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Environmental art is a range of artistic practices encompassing both historical approaches to nature in art and more recent ecological and politically motivated types of works. [ 1 ] [ 2 ] Environmental art has evolved away from formal concerns, for example monumental earthworks using earth as a sculptural material , towards a deeper ...
The scope of bioart is a range considered by some artists to be strictly limited to "living forms", while other artists include art that uses the imagery of contemporary medicine and biological research, or require that it address a controversy or blind spot posed by the very character of the life sciences.
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.
Modern sustainable artists include artists who are using non-toxic, sustainable materials in their art practices as well as integrating conceptual ideas of sustainability into their work. Washington, DC–based glass sculptors Erwin Timmers [16] and Alison Sigethy incorporate some of the least recycled building materials; structural glass.
Her father is a molecular biologist and inspired Cavener to study science up until college. She would work in his lab in the summers and says that she aspired to a career as an academic scientist. Her mother, Nancy Jacobsohn, a sculptor and an art teacher, taught Cavener how to work with clay starting at an early age and also did some painting. [3]
Hybrid art is a contemporary art movement in which artists work with frontier areas of science and emerging technologies. Artists work with fields such as biology, robotics, physical sciences, experimental interface technologies (such as speech, gesture, face recognition ), artificial intelligence, and information visualization.
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Similarly, Miles cites the Groundworks art exhibition held in Pittsburgh, Pennsylvania in 2005 that was curated by "art historian Grant Kester", whom Miles quoted in saying that when talking about an artist's relationship to nature that "'the artist's brush can as easily resemble a dissecting scalpel as it can a lover's caress'"; which Kester ...