Contemporary Practices: Art and Ecology

Nicole McCauley
Scoop.it collection web address:
http://www.scoop.it/t/globalization-in-art/?tag=perspectives+in+artistic+development
This resource packet is intended to guide readers through an Art and Ecology Scoop.it
collection curated as part of a study of contemporary creative art practices. Through the
investigation of this collection of environmentally-minded artists, a theme will undoubtedly
emerge from the array of artworks, writings, and practices presented; we have a relationship with
nature and it is begging for attention. I have focused much of my professional research, writings,
and artworks on environmental themes and have found ample support for the inclusion of global
themes in the art classroom. Proponents of contemporary education cite a need to address realworld issues in the art classroom, including environmental sustainability (Blandy, Condon, &
Krug, 1998); contemporary art (Gude 2007), and meaningful participation in life (Gude, 2009;
Freedman, 2011). I like to believe that nature is a great unifier of humanity and because all
people depend on it, we need to make time to explore our relationship with it in the classroom.
Lankford (1997) agrees that our very existence depends on our access to air, water, and
soilYet sometimes, especially in urban areas, we forget about the importance of these
relationships, or we take them for granted (p. 49). I believe we can study this relationship in the
art room by examining contemporary works of art. Blandy, Congdon, and Krug (1998) support
ecological stewardship and restoration through the arts, stating that many contemporary artists
are advocating for changes in daily interaction within the worlds ecosystems and are taking
action to address the destruction occurring on a daily basis (p. 241). This study serves as a

resource of contemporary artists who embrace and investigate mans interaction with the
environment through medium, subject matter, and intent.
The artists I have included in my Art and Ecology collection understand the relationship I
have discussed and use their art to communicate their perspective to the world. I will now dig a
little deeper into the work of some of the artists highlighted in my study, starting with
photographer, Robert Adams. Adams works primarily with black and white film, focusing his
attention on the landscapes of the American West and capturing the impact of human activity on
the environment. Adams believes that photography and poetry share the great task of supporting
interconnecting metaphors, which are regularly included in his work. The series highlighted in
this Art and Ecology collection, Turning Back (1990-2003), confronts the effects of clearcutting,
a devastating process that has remained popular to meets the needs of a demanding society.
Adams social and environmental commentaries break through the silence of frozen moments in
time, capturing the beauty along with the beast.
Photography is not only used as an art form in itself, but can also serve as a way to
preserve ephemeral art, such as the environmental works created by Andy Goldsworthy and NilsUdo. Their earth works evoke feelings of care, awe, and friendship with nature, offering an
alternative approach to convincing the viewer of the importance of our relationship with it.
Instead of showing the negative impact of human populations on the natural world, Goldsworthy
and Udo show us how we can maintain harmony and share understanding through beautiful
works of art. Although the process and products of these artists are made to exist in moments of
time that are intimate between themselves and nature, the advances in digital technologies have
allowed ephemeral works of art to survive and to be shared with an infinite audience.

As an artist, educator, and writer, Ann T. Rosenthal understands and advocates for the
importance of addressing global concerns in our schools, and in our art rooms. She collaborated
with artist, Steffi Domike, to create the Watermark: Wood, Coal, Oil, Gas series in 2011, which
addresses our relationship with nature and the impact our way of life is having on the
environment. Each of the four panels were digitally composed and printed on 60 x 30 canvas,
showing silhouettes of living creatures (a child, a bass, an eagle, and turtles) over a backdrop of
energy extraction processes. Rosenthal and Domike make an astute point with easy-to-read
images, creating the opportunity to reach a larger audience, and express the need for protection
of all living things.
Agnes Denes is considered to be a pioneer of environmental earthworks, starting as early
as the late 1960s. Although she has an extensive portfolio of incredible work, I want to focus on
one of her monumental projects in Finland. Tree MountainA Living Time Capsule was
completed between 1992 and 1996 in collaboration with eleven thousand people from all over
the world. If Denes is known for exploring the space where man-made meets nature, she really
drove it home with this one. The sheer amount of organization it must have taken to coordinate
such an extraordinary event blows my mind! Her work is a prime example of promoting
sustainability through art and collaboration, something I am very passionate about including in
my elementary art curriculum.
Before I began my study, I had never come across Chris Jordans exemplary work with
altered photographs. Jordan is using his art to communicate awareness about our current rates of
consumption, something people rarely sit back and consider. For instance, I recycle and do my
best to leave a small carbon footprint, but I still produce at least one bag of trash per week.
When I think about the people of my street or city alone, the numbers start to increase

exponentially. There is no question that we need to reduce the amount we consume and Jordans
work is a great reminder of that principle. At first glance, Jordans images may seem simple, but
through digital zooming features (available on chrisjordan.com), one begins to see the
complexities of our environmental impact.
While this is just a mere sampling of artists who use ecology to inspire their work, I feel
it is a good introduction to at least one thing that is happening with contemporary practices. I
believe in investigating global issues in the art classroom and I believe in educating our youth to
work towards sustainability in society and in nature. Perhaps this resource will aid others in
taking that step towards a greener tomorrow.
References
Art21, Inc. (2001-2015). Explore artists. Retrieved from http://www.pbs.org/art21/artists
Art21, Inc. (Writer & Director). (2007). Ecology [Television series episode]. In Art21, Inc.
(Executive producer), Art in the Twenty-First Century. PLACE: PBS Broadcasting.
Blandy, D., Congdon, K., and Krug, D. (1998). Art, ecological restoration, and art education.
Studies in Art Education, 39(3), 230-243.
Freedman, K. (2011). Leadership in art education: Taking action in schools and communities.
Art Education, 64(2), 40-45.
GreenMuseum.Org. (2010). Nils-Udo. Retrieved from
http://greenmuseum.org/content/artist_index/artist_id-36.html
Gude, O. (2007). Principles of possibility: Considerations for a 21st century art & culture
curriculum. Art Education, 60(1), 6-17.
Gude, O. (2009). The 2009 Lowenfeld lecture: 2009 NAEA national convention/Minneapolis,
Minnesota: Art education for democratic life. Art Education, 62(6), 6-11.
Jordan, C. (2014). Running the Numbers II. Retrieved from http://www.chrisjordan.com

Kalela, A. (1996). Tree Mountain- A Living Time Capsule. Retrieved from

http://www.agnesdenesstudio.com/works4.html
Laib, R. (n.d.). R & R Remodel [Tumblr page]. Retrieved from
http://rogerandryan.tumblr.com/art
Lankford, E. (1997). Ecological stewardship in art education. Art Education, 50(6), 47-53.
Link, L. (2011). Water Ways. Retrieved from http://lisalink.net/portfolio/art_waterways.html
Manglano-Ovalle, I. (n.d.). Selected works [Online gallery]. Retrieved from
http://inigomanglano-ovalle.com/
Prix Pictet (2015). Turning Back. Portfolios: Robert Adams. Retrieved from
http://www.prixpictet.com/portfolios/power-shortlist/robert-adams/
Rosenthal, A. (2011). Watermark: Wood, Coal, Oil, Gas. Retrieved from
http://atrart.net/2011/05/14/watermark-wood-coal-oil-gas/
VisualMelt.Com (2015). Andy Goldsworthy. Retrieved from http://visualmelt.com/AndyGoldsworthy
Von Rydingsvard, U. (n.d.). Sculpture [Online gallery]. Retrieved from
http://www.ursulavonrydingsvard.net/sculpture/