Environmental art is a set of artistic practices that embrace a historical approach to nature in art and artwork that is more ecologically and politically motivated. The art of the environment has evolved from formal problems, working with the earth as a sculpture, toward a deeper connection to systems, processes and phenomena in relation to social problems. Integrated social and ecological approaches developed as ethical and restorative attitudes emerged in the 1990s. Over the past ten years environmental art has become the focal point of worldwide exhibitions as the social and cultural aspects of climate change come to the forefront.
The term "environmental art" often includes "ecological" issues but is not specific to them. It mainly celebrates an artist's relationship with nature using natural ingredients. This concept is best understood in relation to the art of earth/historic land and the constantly changing field of ecological art. This field is interdisciplinary in the fact that environmental artists embrace the ideas of science and philosophy. These practices include traditional media, new media and critical forms of social production. This work covers a variety of landscape/environmental conditions from rural, to suburban and urban as well as urban/rural industries.
Video Environmental art
History: Painting and landscape representation
It can be said that the art of environment begins with the paintings of the caves of our ancestral Paleolithic. Although no landscape has been found yet, the cave paintings represent another aspect of nature that is important to early humans such as animals and human figures. "They are a prehistoric observation of nature.In one way or another, nature for centuries remains a preferential theme of the creative arts." A more modern example of environmental art comes from painting and landscape representation. When artists paint where they develop a deep connection with the surrounding environment and weather and bring this close observation to their canvas. John Constable's heavenly painting "best represents the sky in nature". Monet's London Series also exemplifies the artist's relationship with the environment. "For me, the landscape does not exist in itself, because its appearance changes all the time, but the atmosphere surrounding it brings it to life, air and light, which varies constantly for me, only the surrounding atmosphere that gives them the true subject of their value."
Contemporary painters, such as Diane Burko representing natural phenomena - and their changes over time - to address ecological issues, draw attention to climate change. The landscape of Alexis Rockman illustrates a keen view of climate change and human intervention with other species through genetic engineering.
Maps Environmental art
Challenging traditional sculptures
The growth of environmental art as a "movement" began in the late 1960s and early 1970s. In the early stages, it is most closely related to sculpture - especially location-specific art, Land art and Arte povera - arising from the increasing criticism of traditional sculpture forms and practices that are increasingly seen as obsolete and potentially out of harmony with the natural environment.
In October 1968, Robert Smithson held an exhibition at the Dwan Gallery in New York entitled "Earthworks." The works in the show posed an explicit challenge to conventional ideas about exhibitions and sales, because they were too big or too heavy to collect; mostly represented only by photographs, further emphasizing their resilience to acquisitions. For artists who fled from the boundaries of galleries and modernist theories were achieved by leaving the cities and going into the desert.
"They do not deport the landscape, but involve it: their art is not just a landscape, but also in it." This shift in the late 1960s and 1970s represented the avant-garde idea of ​​the statue, the landscape, and our relationship with it. The work challenges conventional ways to create sculptures, but also opposes more elite models of dissemination and art exhibitions, such as the previously mentioned Dawn Gallery show. This shift opens up new space and thus expands the ways in which work is documented and conceptualized.
In Europe, artists such as Nils Udo, Jean-Max Albert, Piotr Kowalski, among others, have created environmental art such as Sculptures Bachelard since the 1960s.
Entering public and urban spaces
In 1978, Barry Thomas and his friends illegally occupied many empty CBDs in Wellington, New Zealand. He dumped the truck loads from the topsoil then planted the seeds of cabbage 180 in the form of the word "Cabbage" for 'many empty cabbages. The site is then flooded with works of contributing artists - the whole event lasts for 6 months and ends with a week-long festival celebrating indigenous trees and forests. In 2012, the Museum of New Zealand Te Papa Tongarewa - the country's largest cultural institution - buys all the cabbage patch files that describe it as 'an important part of our art and social history'.
While this previous work was mostly done in the western deserts of America, the late 1970s and early 1980s saw the works move into the public landscape. Artists such as Robert Morris began to involve county departments and public art commissions to create works in public spaces like abandoned gravel pits. Herbert Bayer used a similar approach and was selected to create Mill Creek Canyon Earthworks in 1982. The project works like erosion control, a place to serve as a reservoir during periods of high rainfall, and 2.5 hectares of parks during the dry season. Lucy Lippard's breakthrough book, in parallel between contemporary land and prehistoric sites, examines the ways in which prehistoric cultures, shapes and drawings have been "coated" into the work of contemporary artists working with land and natural systems.
The term extending the art of the environment also includes the scope of urban landscape. Agnes Denes created a work in downtown Manhattan's Wheatfield - A Confrontation (1982) where he planted wheat fields on an acre site of two hectares covered with detritus and city ruins. This site is now Battery Park City and World Financial Center: changing from ecological power to economic power.
Electrical art: In 1999, Bulgarian artist Elena Paroucheva created a new concept for electric power lines.
Alan Sonfist introduced the idea of ​​a key environment bringing nature back to the urban environment with its first historic Time Landscape sculpture, proposed to New York City in 1965, and seen today in the corner of Houston and LaGuardia in Greenwich Village of New York City. Today Sonfist joins the widespread enthusiasm for environmental and green issues among public authorities and citizens to propose the network of sites across the metropolitan region, which will raise awareness of the key role that nature will play in the 21st century challenge. The sanctity of nature and the natural environment are often seen in the work of environmental artists.
Just as land work in the desert in the west grew out of the notion of landscape painting, the growth of public art stimulated artists to engage the urban landscape as another environment and as well as a platform for engaging ideas and concepts about the environment to a larger audience.. "Many environmental artists now want not only the audience for their work but the public, with whom they can correspond to the meaning and purpose of their art." The Andrea Polli Installation Particle Falls makes the particles in the air visible in a way that passers-by can see. For HighWaterLine Eve Mosher and others walk through the neighborhoods in risky cities like New York City and Miami, marking projected flood damage that could occur as a result of climate change and talking to residents about what they are are doing.
Superstorm Sandy initiated many artist responses to waterways and forgotten history in New York City. Exhibition, Silent Beaches, Untold Stories: Forgotten Waterfront New York City, curated by St. University professor. John, Elizabeth Alpert, presented various artist approaches to the urban environment and complex ecological system of New York City.
EcoArt
Ecological art a.k.a. EcoArt is an artistic or disciplinary practice that proposes a sustainable paradigm with the life forms and resources of our planet. It consists of artists, scientists, philosophers and activists who are devoted to the practice of ecological art. Historical precedents include Earthworks, Land Art, and landscape/photographic paintings. EcoArt is distinguished by a focus on systems and interrelationships in our environment: ecology, geography, politics, biology and culture. Ecoart creates awareness, stimulates dialogue, changes human behavior toward other species, and encourages long-term respect for the natural systems we live in together. It manifests as a socially active, activist, community-driven restorative or interventionist art. Ecological artist Aviva Rahmani believes that "The art of ecology is an art practice, often in collaboration with scientists, urban planners, architects and others, resulting in direct intervention in environmental degradation." Often, artists are the main agents in the practice. There are many approaches to EcoArt including but not limited to:
o Representative Artwork - discloses information and conditions primarily through the creation of drawings and the creation of objects in order to stimulate dialogue.
o Remediation Project that reclaimed or restored a polluted and disturbed environment - these artists often work with environmental scientists, landscape architects and city planners
< b> o Activist Project that involves, informs, energizes, and enables behavior change and/or public policy.
Social Statues - time-based artwork that engages the community in monitoring their landscape and taking a participatory role in sustainable practices and lifestyles.
EcoPoetic Approach which begins re-envisioning and re-enchantment with nature, inspiration of healing and co-existence with other species.
o Live Meetings - artwork that carries natural phenomena such as water, weather, sunlight, plants, etc. c.
o Didactic or Pedagogical Works share information about environmental injustice and ecological issues such as water and soil pollution and health hazards.
o Aesthetics of life and relational involves a sustainable existence, outside the network, permaculture.
Contributions by women in the EcoArt area are significant, many of which are cataloged in the WEAD, Women Environmental Artists Directory founded in 1995 by Jo Hanson, Susan Leibovitz Steinman and Estelle Akamine.
Definition of EcoArt: There is discussion and debate among ecological artists, if Ecological Art or EcoArt, should be regarded as a discrete discipline in Art, different from the Arts of the Environment. The current definition of Ecological Art, coauthored by EcoArtNetwork, is "The art of ecology is an art practice that embraces social justice ethics both in content and form." EcoArt is created to inspire care and respect, encourage dialogue, and foster long-term development of the environment social and natural environment in which we live, this generally manifests as art that is social, activist, community-based, restorative or interventionist. "Artists considered to work in this field generally subscribe to one or more of the following principles:
o Focus on the web of mutual relationships in our environment - on the physical, biological, cultural, political, and historical aspects of the ecological system.
o Create works that use natural materials or engage with environmental forces such as wind, water, or sunlight.
o Reclamation , restore, and remediate damaged environments.
o Inform public about the ecological dynamics and environmental problems we face.
o Revisions ecological relationships, creative new possibilities for coexistence, sustainability, and healing.
Considering the environmental impact
In the art of the environment, important differences can be made between environmental artists who do not consider the environmental damage that may occur in their artwork, and those whose intentions do not endanger nature. For example, despite the aesthetic advantages, the statue of the famous American artist Robert Smithson Spiral Jetty (1969) provided permanent damage to the landscape where he worked, using bulldozers to scrape and cut the ground, with his own spiral struck the lake. Similarly, criticism was made of the European sculptor Christo as he temporarily wrapped the coastline at Little Bay, south of Sydney, Australia, in 1969. Conservationists' comments drew international attention in environmental environments and caused contemporary artists in the region to rethink tendency of land art and location-specific art.
Sustainable art is generated with consideration for the wider impact of work and its acceptance in relation to its environment (social, economic, biophysical, historical, and cultural). Some artists choose to minimize their potential impact, while other work involves direct landscape recovery to a natural state.
The English sculptor Richard Long has been making decades of temporary sculptures by reorganizing natural materials found on site, such as rocks, mud and twigs, which will therefore have no detrimental lingering effects. Chris Drury instituted a work entitled "Wheel of Medicine" which is the fruit and result of daily meditation journey, once a day, for one calendar year. The delivery of this work is a mandala of objects found mosaicked: natural art as the art of the process. The Stan Herd plant artist shows the same relationship with and respect for the land.
Leading environmental artists such as the Dutch sculptor Herman de Vries, Australian sculptor John Davis and the English sculptor Andy Goldsworthy also left the landscape they had done unscathed; in some cases they have revegetated degraded land with appropriate native flora in their work-making process. In this way the work of art emerges from the sensitivity to the habitat. Perhaps the most famous example of environmental art in the late 20th century was the 7000 Oaks , an ecological action staged at Documenta during 1982 by Joseph Beuys, where artists and assistants highlighted local environmental conditions. by planting 7,000 oaks throughout and around the city of Kassel.
Awareness and ecological transformation
Other artists, such as eco-feminist artists, Aviva Rahmani reflect our human involvement with the natural world, and create artwork that gets ecological information focused on transformation or reclamation. In the past two decades, important environmental work has been made by Rosalie Gascoigne, who keeps her calm statues of garbage and garbage she finds dumped in the countryside. Similarly, Marina DeBris uses trash from the beach to create trashion, educating people about beaches and sea litter. Patrice Stellest creates large installations with garbage, but also incorporates related items collected around the world and solar energy mechanisms. John Wolseley climbed through remote areas, collecting visual and scientific data, then combining visual and other information into complex wall-scale work on paper. Environmental art or Green Arts by glass carvers based in Washington, DC, Erwin Timmers and Alison Sigethy incorporate some of the least recyclable building materials; structural glass. EcoArt writer and theorist Linda Weintraub coined the term, "logical cycle" to describe the correlation between recycling and psychology. The idea of ​​the 21st century about the involvement of artists who are conscious of their ingredients return to the pileolytic pile of pyrolytic garbage of pottery and metal thrown from ancient civilizations. Weintraub cites the work of MacArthur Fellow Sarah Sze that recycles, reuses, and updates the detritus from the waste stream to a large and elegant installation. His reflexive work draws our attention to our messy lives and connections to consumer culture. Brigitte Hitschler's Energy field takes power for 400 red diodes from potash slash potash to be reclaimed where they are installed, using art and science to reveal hidden material culture. Ecologist and activist, Beverly Naidus, created installations dealing with environmental crises, nuclear inheritance issues, and creating works on paper that imagine transformation. The community-based permaculture project, Eden Reframed replicates degraded lands using phytoremediation and fungi that produce public places to grow and harvest medicinal plants and edible plants. Naidus was an educator after teaching at the University of Washington, Tacoma for over ten years, where he created an Interdisciplinary Curriculum Art in the Community that combines art with ecologically and socially engaging practices. The Naidus Book, Art for Change: Teaching Outside the Frame is a resource for teachers, activists and artists. The sculptor and installation artist Erika Wanenmacher was inspired by Tony Price in the development of his work on New Mexico's creativity, mythology, and presence. Various artists, including Daniele Del Nero, have worked in different ways using living prints as an artistic element.
Statue of renewable energy
Source of the article : Wikipedia
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