of dichotomies, together with “the elegant and the quirky, motivation and danger, indulgence and guilt.” 

Lieberman is also recognized for her prints and sculptures of toy guns in glass. Her glass guns and photography can be discovered in the new e book, Loaded: Guns in Up to date Art by Suzanne Ramjlak and Schiffer Publishing 2022. UDBO – Unidentified Hazardous Wonderful Objects is a reserve about her sculpture published with Massey Klein Gallery.

She has had solo demonstrates at Massey Klein Gallery, NYC Gebert Up to date, Scottsdale Incredibly hot Wood Arts, Brooklyn THE LAB, NYC Marcia Wooden Gallery, Atlanta PDX, Portland Seoul Artwork Center, Korea the College of Alaska, Anchorage Anderson Gallery, Virginia Commonwealth University and Southeastern Louisiana College.

Lieberman not too long ago exhibited in line of sight. lethal eyesight, mudac museum, Lausanne, Switzerland, which traveled as Im Visier, to Discussion board Schlossplatz, Aarau, Switzerland. Group demonstrates incorporate Daydreaming, Massey Lyuben Gallery, New York, NY Mein lieber Schwan (My Dearest Swan), ACC Galerie Weimar, Germany The Food stuff Display: The Hungry Eye, Chelsea Artwork Museum Up in Arms, Parker’s Box, Brooklyn, NY New Prints at the Worldwide Print Center, NY and PULSE New York with Marcia Wooden Gallery. Her do the job has been penned about in Sculpture magazine, The New York Instances, Art on Paper and ARTnews

Lieberman has been given awards from MacDowell (2022) Escape to Produce (2022) The Arctic Circle, Territory of Svalbard National Endowment for the Arts Cité Internationale des Arts, Paris Friche La Belle de Mai, Marseilles, France Künstlerhaus, Salzburg, Austria and Yaddo. 

The Martin Artwork Gallery is found in the Philip Johnson-developed Baker Heart for the Arts on the Muhlenberg School campus at 2400 Chew Road, Allentown PA 18104. The Martin Artwork Gallery is open up Tuesday by means of Saturday, midday-8 p.m., and the Gallery’s Galleria House is open up every day, 9 a.m.-11 p.m. 

All exhibitions and programming are absolutely free and open to the general public. For even further information and facts, make sure you get in touch with the Gallery Director Paul M. Nicholson at paulnicholson@muhlenberg.edu or 484-664-3467.


NGV’s Queer advances a beautiful and challenging reading of the queer gaze in art

Review: Queer, National Gallery of Victoria

Many exhibitions claim to be a landmark show, but few live up to the hype. This one exceeds the hype.

Queer is a beautiful, strange, hard-hitting and challenging exhibition where the central concept is like liquid mercury that, on hitting a hard surface, instantly scatters into innumerable droplets – each perfect in itself.

It is a show about art made by people who consider themselves as queer. In some cases, it is an exploration of gender and sexuality. In others, it is a journey into a sensibility or an interpretation of existing art made by non-queer artists that can be interpreted through a queer perspective.

More specifically, it is an examination of art history through a “queer lens”, art that spans millennia and that is drawn from the fabulously rich collections of the National Gallery of Victoria. The exhibition is not anchored in any specific medium but ranges over many art forms through more than 400 artworks occupying five gallery spaces.

Queerness across millenia

This broad-brush approach to the concept of “queer” has meant that it is possible to include a Greek Chalkidian black-figure vase, 540 BCE, depicting Achilles, the Greek hero of the Trojan War, who, according to some readings of Aeschylus and Plato, took his warrior friend Patroclus as his lover.

In the context of this exhibition, it is an illustration of homosexual love in the ancient world.

GREECE, Chalkis / ITALY. The Inscriptions Painter (attributed to) Psykter amphora (Chalkidian black-figure ware) 540 BCE. Earthenware (a-b) 60.2 × 37.1 × 34.9 cm (overall)
National Gallery of Victoria, Melbourne, Felton Bequest, 1956

Some 2,500 years later, in a remarkable photograph by Ponch Hawkes, two women embrace in a public display of their affection as part of the 1970s Gay Liberation Movement in Melbourne. Again it is an expression of a gay relationship celebrated through art.

No title (Two women embracing, ‘Glad to be gay’) 1973; printed 2018. Gelatin silver photograph. 20.2 × 30.3 cm (image) 28.0 × 38.0 cm (sheet).
National Gallery of Victoria, Melbourne Purchased NGV Foundation, 2018 © Ponch Hawkes, 2018

In Christian iconography, some characters, including the youthful King David who as a shepherd and harpist slew the giant Goliath, were imbued by some artists with homoerotic qualities, such as in the wondrous painting by Johan Zoffany of 1756.

The making of a queer icon

Another example was Saint Sebastian, who was martyred by the Roman emperor Diocletian for his Christian faith and who was frequently shown as a beautiful almost naked youth tied to a tree or pillar and pierced with numerous arrows. Such depictions opened a path to erotic and phallic readings of the imagery.

Albrecht Dürer. St Sebastian at the tree 1501. Engraving 11.5 × 7.1 cm (image and plate) 11.6 × 7.2 cm (sheet)
National Gallery of Victoria, Melbourne. Felton Bequest, 1956

Contrary to popular belief, Sebastian survived his experiences as a pincushion and was ultimately clubbed to death after he confronted the emperor over his evil ways. However, it was the saint transfixed by arrows that became his most enduring image and the excuse for artists to explore the beauty of the male nude.

Albrecht Dürer’s magnificent engraving of St Sebastian of 1501 may not have had a queer interpretation at the time of its creation, but by the 19th century, Sebastian had morphed into a gay icon. Oscar Wilde in his French exile took the alias Sebastian Melmoth.

Once the saintly image was freed of its canonical content, Sebastian marched through time attracting rich traditions of interpretation.

Louise Bourgeois Ste Sébastienne 1992. Drypoint, ed. 25/50 98.5 × 78.5 cm (plate) 120.5 × 94.5 cm (sheet) National Gallery of Victoria, Melbourne. Purchased, 1999 (1999.281)
© Louise Bourgeois (The Easton Fnd.)/VAGA, New York. Licensed by Copyright Agency, Australia

The fabulous Louise Bourgeois in her bold and monumental Ste Sébastienne, 1992, recreated the saint as a headless mutilated female who is surrounded by arrows that become a pointed reference to the contemporary persecution of women and a parallel to the historic persecution of Christianity by pagan rulers.

A new reading

One of the highlights of the exhibition is the fabulous costume designs by Leigh Bowery, the Melbourne-born artist, designer and performer, who revolutionised the English art scene in the 1980s making a great impact on Lucian Freud and Boy George.

Leigh Bowery The Metropolitan c.1988. Cotton, rayon, leather, sequins, metal, paint (a) 184.0 cm (centre back), 67.0 cm (sleeve length) (dress), (b) 125.0 cm (centre back), 77.0 cm (waist, flat) (outer petticoat), (c) 125.0 cm (centre back), 112.0 cm (waist, flat) (inner petticoat), (d) 109.0 × 8.0 cm irreg. (belt), (e) 50.0 × 8.0 cm (neckbelt), (f-g) 21.0 × 12.0 cm irreg. (each) (gloves), (h) 91.0 cm (outer circumference), 19.0 cm (height), 23.5 cm (width) (helmet), (i-j) 24.0 cm (height) (each), 12.0 cm (width) (each), 26.0 cm (length) (each) (shoes)
National Gallery of Victoria, Melbourne Purchased, 1999 © Courtesy of the artist’s estate

Costumes including The Metropolitan (c. 1988) and Pregnant tutu head (1992) scandalised in a subversive manner the conventions of dress and performance art at the time.

Although many of the exhibits document the centuries of struggle for the recognition of queer rights, a queer identity or simply the right to exist as a queer person, the overwhelming prevailing theme of the exhibition is the celebration of love between two people of the same gender.

Ethel Walker Lilith c. 1920s. Oil on canvas. 173.5 x 107.3 cm National Gallery of Victoria, Melbourne, Felton Bequest, 1948.
© the Artist’s Estate. All Rights Reserved / Bridgeman Image

Quite a number of the assembled artworks are familiar to us, including Ethel Walker’s Lilith (c. 1920s) – the image of the first wife of the first man Adam but also possessing the properties of a primordial she-demon.

Also Glyn Philpot’s symbolic images, Agnes Goodsir’s celebration of her love for her beloved Cherry, the sensuous images of Janet Cumbrae Stewart and the homoerotic works of David Hockney, James Gleeson and Gilbert & George.

David Hockney. Two robes 2010. iPad drawing printed on paper 94.0 × 71.0 cm (image and sheet) National Gallery of Victoria, Melbourne.
A gift from David Hockney, 2019 © David Hockney

By assembling, for the first time, such a huge cross-section of art with its phenomenal cultural diversity, richness of imagery and exceptional artistic calibre, this exhibition suggests an alternative and viable reading for art history through a queer lens.

The curatorial team responsible for this extravagant exhibition – include the NGV curators Dr Ted Gott, Dr Angela Hesson, Myles Russell-Cook, Meg Slater, and Pip Wallis – all identify with the LGBTQ+ community and present an insider’s view of queer art.

It could be argued that the 20th century was the age of writing women back into a history of art. The opening decades of the 21st century represent an age when the “queer gaze” is presenting a new and alternative reading for art of the past and of the present.

Queer is at NGV International until August 21.

Pollinator plants are Garden Butterfly’s specialty

This is the latest in a series we call Plant PPL, where we interview people of color in the plant world. If you have any suggestions for PPL to include in our series, tag us on Instagram @latimesplants.

Brandy Williams’ business is landscape design, but it’s more accurate to think of her as an artist who paints for pollinators, primarily with succulents and what she calls “California friendly” plants.

Williams never consciously intended to make plants her life’s work. In college, the Compton native thought about majoring in accounting or teaching, finally settling on human resources. But when it came to a project for her master’s degree, she found herself creating a program around gardening — specifically creating a pollinator garden at Augustus F. Hawkins High School in the Vermont-Slauson neighborhood of South L.A. — and it was as if someone had opened a door to her true profession.

“I had been working with plants with my grandmother ever since I was young,” Williams said. “She taught me how to keep a garden clean and be resourceful. But I had no idea I would make it my work until this project in 2014. That’s when I learned who I was. Plants gave me the freedom to create.”

Eight years later, her business, Garden Butterfly, is creating landscapes at private homes and businesses around Los Angeles. Her specialty is designing gardens laced with succulents of every size, California natives and other noninvasive plants fit for a Mediterranean climate. Her studio “lab” is the front yard of her 1930s Storybook-style home in Vermont Knolls.

Brandy Williams stands in her front yard surrounded by a variety of plants.

Brandy Williams uses her front yard as a studio “lab” for her landscape design business called Garden Butterfly.

(Ricardo DeAratanha / Los Angeles Times)

The 900-square-foot yard was just lawn and vintage walkway when she and her family moved in seven years ago. She got help removing the old grass and then started creating.

The result is so lovely that the Theodore Payne Foundation has made it part of its 2022 Native Plant Garden Tour on April 23-24. It will feature extraordinary landscapes where at least 50{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of the plants are natives of California.

“Every year, Brandy hosts a tour for her neighborhood, and she invited us last year, and we were blown away by her style and skill,” writes Evan Meyer, the foundation’s executive director. “So when we went about deciding who should be featured in the [2022] tour, she was right at the top of the list.”

Williams’ landscape “canvas” is relatively small, but lushly filled with 20 varieties of California native plants — salvias, ceanothus, buckwheats, mallows and such perennials as monkey flower and yarrow. Stone pavers float inside a pea gravel path littered with the feathery leaves of California poppies and other emerging wildflowers. Interlaced in the plants are large rocks, half-buried logs (to provide shelter and breeding grounds for insects and animals) and a National Wildlife Federation sign designating the area as a certified wildlife habitat.

Tour gardens filled with native plants

Being a habitat requires a water source too, so Williams installed a fountain against the house, half hidden by pots of reeds and the long graceful branches of a Waverly sage, its constant burble a soothing garden song. Huge aeoniums — sort of the succulent version of a sunflower — and flapjack kalanchoe share space with seaside daisies and the long-stemmed purple flowers of lavender and Mexican sage. More succulents spill from pots along the porch and side of the house — creamy green burro’s tail (Sedum morganianum) paired with ruffled echeverias or aloes. Tiny rosettes of sempervivum succulents are nestled against mounds of lemon thyme and nearby, a silver green dudleya shares a pot with the aptly named red fairy duster (Calliandra californica), whose flowers look like a wispy vegetable brush.

At the corner of the yard, next to the house, Williams has built a small deck nearly covered by a large bench, where you can study a pallet-turned-planter brimming with succulents or watch hummingbirds flit over mounds of blooming lavender and sage to perch across the garden on the gangly Mexican succulent with reddish blooms known as tall slipper plant (Pedilanthus bracteatus).

A birdbath surrounded by potted plants and pea gravel

Brandy Williams’ garden is a dense mix of succulents, California native plants and Mediterranean-climate plants, such as this grouping that includes dudleyas, red fairyduster, succulents, lavender, a bromeliad and a pot of buckwheat. A birdbath and a simple statue of a Hindu deity compliment the greenery.

(Ricardo DeAratanha / Los Angeles Times)

It’s easy to be transported in this artfully arranged space, and like many artists, Williams sees her medium as a way to communicate with the world. Her website features a quote from agriculture scientist George Washington Carver, the first African American to earn a bachelor’s of science degree and whose innovative research and inventions at Tuskegee University helped Southern farmers restore their depleted soil: “I love to think of nature as an unlimited broadcasting station, through which God speaks to us every hour, if we will only tune in.”

That quote resonates in part because “plants have always talked to me,” Williams said, but also because she so admires Carver’s style.

“This is the way nature communicates with you. It’s saying, ‘You got a meeting this morning? Slow down, it’s O.K. You’ve got this.’”

“Of course, he was connected to the Black community, but he worked for humanity in general, and he was respected by all,” she said. “And what he was saying with this quote I experienced just this morning, when I was out in the garden drinking coffee. The hummingbirds were flying around, I saw two monarch butterflies and the bees were all around me. He was saying this is the way nature communicates with you. It’s saying, ‘You got a meeting this morning? Slow down, it’s OK. You’ve got this.’”

Williams, a slender, youthful mother of two college-age daughters, laughingly refuses to tell her age. For a photo shoot, she looks like a fashion model posing in a perfect prop garden wearing stilettos, but she laughs at the idea that this is her normal attire. At a job site, she says, she dresses in jeans, work boots and a flannel shirt, with a well-worn paint brush sticking out of her back pocket.

That brush is part of her grandmother’s legacy, the final touch when she’s planting her succulent gardens. She uses it to whisk dirt off the plants and tidy everything up.

A small footbridge is surrounded by rocks and succulents

A small footbridge and shady plantings, which include aeonium succulents and asparagus fern, accent Brandy Williams’ home garden.

(Ricardo DeAratanha / Los Angeles Times)

“She taught me that when you think of a garden, it should be swept and clean,” Williams said. “It’s a small task, but a necessary one. Even with a little raised garden bed, even when you’re planning, you have to keep it organized.”

Williams shares more about her grandmother’s lessons, her landscaping inspirations and how she uses plants to build community below.

Her grandmother’s collard greens and purple grapes inspired her craft

“I always say there were many paths that led me here. I have always been interested in and appreciated plants, but growing up in Compton with my grandmother, I was really influenced by her life in general. She grew up on a farm in Arkansas, and she and my grandfather were part of the great migration of Blacks who left the segregated South to move north and west, looking for better opportunities and education. They came west, and settled in Compton.

A purple succulent up close

Brandy Williams’ front yard garden is filled with succulents, like this purple aeonium.

(Ricardo DeAratanha / Los Angeles Times)

An heirloom Stupice tomato growing happily in a raised-bed vegetable garden

An heirloom Stupice tomato growing happily in a raised-bed vegetable garden planted on the sunny east side of Brandy Williams’ house.

(Ricardo DeAratanha / Los Angeles Times)

“My grandmother raised me, and I was required to work in the yard. I had to sweep and keep the garden clean and make sure the lawn was watered. I could not waste water — she got upset with me if I overwatered the lawn with the hose. But I didn’t mind doing the work. I just felt it was necessary, and I didn’t mind being outside. She had turf in the yard, a few succulents, a large lemon tree and a garden with collard greens and tomatoes and grapes growing along the gate. They were purple grapes and they tasted sour, but I thought it looked so cool. And that was my entry into all of this.

“Originally, when I went to school I was thinking about going into accounting and then I wanted to be a teacher, but life just had all these changes…. I started out at Compton College, but I became a nontraditional college student. I earned my master’s degree online, years later. I was a stay-at-home mom for awhile, but my husband encouraged me to finish my degree in human resources. There are lots of different paths with human services — counseling, working with elders — but for my master’s degree, I decided to create lessons for creating pollinator gardens in schools. Augustus Hawkins High School asked me to help re-establish a garden they had created years earlier. They already had garden beds for food — fruits and vegetables — but my idea was to also grow plants that attract pollinators.

“I have a love for flowers and I always knew you needed pollinators [to get fruit], and growing up, whenever I saw a butterfly, I would stop in my tracks and be mesmerized. So I started researching. I learned about native plants through the Theodore Payne Foundation website — I took their certification program — and Las Pilitas Nursery in Santa Margarita. But I also did a lot of reading at the library. It’s like a field trip for me — some people go shopping, and I go to the Los Angeles Central Library downtown. I love the library.”

Obama persuaded her to save the bees

“That project [at the high school] was really my epiphany. I felt like I was led here [to landscaping] by a higher power, because once I got here, doors started to open for me.

“I wasn’t really focused on succulents or native plants at first. I knew I wanted to make plants my work, but then I read this presidential memorandum [from the Obama White House] in 2014, called ‘Creating a Federal Strategy to Promote the Health of Honey Bees and Other Pollinators.’ I read the whole thing, because that’s the way I am — I study and read. I thought, ‘I was able to establish a garden for butterflies even though I have a master’s in human services because I’m creative and I have an open mind.’ The memo encouraged businesses to incorporate plants for pollinators, and there was something about how you can do it on a small scale, and I was like, ‘Yeah, this is what I want to do. I want to branch out with pollinator-friendly landscaping.’

A flowering calla lily in mottled shade

A flowering calla lily in mottled shade is one of many pollinators Brandy Williams has planted.

(Ricardo DeAratanha / Los Angeles Times)

“My grandmother grew a few succulents — agaves, jade and aloe, but she didn’t have all the variety of succulents you see here today. I was always familiar with succulents because she grew them and then one day I saw a video on YouTube by [succulent designer] Laura Eubanks. I saw what she did, creating these beautiful gardens with succulents, and it really encouraged me to become more creative. She was so free in working with the succulents. There weren’t any limitations, and because I’m an artist working with plants, I really connected to that.

“During my studies, I also walked around the gardens at the Natural History Museum [of Los Angeles County] to get ideas and observe how the plants grow together. I met a lady who worked there as a volunteer and she was just so excited talking about how we live in a Mediterranean climate here on the coast. People always identify this as a being a dry, desert climate, but at that moment, I learned that no, we aren’t a desert along the coast. Maybe inland, but here we’re a Mediterranean climate, and again, it was confirmation for me to go out and explore.

“It’s like my garden. What people will see is a mix of native plants, succulents and those California-friendly Mediterranean plants, and I say that because not all Mediterranean plants are California friendly. The plants I grow are noninvasive and grow well with California native plants. An example is moonshine yarrow [Achillea ‘Moonshine’ — a hybrid introduced in England] growing near bee’s bliss sage, or sweet lavender and rosemary growing near a native buckwheat and hummingbird sage.

A pair of Aloe brevifolia succulents growing next to a purple-leaved bromeliad and elephant bush (Portulacaria afra)

A pair of Aloe brevifolia succulents grow next to a mottle-leaved bromeliad and elephant bush (Portulacaria afra) in Brandy Williams’ front yard garden.

(Ricardo DeAratanha / Los Angeles Times)

“Lavender is one of my favorite plants in the whole wide world, and I don’t think there’s anything wrong with that. I don’t want to not experience lavender because it’s a non-native plant. As long as I do as much study and research as I can, if a plant is not invasive and it’s California friendly, then I’m with the group that says, ‘I’m OK with that.’ I promote natives but also succulents because not everyone appreciates native plants. So I make my succulent gardens, but I always try to introduce those native host plants for pollinators too. The bees and butterflies will appreciate nectar flowers like lavender but they need the native host plants to feed their young, like native milkweed for monarchs. So I always try to incorporate some native plants to create habitat and help bring people along [to appreciate natives].”

Her motto: ‘plants belong to all of us’

“When I’m designing, this is what I think: ‘A garden is an opportunity for people of different backgrounds to come together and just learn about each other. It’s a way to connect with people and break down barriers, because plants are something we all have in common. We all have to eat, and most people love beautiful things and a lot of people enjoy pollinators — they enjoy seeing the hummingbirds and butterflies. So if you’re an introvert or just need a way to have a conversation, you know you can always talk about plants.’

“One of my goals is to help people understand that they can do it wherever they are, even if it’s just a little raised garden bed or containers. Sometimes people are intimidated by gardening. They think, ‘I can’t grow that, it’s too hard, you have to know certain stuff, blah blah blah,’ but plants belong to all of us. Whatever socioeconomic background you have doesn’t matter. Plants belong to everyone, and gardens are one way to express that, so why would you be intimidated about something that’s good and belongs to everybody?

A glass box window on the side of Brandy Williams’ home filled with plants and cacti in containers

Brandy Williams garden is filled with plants that pollinators love, and inside her home she decorates this windowsill with a variety of cacti and low-water plants.

(Ricardo DeAratanha / Los Angeles Times)

“If you are interested in reaching out, even just to family, a garden is the perfect place to gather and communicate. It’s also an opportunity to teach. It’s what I do when I have my [personal] garden tour; I am a teacher and people learn. They take the information back to their families and neighborhoods and they communicate, and that lets me know that I did my job.

“I think it’s awesome for people to come out and see my garden. It’s not about me, it’s about what I’m doing and what the impacts are for our community. I want to play my part in the whole environmental conservation movement, and, hopefully, I can inspire people to think in the same way.”

Florida’s urban stormwater ponds are net sources of carbon to the atmosphere despite increased carbon burial over time

Carbon burial rates increased with pond age

Areal and annual C burial rates were calculated for four to six sediment cores extracted per pond in June 2019 using total OC (TOC), dry weight, and piston corer dimensions. Mean TOC content in whole cores of ponds ranged from 1.7 to 26.5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (Table 1 and Supplementary Fig. 1). The areal OC stock ranged from 306 ± 8.2 g OC m−2 in Pond 14 (14-year-old pond) to 7380 ± 56.1 g OC m−2 in Pond 34 (34-year-old pond), increasing linearly with increasing pond age (R2 = 0.99, p < 0.001, Fig. 1a and Table 1). Scaling this OC stock by pond age (assuming constant burial rates over time) yields estimated annual burial rates ranging from 21.8 ± 7.5 g OC m−2 y−1 in Pond 14 to 217 ± 50.2 g OC m−2 y−1 in Pond 34, with annual rates increasing logarithmically with pond age (R2 = 0.93, p < 0.01, Fig. 1b). These OC burial rates, especially in the 23- and 34-year-old ponds (141 and 217 g OC m−2 y−1, respectively), are comparable to or exceed previously reported rates from a range of aquatic ecosystems (Supplementary Table 1) including critical blue C sinks such as mangrove forests, salt marshes, and seagrasses21. The OC burial values reported here are also similar to reported rates in other SWPs and constructed systems9,16,22,23, but remain below results for some impoundments around the globe (Supplementary Table 1).

Table 1 Pond morphology, water chemistry, and C burial data (mean ± standard error).
Fig. 1: Sediment organic carbon stocks and burial rates in stormwater ponds.
figure 1

Organic carbon stock (g OC m−2, a) and the estimated rate of burial (g OC m−2 y−1, b) increase with pond age. Individual core values (n = 4–6 per pond) are plotted as small gray points and the larger black points represent the pond mean, which was used for regressions. Both linear and logarithmic regressions are statistically significant (p < 0.01).

The relationship between C burial and pond age suggests that internal sediment and/or aquatic properties allow ponds to become increasingly stable environments for C deposition and storage. Burial rates were not related to pond morphology (perimeter, area, depth, area:perimeter). SWPs are unique ecosystems that receive a dramatic quantity of sediment from impervious and piped catchments. It is possible that over time and as more particulate material is added to the sediment surface, sediment thickness and anaerobic conditions beneath newly deposited material increase, slowing down the rate of OM decomposition. A higher degree of recalcitrant OM can also be left behind, increasing the pool of stable OM more resistant to degradation. Further, the addition of SWPs to newly developed landscapes is associated with the addition of new landscaping vegetation to the urban watershed, such as trees which can increasingly contribute leaf litter to ponds as they mature over time, suggesting that allochthonous C inputs may increase concurrent with in-pond conditions favorable for C burial. Natural factors such as precipitation, length of the growing season, and littoral vegetation also affect C accumulation in urban SWPs9,22. In addition to allochthonous inputs, SWPs can support highly productive algal communities and phytoplankton turnover represent an internal OC input24. Littoral vegetation may provide a similar autochthonous OC source, but sites in this study contained no littoral vegetation and also had not been dredged (a common management practice). Despite the apparent relationship between age and C burial, our sample size is small, and this relationship may be spurious. A prior study found no relationship between sediment OC and age in an analysis of 45 aquaculture ponds25, but the aquaculture activities may have offset natural successional dynamics. Furthermore, an experimental study of small ponds found that new ponds (3 years old) exhibit significantly less C burial in sediments than mature ponds12. Nonetheless, in the process of preventing urban sediment from moving into downstream waters, constructed SWPs have emerged as significant reservoirs of sediment C, as shown here and in other anthropized ecosystems (reservoirs, impoundments, SWPs) or small ponds3,9,17,22,23.

In Florida, there are at least 76,000 SWPs5. Given the role of SWPs in storing sediment C and their ubiquity on the landscape, these anthropized ecosystems represent a large pool of C in urban aquatic sediments. Using the mean OC burial rates in the youngest and oldest pond combined with the estimated surface area covered by SWPs in Florida (627 km2)5, we estimate that SWPs in Florida can store between 0.2 and 4.6 Tg C annually. The upper end of this estimate would be enough to offset 1.4{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of the global CO2 evasion from inland lakes and reservoirs26.

Carbon gas fluxes are controlled by physical and chemical factors within ponds

The mean floating chamber flux of CO2 over the study period (biweekly measurements June 2019 to March 2020) was 5940 ± 857 mg CO2 m−2 d11 with a range of −13600 to 34300 mg CO2 m−2 d −1 (Supplementary Fig. 2). CH4 fluxes were consistently positive but more variable and lower than CO2 fluxes with a mean of 47.8 ± 17.1 mg CH4 m−2 d−1 and range of 0.12–1400 mg CH4 m−2 d−1 (Supplementary Fig. 3). This maximum CH4 flux was accompanied by an unexplained water quality change that coincided with cloudy white water and DO levels depressed to 0–5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} throughout the water column. Using median values, annual fluxes equate to 1290 g CO2 m−2 yr−1 and 5.0 g CH4 m−2 yr−1. The median estimate for CH4 is far below the 2019 Intergovernmental Panel on Climate Change estimate for manmade freshwater ponds (18.3 g CH4 m−2 yr−1), although the mean CH4 flux in this study is on par at 17.4 g CH4 m−2 yr−1 27. On a C mass basis, the daily mean flux of C gases combined (CO2-C + CH4-C) equates to 1636 mg C m−2 d−1 (CO2 making up 98{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}), and an annual flux of 324 g C m−2 yr−1 (using the median). Diffusive CH4 contributed a small percentage of total pond C fluxes in this study. Converting CH4 to CO2 equivalents with a sustained-flux global warming potential of 4528 and summing with CO2 fluxes results in a mean of 8090 mg CO2 eq m−2 d−1, of which CH4 makes up 27{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}, and annual median of 1660 g CO2 eq m−2 yr−1. This is a smaller fraction of CH4 contribution to overall CO2 equivalent fluxes compared to other urban SWPs such as 94{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of 28.2 g CO2 eq m−2 d−1 (excluding ebullitive emission)29 and 62{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of 9.2 g CO2 eq m−2 d−1 (including ebullitive emissions)16. Using the median CO2-equivalent fluxes in the oldest and youngest pond combined with the estimated surface area covered by SWPs in Florida (627 km2)5, we estimate that SWPs in Florida can emit between 52 and 204 Tg CO2-equivalents annually (or 12–50 Tg C annually).

Ponds were a source of CO2 over the vast majority of the study period excluding the two oldest ponds, which reported negative flux values during 6 of 17 sampling events each (35{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}), reaching as low as −507 mg CO2-C m−2 d−1 (Pond 23) and −3730 g CO2-C m−2 d−1 (Pond 34, Supplementary Fig. 2). Ponds 15 and 18 only exhibited negative CO2 gas flux one time each. These results suggest that at some points in the year, older ponds may switch from net heterotrophy to net autotrophy. A gradual decrease in mean CO2 flux with increasing pond age can be seen in Supplementary Fig. 3, but the same pattern is not evident with CH4 fluxes. Similarly, a survey on hydroelectric reservoirs around the globe (n = 85) found that CO2 and CH4 emissions were inversely related to reservoir age30 a pattern that was also found on a temporal study of a single hydroelectric reservoir (CO2 only)18.

The CO2 fluxes from this study were similar to or higher than other aquatic ecosystems, CO2 fluxes were similar or higher, whereas CH4 fluxes were typically lower than other urban studies (Supplementary Table 2). Ebullition is considered an important pathway for methane emission in lentic ecosystems with anoxic sediments31. Because we did not measure ebullition our values for overall CH4 flux are likely underestimated. Small patches of bubbles were occasionally captured underneath our flux chamber, causing the internal concentration of CH4 to spike to ~130,000 ppb. For reference, the global mean atmospheric CH4 concentration for 2019 was 1870 ppb32. There was not a similar spike in CO2 concentrations when bubbles were captured.

Linear mixed-effects models (LMM) were used to estimate the relationship between gas fluxes and environmental variables measured in this study (Supplementary Table 3). For both CO2 and CH4 models, site (five levels) and sampling date (seventeen levels) were set as random effects and pond age was a similar fixed effect. Including the variation from random effects, 68{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of the variation in CO2 fluxes was explained by inverse relationships with surface {6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} DO, pH, pond age, and the interaction between {6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}DO and pH. In addition to the negative relationship between CO2 and pH and the observed decrease in mean CO2 flux with age (Supplementary Fig. 3), an associated observation was the slight increase in mean pH with pond age, up to 10.4 in Pond 34 (Fig. 2 and Supplementary Fig. 4). Surface {6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}DO and pH were strongly related to CO2 in the LMM, and when combined can be considered indicators of primary production. Photosynthetic fixation of CO2 from the water column results in an increase in pH and DO. Concurrently, the chemical form of CO2 in the water column (and its concentration) is controlled by pH, speciating into carbonic acid, bicarbonate, and carbonate at higher pH values. According to the kinetics of this reaction, free CO2 in freshwater becomes depleted at pH > 8.3. Of the 14 observations of negative fluxes, all but one occurred above pH 8.3 (Fig. 2). So, while primary production contributes to a decrease in CO2 emissions, the increased pH can exert a compounding effect, rendering high pH ponds and lakes to be weak CO2 sources, similar to observations in in other urban ponds11, saline lakes33, and in agricultural reservoirs34. Other abiotic factors may contribute to an increase in pH. Florida is known to have shallow carbonate bedrock which, coupled with the weathering of urban concrete infrastructure (calcium hydroxide, portlandite, calcium silicate hydrates), can contribute carbonates and calcium salts, increasing alkalinity in aquatic ecosystems35,36. Additionally, in high CaCO3 systems, inputs of CO2 can contribute to increased alkalinity over time via calcium release. Thus, ponds have the potential to become CO2 sinks over time as a result of increasing eutrophication and accumulation of natural- and anthropogenically sourced alkaline ions increasing pH.

Fig. 2: Carbon dioxide fluxes in stormwater ponds as a function of surface water pH.
figure 2

CO2 fluxes decrease with increasing surface water pH. In agreement with CO2-carbonic acid equilibrium, a majority of CO2 fluxes result in negative values at pH > 8.3, the point at which water column CO2 is nearly all converted to carbonate or bicarbonate. The dotted line denotes zero CO2 flux.

Compared to CO2, a lower amount of the variation in diffusive CH4 flux was explained by variables in this study. With accounted variance from random effects, 51{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of CH4 flux variation was explained by an inverse relationship to benthic {6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}DO and positive relationships to benthic temperature and log-transformed CO2 fluxes (Supplementary Table 3). There was no relationship between CH4 flux and site age. The bottom of most pond water columns remained hypoxic throughout the study period with 65{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of the data below 3.0 mg/L DO, creating conditions beneficial for anaerobic methanogenesis, which can produce CH4 alone (by hydrogenotrophic methanogens) or CH4 and CO2 (by acetoclastic and methylotrophic methanogens). The positive relationship between CH4 and CO2 could be due to this simultaneous production, or due to increased production of CH4 using CO2 and H2 as substrates as a result of its increased availability (by hydrogenotrophic methanogens). CO2 may also be attributed to aerobic or anaerobic CH4-oxidation. The negative relationship with water column DO was also indicated during the extreme methane emission during DO depletion (0−5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} DO through the water column) in Pond 14. Finally, sedimentary methanogens typically become more active at higher temperatures as a result of increasing use of higher redox potential electron acceptors as well as a higher input of primary production-derived substrates that fuel their metabolic activity37,38.

Younger ponds are net sources of C to the atmosphere

We estimated a C balance for each pond by comparing median organic C burial to median C gas flux (CO2-C + CH4-C flux) (Fig. 3). The combination of C gas flux (C export) and burial (C storage) reveals that three of the five ponds were, on average, net sources of C to the atmosphere. However, the median burial values fall within the 5th−95th quantile range for C efflux in Pond 23 and 34, the net burial ponds (Fig. 3 and Table 1). It should be noted that these estimates compare rate measurements determined at separate time scales (seconds vs multi-decadal). As pond age increased, the difference between C gas efflux and C storage in sediments decreased, implying that ponds may become more C-neutral as they age. The degree of this net benefit in older ponds may change if methane ebullition estimates had been included, as others have found that urban pond ebullition accounted for up to 50{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of total CH4 emission16. Previous studies have identified increasing CH4 emission with ecosystem age18 and increasing trophic level39, which can be associated with pond succession, converting ponds into net sources in terms of CO2-equivalents due to increasing CH4 contributions. Regardless of pond age, this study provides evidence that SWPs, which are constructed to provide ecosystem services, may be providing a disservice by acting as net contributors to GHG emissions, despite storing substantial quantities of C in sediments. Other studies of small ponds support this assertion. For example, both Peacock et al. (2019) and Ollivier et al. (2019) observed release of GHGs from urban and small agricultural ponds at rates high enough to call for their inclusion in global carbon budgets.

Fig. 3: Net carbon flux in stormwater ponds based on sediment burial and gaseous emission.
figure 3

A comparison of median C flux (blue circles, CO2–C + CH4–C) as positive values and median OC burial rate (brown circles) as negative values. The net C flux (g C m−2 y1) in stormwater ponds is shown by the red circles and line and represents the difference between gas flux and burial. Bars on points indicate the 5th and 95th quantiles.

C burial and C gas fluxes have been compared in other anthropized ecosystems. In a 20-year old urban pond (the Netherlands) the annual flux of CO2-C and CH4-C combined, 391 g C m−2 yr−1, was substantially higher than the pond’s rate of burial at 29 g C m−2 yr−1. The aforementioned pond exhibited a lower burial rate and annual emission than Pond 18 (and younger sites) in our study (burial = 126 g C m−2 yr−1, emission = 429 g C m−2 yr−1). In a 4-year-old (time since flooding) hydroelectric reservoir, daily estimates of flux and burial were 2.3 g C m−2 d−1 emission vs. 0.1 g C m−2 d−1 burial18.

Our results suggest that after urban ponds are constructed, they emit large proportions of C inputs from the landscape and potentially increase storage efficiency over time. We suspect that when C enters urban SWPs, less C is buried in younger ponds compared to older ponds, as seen in burial studies on aging artificial ponds12. Younger ponds may exhibit higher C mineralization rates which simultaneously increases emissions while reducing burial. However, identified trends can be drastically altered depending on how ponds are managed, suggesting management actions can be used to modulate pond C storage and C emission. For example, increasing urban pond depth is associated to reduced CH4 release29, likely due to increased water column contributions to organic matter oxidation prior to sediment settling and CH4 oxidation, and ponds or lakes larger in area exhibit lower C emissions per unit area compared to smaller ponds2. Other suggested properties for anthropized ecosystem C management include water column stratification, water retention time, water source inputs, and landscape position34. It is important to note that drivers of C emission can differ between natural and anthropized ecosystems such that CH4 emissions from reservoirs globally were correlated to productivity and fluxes increased with increasing area40. In contrast, natural lakes were better explained by morphometry and fluxes decreased with increasing area40.

Methods for pond maintenance include sediment dredging and muck removal, algaecide application, aeration systems (fountains, bubblers), fish stocking, and vegetation management41. Although ponds included in this study have not been dredged, dredging could reset the ‘effective pond age’. Dredging may not effectively reset a pond, however, as sediment resuspension that occurs in the process has caused lakes to relapse into a eutrophic state because of the reintroduced availability of sediment nutrients to the water column42. The application of aquatic pesticides (i.e., chemical treatments for algal blooms and invasive macrophytes) in SWPs is likely to impact C cycling such that substantial amounts of labile OC are rapidly contributed to the sediment surface, influencing sediment oxygen demand and the respiration of CO2 and CH4. Fish are added to ponds for recreation as well as mosquito and algal consumption, and can have varying effects on CO2-equivalent fluxes. For example, by grazing on zooplankton that consume both algae and CH4-oxidizing bacteria, fish can elicit a trophic cascade that causes an increase in algal productivity and CH4 flux and reduced CO2 flux39. However, fish can also graze on predators to CH4-oxidizing bacteria, decreasing CH4 flux43. The presence of vegetation may also be beneficial for reducing GHG emission, as seen in previous studies44 and is responsible for increasing C burial rates22. Finally, aeration systems are commonly used to prevent anoxia and could therefore reduce CH4 emissions, as shown in experimental studies on hypolimnetic DO manipulations45.

The number of small constructed ponds was found to increase 18-fold from 1937 to 2005 in the Brandywine watershed of central Pennsylvania and northern Delaware, and land use change associated with urbanization will likely continue to increase the numbers of small constructed ponds regionally and globally46. As ubiquitous anthropized aquatic ecosystems such as SWPs continue to be constructed in urban landscapes and have emerged as significant contributors to GHGs and C storage, more work is required to assess their net C footprint, patterns with ecosystem age over a larger number of sites, and biogeochemical responses to management strategies. An improved knowledge of how management actions interact with natural ecological processes is critical for understanding the role of SWPs and other small, anthropogenic aquatic ecosystems in the global C cycle.