About-Advocate for Societal Change and Climate Action

Jerry W. Carter was born in 1941 on the Great Plains of Kansas, beneath skies blazing with stars. Raised by psychologist parents who viewed the world through the lens of science, he grew up with a profound sense of wonder — acutely aware that he lived on an ancient Jurassic seabed, now buried under wheat fields and oil wells, under an immense and indifferent universe.

In that spare landscape, Jerry was shaped by Kansas pioneer culture, his mother's love of classical music, and his father's devotion to science.

Over the past 50 years, Carter has pursued a Renaissance vision that fuses scientific inquiry with artistic exploration of nature. His work centers on the fragility of Earth's atmosphere and the urgent environmental threats it faces. He has held solo exhibitions in the US, Germany, Russia, and Italy.

"While Galileo talked about 'out there,' Carter says, 'it's here' — we are inside a delicate, gossamer-thin gaseous covering." — John Topping, President, Climate Institute, Washington, D.C.

Scientists and Art Historians speak to Carter’s Depictions of Science and Climate

“As an astrophysicist, I see Jerry’s art is an interpretive link between critical new information of science about our place in space and delicate public sensibilities. Carter breaks the news gently to humanity that our situation and task is different than we thought: if we are to have any possibility to survive, we must make profound changes in human behavior and attitudes. -Dr. Daniel Yesa Gezari, Ph.D. NASA Astrophysicist.

Carter has dedicated himself to expressing the fraternal rapport of art and science. Space and atmosphere have been the special subject of Carter’s research. I admit that much of the science in Carter’s artworks goes far beyond my shallow knowledge. It may well be also that just as astrophysicists express themselves most clearly through numbers, so Carter, like other artists, often uses words in a personal and unconventional way. But he has a master’s gift for distilling his observations in timeless shapes.

“The themes of his exquisite works are fundamental to Man and to the continuation of this planet". 

-Dr. John T. Spike, Ph.D. Art historian and President of the Florence International Biennale for Contemporary Art.

“Carter’s compositions   “ …must, in fact, be considered as the artistic interpretation of pictures of the Earth…”

-Prof.  Isotta Roncuzzi Fiorentini.  President of the AIMC. Ravenna, Italy.

“Your art works are images of GAIA.” -James E. Lovelock, Father of GAIA. Dr. Lovelock developed the Gaia theory, which argues that Earth is a singular, self-sustaining organism and regulates its temperature and atmosphere to remain stable and support life unlike any other planet.

Constructive Sculptures with Environmental Message from the 1960’s

Carter’s CARBON SEQUESTRATION FILTER. 1967

Carter created an architectural model and drawings for a community carbon sequestration filter system in the 1967. The basic Idea pf CCS - Capturing CO2 and preventing it from being released into the atmosphere was first suggested in 1977 - Wikipedia.

Space vehicle powered by free flowing intergallactic energy. 1967

FLIGHT. 1967. Welded metal and plastic construction. Solid state space craft powered by free inter-galactic energy. Acquired by Phillips Gallery. Washington, D.C. 1968.

-Päivi Tahkokallio.  Helsingin Sanomat. Helsinki. August 16, 1990

“Carter is definitely a responsible artist who for years, even before widespread discussion about environmental problems, contemplates the future and possibilities of the Earth.

“Carter’s works go beyond human survival; they remind us that Earth is just a small part of a larger system in decline. Carter’s optimistic hope is human effort to turn around climate decline may not be a losing battle. “

-Dr. Jennifer Gibson, Ph.D. The World and I Cultural Arts Magazine

“Carter presents his personal vision of a universe shaped by space exploration and future technology. Like artists of the past, he speaks to man’s soul. “

Jerry W. Carter Artist

and

The American Association of the Advancement of Science.

Jerry Carter’s solo exhibition, “The Layering of Elements” at the National Headquarters for The American Association for the Advancement of Science, Washington, D.C. 1987.

“Working with the materials of the traditional mosaicist, Jerry Carter creates modern sculputre that is concerned with 20th century concepts. In these three-dimensional works, undulating surfaces and glass teserae are are used to create optical effects. Light is reflected and refracted by metallic and glass materials creating a rich tapestry of myriad appearances. The irregular surface in the tradition of [Ravenna style] Byzantine mosaic, where the undulations were achieved with applications of mortar. Mr. Carter’s irregular bed imbues these works with remarkable vitality.”

“These artworks are a prime example of the revival of mosaic as a serious art form in the twentieth Century.

-

Layering of Elements

Works in Stone and Glass

by

Jerry W. Carter

American Association for the Advancement of Science,

National Headquarters. Washington, D.C. U.S.A.

“This revival went hand in hand with renewed emphasis on picture surface characterized by modern painting since Cezanne. Within this historical context Mr. Carter creates works that he calls ‘personal statements that deal with modern consciousness.’ He is most concerned with ‘time in the geological and historical sense, with human destiny, and the nature of perception.’ The new world view, provided by man’s recent journey into space, inspires him to explore the relationship between mankind and the universe in his work. In this exhibition we see the wide range of interests encompassed by his work: Egyptian civilization, planetary physics, space science, ecology, and philosophy.’”

-J. Murray. Art Advisor to the American Association for the Advancement of Science.

Life Disc Series

Carter’s Life Disc Series depicts the apparent life-cycle of The Living Being all life is dependent on covering the planet in health, sickness and death.

Red Life Disc was exhibited at: American Association for the Advancement of Science. Environmental Defense Fund and at the Summit for Stabalazation of Climate.  Washington,  D.C. 2006

Red Life Disc, [FAILED ATMOSPHERE] - Super heated atmosphere after smothering all. life.

Copper Life Disc - Earth’s crust and dying atmosphere.

Green Life Disc. The Living Planet. Symbol of GAIA

Proceedings Second North American Conference on Preparing for Climate Change. Climate Institute. Presented to US Congress. 1988.

Carter’s “Failed Atmosphere” Exhibited” The Environmental Defense Fund. Washington, D.C. 1989.

Ingela Wiman, Department of Classics. Associate of the Department of Environmental and Energy System Analysis. Lund University, Sweden. Ambio Magazine. The Royal Swedish Academy of Science. Journal of the HumanEnvironment.

“Expecting the Unexpected:  Some Ancient Roots to Current Perceptions of Nature.” Ingela Wiman.

“Jerry Carter's inspiring vision of the Second Genesis, a glass mosaic ...“

“As we are indeed parts of Nature, a true warning system, enabling sustainable environmental futures and not questioning humanistic principles, could then perhaps be found when listening inwards into ourselves, much in the same way as Socrates constantly listened to his inner voice –his diamonion.  Perhaps this is where a new dialogue can begin [referring to Second Genesis mosaic of Jerry Carter]”

Carter’s Second Genesis, American Peace Ecology Monument in the Park of Peace, Ravenna’ Italy on cover of World Resource Institute 1987 Annual Report. A global research nonprofit working on six critical goals that the world must achieve this decade in order to secure a sustainable future: climate, energy.

“The Creative Process and Creations of Jerry Carter.”  ECHO OF THE PLANET.  Moscow.

“Second Genesis,” installed in the Peace Park of the Italian City of Ravenna reflects the obligation of humanity to preserve life on Earth which spirals through the void of the Universe.  “I hope,” the artist says, “that my creations will help humanity to recognize the necessity for the international cooperation and understanding to find solutions to social and ecological problems, the majority of which are created by our own hands.” –Igor Ignatiev,  TASS Correspondent, Washington, D.C.

 -Igor Ignatiev -Echo of The Planet.  Echo of The Planet Magazine.  Editor. Moscow.

“ The unrepeatable uniqueness of [Carter’s] composition[s] …is achieved by contrast of concrete, glass and metal.  “ [Carter’s works] Symbolize the future of humanity.

 “Humanism and concern about the future of our planet mark the creations of the American Artist Jerry Carter.  Born in Kansas, he admits Soviet scientist V formed ideas about the biosphere in many ways under the influence of the work on the biosphere. I Vernadsky.  Humanity and the universe necessitate careful attitude towards our environment, to harmonic development and peaceful coexistence  -these are the main subjects of the works of the artist.” 

 “Carter has…perfect knowledge of mosaic art which has drawn this artist to realize his works, so full of meaning.  They present the connection between Byzantine and present-day beauty.  And the relation with Byzantine are, wanting to be a ‘bridge’ linking the old and new, not only can be found on the basis of formal-aesthetic criteria, but also in it’s content”. .”   -Echo of The Planet.  Editor. N. K. Setunsky.  Moscow.

Carter speaks to climate issues and international conflict.

1969. Carter worked for ABC New in Helsinki covering the SALT I Conference- the first Strategic Arms Limitation Talks ... SALT I led to the Anti-Ballistic Missile Treaty and an interim agreement between the two countries.

From early 1990 through 1993 Carter was invited to participate in international peace and human rights meetings in Russia and Poland.

Gdansk and Sopot Poland 1990

Carter was invited to attent the 10th Annivarsary Celebration of Solidarnosc Gdansk, Poland. 1990. Later that year, Carter participated in the International Painters Plein Air. Artistic Agency of NSZZ Solidarnosc Sopot. Poland

Moscow and St Petersburg, Russia. 1993

The ACIL sent Jerry W. Carter as a a delegate to the 6th conference of Representatives of Soviet and American public in St. Petersburg and Moscow, Russia 1991.

Carter was on Commission 17, for Human Rights lead by Kathleen Kennedy Townsend, former Lt. Governor of Maryland. . Artist Carter gave the concluding Human Rights Commission report at the conference .

EDUCATION

• MFA, Ceramic Sculpture and Architectural Application, Antioch University.

• BA, Fine Arts. University of Maryland .

• George Washington University. Major: Psychology. Minor: Political Science.

• Chicago Art Institute, Chicago.

• Ecole National Supérieur Des Beaux Arts, Paris.

• Suomen Taideakademiankoulu. Finnish Academy of Fine Arts. Helsinki.

• University of Helsinki. Interior Architecture Department.

• Centro Internazionale per l’Insegnamento di Mosaici, Marina Romea, Italy

• Academia di Belle Arti di Ravenna, Ravenna, Italy.

• Università degli Studi di Bologna, Byzantine Art, Ravenna, Italy.

• Beta test site for DayStar’s Digital Power PC the first Mac Power PC board.

• Beta test site for testing high-resolution imaging software for Harvard Graphics Systems Corporation's Live Picture and KPT Bryce.

• Center for Digital Imaging (A Kodak Institution), Camden, Me

Mostre - Exhibitions

• Astrophysics Observatory of Arcetri, Florence, Italy; 2004

• International Biennale of Contemporary Art, Florence, Italy; 2003

• International Association of Contemporary Mosaicists Exhibition, Ravenna, Italy; 2000

• George Washington University, Washington, D.C., USA; 1999-2003

• Natcher Center, National Institute of Health, USA; 1997-98

• MacXhibition, Digital Art, New York, New York, USA; 1997

• Glasgalerie Köln, Cologne, Germany; 1991- present day

• Dansig City Museum, Dansig, Poland; 1990

• America Haus, USIS, Cologne, Germany; 1990

• America Haus, USIS, Munich, Germany; 1990

• Gallerie Esplanade, Helsinki, Finland; 1990.

• Gallery of Moscow Modern Artists' Association, Moscow, Russia; 1990

• M’izuryi, Georgian Culture Center, Moscow, Russia; 1990

• Spaso House, Moscow, Russia; 1990

• Gallerie Herrmann, Bavaria, Germany; 1989

• Environmental Defense Fund, New York, New York, USA;1989-1999

• Paul VI Institute for the Arts, Washington, D.C, USA; 1988

• American Association for the Advancement of Science, Washington, D.C, USA;1987

• University of Louvan, Louvan-La-Neve, Belgium; 1986

• Anne O'Brien Gallery, Washington, D.C, USA; 1986

• Senior Eye Gallery, Los Angeles, California, USA; 1985

• National Museum of American Art, Smithsonian Institute, Washington, D.C, USA; 1977-1983

• Royal Embassy of Norway, Washington D.C., USA; 1981-1982

• National Wildlife Federation, Herndon, Virginia, USA; 1982

• Antioch University, Columbia Visual Arts Center, USA; 1981

• American Painters in Paris, Palais du Congress, Paris, France; 1975-1976

• Florida State Capitol Building, Tallahassee, Florida, USA;1974

• Accademia delle Belli Arti, Ravenna, Italy; 1972

• Atheneum, Helsinki, Finland; 1973

• Works in Public & Private Collections [Selected]:

• Private Collection of Marjory & Duncan Phillips, Washington, D.C, USA

• Pinacoteca Comunale di Ravenna, Ravenna, Italy

• Oppenhoff Collection, Cologne, Germany

• Kunstgewerbemuseum der Stadt Köln, Cologne, Germany

• Parco della Pace, Ravenna, Italy

• Arent, Fox, Kitner, Plotkin & Kahn Collection, Washington, D.C, USA

• S.G. Epstein Collection, Washington, D.C., USA

• Palm Crest House Collection, Long Beach, California, USA

• United Technology Research Center, East Hartford, Connecticut, USA

• United Technology Optical Center, Jupiter, Florida, USA

• Feingold Collection, Long Beach, California, USA

• Efron Collection, Washington, D.C, USA

• GEICO Collection, Washington, D.C, USA

• Openhoff Collection, Cologne, Germany

• Hamberg Collection, Helsinki, Finland