A Nature Thing: What Does Contemporary Ecological Art Produce?
Abstract
:1. Introduction
2. Methods and Thesis
3. Fundamental Issues
3.1. Material
- The greatest artist does not have any concept
- which a single piece of marble does not itself contain
- within its excess, although only a hand
- that obeys the intellect can discover it.6
3.2. Functions of Art
3.3. The Concept of Natural and Definitions of Ecological Art
More generally, besides the discussion-point of economic growth, the use of the term ‘sustainability’ suggests a different priority in framing the future of humanity in terms of its balanced evolution, linking social and ecological issues, rather than framing it in terms of a linear development-course with the economy as its main focus.
4. Artists
4.1. Thomas Dambo
I also believe if you make anything in nature, you should do it with respect for the way nature works and the way nature looks. Because of that, I try not spray my sculptures with red plastic paint or slap concrete all over the place. This way, if I leave my sculpture in the forest and no one ever came to clean it up, it is just made of wood and nails that will rust and it will disappear and go back to the earth. Also, aesthetically, I think people don’t find it as intrusive if you find something made of wood in nature than if you find something made of plastic or concrete. Because it feels like it is at home.
4.1.1. Excursus: Land Art
4.2. Aviva Rahmani
By combining art and science methodologies, the author revealed insights that could help small restored sites act as trigger points towards restoration of healthy bioregional systems more efficiently than would be possible through restoration science alone.
The Gulf to Gulf team collaborated to show synergy between environmental factors, including climate change, affecting indicator species of fish in the Mississippi, in the vicinity of Memphis. Many people are not aware that fish are affected by all the same factors causing disruptive droughts, storms, temperature extremes, and flooding worldwide that impact people. The team chose Memphis as a critical point between factory farms upstream and dead zones downstream in the Gulf of Mexico, affecting the survival of fish. (…) the “trigger point” for healing dead zones in the Gulf of Mexico is Iowa, because it’s at the center of Midwestern factory farms releasing nitrogen into the water system flowing into the gulf.
4.3. Tomás Saraceno
Ecosystems must be thought of as networks of interaction in which each living being evolves together with the others. By focusing less on individuality and more on reciprocity, we can move beyond the consideration of the means necessary to control the environment and envisage a shared development of our everyday life.48
In an era of ecological upheaval, there is a perceived imperative for anthropocentric worlds to re-attune to other species and more-than-human ways of inhabiting our shared planet. These artistic and scientific enquiries can enable new hybrid encounters and relationships, involving multiple entities: from spiders to humans, from gravitational waves to particles of dust.49
5. Discussion
5.1. A Nature Thing: What Does Ecological Art Produce? What Is Its Material?
5.2. Excursus: Ecological Art and Its Variability?
6. Conclusions
Funding
Conflicts of Interest
1 | Here, the very striking methodological view is that of Andrew Patrizio, who sees all aspects and issues of art in a coherent “non-hierarchy” compared to conventional art history and its frequent ideologies (Patrizio 2019, pp. 2–4). I fully agree with Patrizio. Nevertheless, he considers non-hierarchy very much in a socio-political way. Patrizio additionally speaks of an “ecological eye.” He looks at ecological art above all from the point of view of aesthetics, but his book actually discusses more the methodological crisis in art history regarding how it deals with politics, social issues and, of course, ecology. See particularly (Patrizio 2019, part II, pp. 79–129). My aim here is to go back to the principles and bases of artistic activity. Therefore, I look at ecological art regarding its two aspects—artistic and non-artistic—as inclusive, in the sense that they always belong together. See below in the text. |
2 | See the entry ‘material’ in the Encyclopaedia Britannica (Britannica n.d.). As the art historian and one of the most important researchers on artistic material, Monika Wagner, explains in the Ästhetische Grundbegriffe dictionary, the term material is a derivative of ‘matter,’ which in turn is the philosophical counterpart to ‘form’, and which, in the narrow sense, only means natural or artificial substances that are intended for further processing. However, both terms are equally used in pre-modern art literature. See the entry ‘material’ in the Ästhetische Grundbegriffe dictionary (Wagner 2001) and, for example, Wagner’s article: “Studio matters: materials, instruments and artistic processes” (Wagner 2013). |
3 | Author’s translation: “Tutta la somma della Pittura a mio giudicio è divisa in tre parti: Inventione, Disegno, e Colorito. La inventione è la favola, o historia, che ‘l Pittore si elegge da lui stesso, o gli è posta inanzi da altri per materia di quello, che ha da operare.” (Dolce 1557, pp. 22r–22v). |
4 | See the anecdote told by the artist Benvenuto Cellini in his autobiography La vita di Benvenuto Cellini (Cellini 1949, p. 368) about the effort and problem-solving needed to create his Perseus and Medusa bronze (1545–1554), which even gave him a fever. In addition, see the discussion in (Stoltz 2021, pp. 52–54). |
5 | With the term ‘invention’ Dolce summarises the entire process of designing an image with various drawings as constant problem-solving and changing. He writes, for example: “I would also like to point out that when the painter tries to put the ideas he has in mind into initial sketches he must not be satisfied with just one but should find more inventions and then choose the one that succeeds best (…).” Author’s translation. “Voglio ancora avertire, che quando il Pittore va tentando ne’ primi schizzi le fantasie, che genera nella sua mente la historia, non si dee contentar d’una sola, ma trovar più inventioni, e poi fare iscelta di quella, che meglio riesce (…).” (Dolce 1557, p. 27v). |
6 | (Trans.: Ryan 1998, p. 150): “Non ha l’ottimo artista alcun concetto/c’un marmo solo in sé non circonscriva/col suo superchio, e solo a quello arriva/la man che ubbidisce all’intelletto” (Girardi 1967, nr. 151, v. 1–3); Sonnet, ca. 1538–1544, cited and discussed also by Benedetto Varchi in Due Lezzioni (Varchi 1549, esp. pp. 17–18). |
7 | The art writer Van Mander discusses the harmony of the components of a picture as lines and colour by comparing them with music: “Not unlike the poets who unite their verses and poems with the lyre or other instruments to please the ear, we must do the same and pair drawing with painting for the delight of the eyes, as the voice with a stringed instrument.” Paraphrase by the author. “Iet onghelijck, maer recht op de maniere/Dat Poeten hun versen en ghedichten/Al singhend’, om t’ghehoor fraey van bestiere/Houwelijcken eendrachtich met der Liere/Oft ander speel-tuygh, moeten wy beslichten/Dat wy, om verlustighen de ghesichten/Oock de Teyckeningh en t’ Schilderen paren/Ghelijck men de stemmen doet met der snaren (Schilder-Boeck, Van Mander 1604, Grondt, XII, 3). |
8 | |
9 | For the history of functions in art, see above all Busch’s essay collection (Busch 1987). |
10 | For an introduction, see the anthology of theoretical texts on the principle of L’art pour l’art in Luckscheiter (2003) and the historical overview by Olma (2018). Among notable remarks by Benjamin is “It is significant that the existence of the work of art with reference to its aura is never entirely separated from ritual function. In other words, the unique value of the ‘authentic’ work of art has its basis in ritual (…)” (Harrison and Wood 2003, p. 522). See also Benjamin ([1936] 2006, pp. 21–22). |
11 | For design theories especially regarding the issue of function, see (Kosok 2021). |
12 | The concept of art and its expansion is, of course, a constant theme in the essays of Funktionen der Künste (Eusterschulte et al. 2020). Recent contributions on the concept of art are, for example, the essay by Tiziana Andina, What is Art? The Question of Definition Reloaded (Andina 2017) and Crowther’s book on theories of the art object (Crowther 2020). |
13 | Numerous contributions are dedicated to the topic of sustainability and art, for example Ans Wabl, Die Verschränkung von Kunst und Nachhaltigkeit, (Wabl 2015) and Anna Markowska’s conference papers, Sustainable art (Markowska 2015). |
14 | See the critical annotation on the derivation of the term ‘sustainability’ from the German term ‘Nachhaltigkeit’ used in 18th century scientific writing on forestry (Kagan 2013, p. 9, n. 1). |
15 | A major and current contribution on art, culture and sustainability is Kurt’s book with Bernd Wagner, Kultur-Kunst—Nachhaltigkeit (Kurt and Wagner 2002). |
16 | See above all the citation of Kurt in (Kagan 2013, p. 346). |
17 | Here, Kagan is referring to Weintraub’s book Ecocentric Topics (Weintraub 2006). |
18 | In recent decades, numerous exhibition catalogues and introductions to ecological art have been produced, such as Performing Nature (Giannachi and Stewart 2005). For a critical introduction, see for example the anthology of essays Environment and the Arts (Berleant 2002). |
19 | A good in-depth introduction to environmental art as a specific art form is given in the anthology in the journal Tate papers 17, edited by Nicholas Alfrey, Stephen Daniels and Joy Sleeman. See Alfrey et al. (2012). |
20 | |
21 | See, for example, an article written from a scientific point of view: Art/Science Collaborations: New Explorations of Ecological Systems, Values, and their Feedbacks in Bulletin Ecological society of America (Ellison et al. 2018). |
22 | See, for example, the article “Environmental Art as Eco-cultural Restoration” (Ball et al. 2011). |
23 | For example, see the exhibition catalogue Goehler (2011) and the ongoing cultural activity Zur Nachahmung Empfohlen. Examples to follow, “z-n-e,” supported also by the German Federal Cultural Foundation (z-n-e website 2022). |
24 | For discussion on definitions of genres of ecological art as environmental art etc., see above all (Kagan 2013, esp. pp. 271–74). |
25 | See the interview “Gespräch über Bäume” (Talking about trees) from 1982. (Beuys 2006). |
26 | Thomas Dambo was born in 1979 in Odense, Denmark and lives in Copenhagen. He started an apprenticeship as a carpenter and later graduated from the Design School in Kolding. He has been active with projects and has exhibited since around 2010. For example “250 Birdhouses.” See https://thomasdambo.com/works/250-birdhouses (accessed on 15 August 2022), (Dambo 2022). |
27 | https://thomasdambo.com/about (accessed on 12 August 2022), (Dambo 2022). |
28 | See for example the work “Skyscraper, the Bruges Whale” installed in Bruges (Belgium), made of rubbish collected in the Pacific Ocean and coloured in white and blue tones. See http://www.studiokca.com/projects/skyscraper-the-bruges-whale/_DSC5998_1 (accessed on 15 August 2022). (STUDIOKCA 2022). Alejandro Durán, born 1974 in Mexico City, graduated among others from Tufts University. His projects include litter collection campaigns at the seaside. The litter is then coloured and displayed on site and photographed as a subsequent action calling for more environmental protection. See “The washed up project.” https://alejandroduran.com/photoseries (accessed on 12 August 2022), (Duran 2022). |
29 | See about the activity The Future Forest, https://thomasdambo.com/about/ (accessed on 12 August 2022). (Dambo 2022). |
30 | See the article in National Geographic by Jennifer Barger (2020). |
31 | Dambo does not use toxic or damaging lacquers for his sculptures. See an interview by immagieexibition.com, accessed on 31 March 2021 (Dambo 2021). See also the citation below. |
32 | From the Renaissance, it was widely discussed in art literature what can be depicted or shown and how, for example whether the depiction of a figure blowing a trumpet is actually “appropriate,” as in a chapter of an art treatise by Giovanni Paolo Lomazzo (Trattato, Lomazzo 1584, book 2, XIII, 151). Since modernism, art has translated appropriateness beyond the norms and principles of art into the complex problem of ethics. For a historical overview of ethics and arts in the modern period see, for example, the article collection Art and ethical criticism (Hagberg 2008). For discussion on contemporary art see the article by Nieslony (2022). |
33 | Andy Goldsworthy was born in 1956 in Cheshire, England and belongs to an earlier generation of artists dealing with ecological issues. He has been worked for some time with natural material. For his artistic biography, see William Malpas, The art of Andy Goldsworthy (Malpas 2013). |
34 | For research on land art in relation to ecology and the aesthetics of landscape, see Cheetham (2018). In his discussion on ‘art objects,’ also Crowther writes about land art, especially about the question of reciprocity in formation between an art object and its surroundings, regarding the definition of sculpture (Crowther 2020, pp. 76–88). See also Ilschner (2004). |
35 | Under this image on the website, the following thought of Goldsworthy is cited: “The sculpture here isn’t just the stone, it’s the home, it’s the entire trail.” https://www.refugedart.fr/?la=esp&rr=&ind=&his= (accessed on 12 August 2022). (Refuge d’art 2022). |
36 | See above all the online archive for the works exhibited there: http://www.artesella.it/it/multimedia-archivio.html (accessed on 12 August 2022), (Arte Sella 2022). |
37 | See also for example ‘The Flying Man’, Cédric LeBorgne, made of wire mesh, http://www.artesella.it/it/progetti-speciali/sky-museum.html (accessed on 12 August 2022) (Arte Sella 2022). |
38 | Of course, there are also exceptions, practical obstacles or artistic choices that differ from these parameters. In Arte Sella, for example, there is an installation by Kintera made of old lamps that form a kind of iceberg. This is a purely visual adaptation to the environment and an ecological action in the sense of recycling old lamps (similar to Duran and Dambo with sculptures from plastic waste.) See also below in the text. Krištof Kintera, Memoriale della luce che fu (Memorial of Passed Light), installed in 2021, http://www.artesella.it/it/news/2021/kritof-kintera-memoriale-della-luce-che-fu.html (accessed on 12 August 2022), (Arte Sella 2022). |
39 | Aviva Rahmani was born in 1945 and studied Arts, Multimedia, Geographic Information Systems and Aesthetics (with a doctorate thesis entitled Trigger point theory as Aesthetic Activism, 2010–2015) in the United States and the United Kingdom. See for an introduction and overview of her oeuvre the book by Aviva Rahmani: Diving Chaos (Rahmani 2022b). |
40 | https://www.avivarahmani.com/water-ecosystem-preservation-ecoart (accessed on 12 August 2022), (Rahmani 2022a). |
41 | Blue Rocks, 2002–2012, Pleasant River, Maine, https://www.avivarahmani.com/blue-rocks (accessed on 12 August 2022), (Rahmani 2022a). |
42 | https://www.avivarahmani.com/endangered-species-ecoart (accessed on 12 August 2022) and https://www.avivarahmani.com/climate-change-ecoart (accessed on 12 August 2022), (Rahmani 2022a). |
43 | https://www.avivarahmani.com/endangered-species-ecoart (accessed on 12 August 2022), (Rahmani 2022a). |
44 | On Rahmani, see also (Kagan 2013, pp. 296–300). |
45 | Tomás Saraceno was born in 1973 in San Miguel de Tucumán (Argentina). He studied art and architecture in Buenos Aires, Frankfurt am Main and Venice, and has a studio in Berlin. See, for example, the project “Particular Matters,” https://studiotomassaraceno.org/particular-matters-the-shed/ (accessed on 12 August 2022), (Saraceno 2022a). |
46 | https://studiotomassaraceno.org/about/ (accessed on 12 August 2022). |
47 | “(…) a novel, laser-supported tomographic technique that allowed precise 3-D models of complex spider/webs.” |
48 | “Gli ecosistemi devono essere pensati come reti di interazione al cui interno ogni essere vivente si evolve insieme agli altri. Focalizzandoci meno sull’individualità e più sulla reciprocità, possiamo andare oltre la considerazione dei mezzi necessari per controllare l’ambiente e ipotizzare uno sviluppo condiviso del nostro quotidiano.” Citation from an exhibition presentation, transl. by the author, (Strozzi 2020). |
49 | https://studiotomassaraceno.org/about/ (accessed on 12 August 2022). (Saraceno 2022a). |
50 | While Dambo, as the excursus shows (Section 4.1.1), can be considered representative of land art, and land art is certainly one of the most important parts of ecological art, the art of Rahmani and Saraceno is very specific in its own individual modalities. Some similar caracteristics can be seen by Rahmani and Lynne Hull, especially in her “trans-species-art” (Kagan 2013, pp. 300–2) or in Saraceno and Elíasson (see below), but my point is not to recreate categories of ecological art, but to ask what ecological art should have as a principle from an art-theoretical point of view. See furher in the text. |
51 | On political art, see (Hegenbart 2021). |
52 | She studied communication science at the University of Applied Sciences and Arts in Dortmund and worked in an advertising agency. |
53 | https://www.barbaradombrowski.com/installationamazonia-greenland and https://www.barbaradombrowski.com/tropicice (accessed on 20 August 2022). (Dombrowski 2022). |
54 | See, for example, the papers from the Experience symposium (Jones et al. 2016) and the dissertation Zeit-Raum-Bilder (“Time-Space-Pictures”) (Nafe 2019). |
55 | See (Elíasson 2022a, 2022b). It is known and obvious that Elíasson has influenced many artists such as Saraceno and Rahmani, but this cannot be discussed here for reasons of space. |
56 | See, for example, the article in Der Standard (Rustler 2019). The instalation Ice watch was also set in Paris, at the Place du Panthéon—on the occasion of the 2015 climate conference—and finally, in London at the Tate Gallery and outside Bloomberg Headquarters between December 2018 and January 2019. |
57 | Kagan does this from a social point of view: “How many social processes occur through artistic processes that would potentially generate social change (Kagan 2013, p. 400 and passim, esp. 400–29). |
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Stoltz, B. A Nature Thing: What Does Contemporary Ecological Art Produce? Arts 2023, 12, 67. https://doi.org/10.3390/arts12020067
Stoltz B. A Nature Thing: What Does Contemporary Ecological Art Produce? Arts. 2023; 12(2):67. https://doi.org/10.3390/arts12020067
Chicago/Turabian StyleStoltz, Barbara. 2023. "A Nature Thing: What Does Contemporary Ecological Art Produce?" Arts 12, no. 2: 67. https://doi.org/10.3390/arts12020067
APA StyleStoltz, B. (2023). A Nature Thing: What Does Contemporary Ecological Art Produce? Arts, 12(2), 67. https://doi.org/10.3390/arts12020067