The Ethics of Earth Art

Product Information

Boetzkes, Amanda. The Ethics of Earth Art. Minneapolis; London: University of Minnesota Press, 2010. Kagan, Sacha (2012). Toward Global (Environ)Mental Change - Transformative Art and Cultures of Sustainability. Berlin: Heinrich Böll Siftung. ISBN 9783869280769. Archived from the original on 2013-12-10 . Retrieved 6 September 2015. Carruthers, Beth. "Mapping the Terrain of Contemporary EcoArt Practice and Collaboration". greenmuseum.org. Green Museum. Archived from the original on 4 March 2016 . Retrieved 23 August 2015.

Kagan, Sasha and Volker Kirchberg, Sustainability: A New Frontier For The Arts And Cultures, Verlag Fur Akademisch, 2008.

Earth artists were typically products of the Vietnam era, many of whom had been drafted to fight in the war and were college educated through the G.I. Bill. Most, like Robert Smithson and Michael Heizer, began their careers as painters. Smithson's first paintings evolved from figurative abstractions to geometrical canvases, and then eventually to sculpture. In 1966, Smithson began showing with the influential gallerist Virginia Dwan, who would shape the Earth art movement significantly. University of British Columbia, Department of Curriculum & Pedagogy. "Don Krug, Research Interests". UBC Faculty of Education. EDCP. Archived from the original on 26 July 2015 . Retrieved 4 September 2015. Walker Art Center Museum. "Collections: Revival Field". walkerart.org. Walker Art Center, Minnesota. Archived from the original on 27 January 2016 . Retrieved 22 January 2016. Giannachi, Gabriella and Nigel Stewart, eds. Performing Nature: Explorations in Ecology and the Arts , Peter Lang, 2005. Lampert, Nicholas (2013). A People's Art History of the United States: 250 Years of Activist Art and Artists Working in Social Justice Movements. New York: New Press. pp.274–278. ISBN 978-1-59558-324-6 . Retrieved 28 December 2015.

Diamond, Irene; Orenstein, Gloria Ferman, eds. (1990). Reweaving the World: The Emergence of Ecofeminism. San Francisco: Sierra Club Books. The 1972 essay, Art and Ecological Consciousness by György Kepes in his book, Arts of the Environment. [19] presents the genre as distinct from environmental art. In the 1992 exhibition and book, Fragile Ecologies: Contemporary Artists' Interpretations and Solutions, [20] art historian, Dr. Barbara Matilsky differentiates ecological art from environmental art in that the former has ethical underpinnings. [21] In 1993, a workshop and exhibition, specifically about ecological systems and art, was presented by Don Krug, Renee Miller and Barbara Westfall at the Society for Ecological Restoration in Irvine, California. The term ecovention, was coined in 1999 as a conjunction of the words ecology and intervention, in conjunction with an exhibition of the same name curated by Amy Lipton and Sue Spaid, representing artist's projects that use inventive strategies to physically transform a local ecology. In a 2006 UNESCO research report for the Art in Ecology think tank on arts and sustainability, "Mapping the Terrain of Contemporary EcoArt Practice and Collaboration," the artist Beth Carruthers uses the term Ecoart. [22] Green Arts Web. "Green Arts Web: Reference (Multidisciplinary)". greenarts.org . Retrieved 6 September 2015.

South American Environmental Philosophy

Anthroposphere: The Oxford Climate Review (2022). 'Art and Climate Change: Separate Bubbles or Mutual Membrane?' . Oxford: Oxford Climate Society . Retrieved 12 July 2023.

Dederer, Claire (September 23, 2007). "Looking for Inspiration in the Melting Ice". New York Times . Retrieved 23 August 2015. Rahmani, Aviva; Schroeder, Paul C.; Boudreau, Paul R.; Brehme, Chris E.W.; Boyce, Andrew M; Evans, Alison J. (2001). "The Gulf of Maine Environmental Information Exchange:participation, observation, conversation". Environment and Planning B: Planning and Design. 28 (6): 285–887. doi: 10.1068/b2749t. S2CID 61284002. Activist and protest art: engage, inform, energize and activate change of behaviors and/or public policy. [54] [55] [56]In 1969–1970, Helen Mayer Harrison and Newton Harrison collaborated on mapping endangered species around the world. [14] From 1972 to 1979, Helen and Newton Harrison realize seven projects designed for and about lagoons in California. [15] Representational artwork: reveals information and conditions through image-making and object-making with the intention of stimulating dialogue. [51] At the same time, Smithson began working as a consultant for a New York City engineering firm, a position that inspired him to plan what he called "Aerial Art" for the Dallas Fort Worth airport. Aerial Art comprised monumental works to be constructed between airport runways that were meant to be viewed from above during takeoff and landing. As an art form, Aerial Art never came to fruition, but Smithson and his colleagues, such as Carl Andre, Nancy Holt, Robert Morris, and Michael Heizer, were inspired by the idea to explore various unexploited territories in nearby New Jersey and in various western states that provided large, open spaces.