The official website of Brooklyn-based artist Adam Stennett

Adam Stennett. Artist Survival Shack. 2012-2013. aluminum and polycarbonate greenhouse skeleton; four section wood floor/crate, 10 foot stainless steel conduit carrier/kitchen counter, four black lever top storage cylinders, 12 glass lever-top jars, wooden spoon, stainless steel desk, window screening, reflective insulation, 70 percent solar shade, Army cot with mosquito netting, wool blankets, Mexican psychoactive blanket, vintage hand grenade crate, vintage civil defense metal chest, vintage ammo box, vintage first aid kit, fire hydrant wrench, 100 watt/100ah solar panel generator 12V DC system with 1500/3000W 110 AC inverter, 12V water boiler, 55 gallon rainwater collection system, water filtration device, gas mask, 12 oz. cans of vintage emergency drinking water, replica benzedrine sulfate, vintage bomb shelter biscuits, instant oatmeal, minute rice, sardine tins, saltines, tortillas, couscous, coffee, dried opium poppies, 3.5 gallon pressurized solar hot water heater and shower, bamboo screen, solar stove/coffee maker using parabolic mirror, fresnel lens, cast iron skillet, vintage kerosene campstove, magnesium fire starter, solar rechargeable AA and AAA batteries, AM/FM pocket radio, 36 shoe pouch vertical grow wall and trellis, upside down tomato pedestal, vermiculture composting toilet, 11 gallon portable urine collection system, 160 LED dimmable light panel (rechargeable), rat traps, sling shot, hatchet, machete, hobo tool, vintage typewriter, zen bow and arrows, wooden painting support plank, folding chair with cushion, paint mixing table, paint brushes, paint, paper, stencils, t-shirts, spray paint, Tibetan Buddhist prayer flags and vintage bamboo wind chimes. 78 x 78 x 114 inches

Adam Stennett: Artist Survival Shack: One Month Installation / Endurance Performance, August 1 - 31, 2013. In cooperation with Jess Frost of Glenn Horowitz, East Hampton, NY (off site East End location)

read the artist survival shack journal http://artistsurvivalshack.tumblr.com

link to the original proposal http://www.adamstennett.com/artistsurvivalshack.html

On August 1, 2013, Adam Stennett began a month-long installation/endurance performance, living and working in a 6.5 x 9.5 foot, self-sufficient, off-the-grid survival shack at an undisclosed location on the East End of Long Island. The location was later revealed to be an undeveloped/wilderness area of the old Bridgehampton Raceway (now part of the Bridge Golf Club owned by Robert Rubin) The supplies, food and water Stennett arrived with were all he had access to, and he did not leave the area for the thirty-one day duration of the performance. The artist's mission was to survive physically and spiritually, and to create a new body of work that would be exhibited along with the Artist Survival Shack itself at the conclusion of the performance.

link to information on the exhibition http://www.glennhorowitz.com/gallery/adam_stennett1

The exhibition, Survival, Evasion and Escape (The Artist's Studio), at Glenn Horowitz Bookseller was the culmination of the Artist Survival Shack experiment. Based in the artist's struggle to carve out time and space to make artwork in an economically challenging environment, the Artist Survival Shack and the works produced within are a study in what is really necessary for an artist to live and thrive. At once both serious and absurd, the Artist Survival Shack calls attention to the outsider/outlaw role artists have traditionally been accorded by society. The project draws an implicit and uncomfortable parallel between the activities of the solitary artist pursuing his vision and those of the lone madman plotting havoc. It raises varied themes- ranging from environmentalism, green design, sustainable agriculture, visionary states, and utopia, to paranoia, separatism, surveillance, security, economic collapse, and apocalypse- and holds them all in an uneasy tension.

The Artist Survival Shack, in its current state, could remain installed in a gallery or museum setting as a complete and finished artwork. Additionally, at the request of the artist (or owner of the work), the performative aspect of the Artist Survival Shack could be reengaged in another 31-day residency in a new context, public or private, urban or rural. In doing so, the cultural relevance of Artist Survival Shack would continue to evolve with each performance, and the works produced during the residency would remain perpetually attached to the project.