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Robert Morris, Observatorium, Netherlands. The growth of environmental art as a "movement" began in the late 1960s and early 1970s. In its early phases it was most associated with sculpture—especially Site-specific art, Land art and Arte povera—having arisen out of mounting criticism of traditional sculptural forms and practices that were increasingly seen as outmoded and potentially out ...
This was the first in a series of international symposia organised by Maja and Reuben Fowkes bringing together contemporary artists, philosophers, environmental sciences and activists to explore common ground around issues such as 'Exit or Activism' (2008), 'Hard Realities and the New Materiality' (2009) and 'Art, Post-Fordism and Eco-Critique ...
Ecological art is an art genre and artistic practice that seeks to preserve, remediate and/or vitalize the life forms, resources and ecology of Earth. Ecological art practitioners do this by applying the principles of ecosystems to living species and their habitats throughout the lithosphere, atmosphere, biosphere, and hydrosphere, including wilderness, rural, suburban and urban locations.
The willingness to deal with environmental problems might give hope to the future of fisheries here. The one I’m thinking of now concerns brook trout, New York’s official freshwater fish and ...
The environmental humanities (also ecological humanities) is an interdisciplinary area of research, drawing on the many environmental sub-disciplines that have emerged in the humanities over the past several decades, in particular environmental literature, environmental philosophy, environmental history, science and technology studies, environmental anthropology, [1] and environmental ...
Environmental impact design impacts can be broken down into three types: Direct impacts: caused by the project and building process, such as land consumption , erosion and loss of vegetation. Indirect impacts: side-effects of a project such as degradation of surface water quality from erosion of land cleared as a result of a project.
Her work draws from a Native worldview and comments on American Indian identity, histories of oppression, and environmental issues. In the mid-1970s, Smith gained prominence as a painter and printmaker, [4] [5] and later advanced her style with collage, drawing, and mixed media.
WEAD (originally called Women Environmental Artists Directory) was founded in 1996 by Jo Hanson, Estelle Akamine, and Susan Leibovitz Steinman as a printed reference directory for entities interested in finding artists working with environmental issues. [2] Currently the directory takes form as a website with member-managed portfolios.