Ballard, S. (2017). New ecological sympathies: Thinking about contemporary art in the age of extinction. Environmental Humanities, 9(2), 255-279. Web.
Ballard utilizes the study of human-animals-machines relationships in H. Bergson’s and S. Butler’s essays to present the contemporary artistic method of species extinction imagery. He introduces video and installation art as a tool to arouse sympathy in the viewer.
The article supports my research paper by presenting eco-artists P. Huyghe, A. Lislegaard, and H. Fowler and their artwork. It provides a unique vision of an art gallery as the space to explore the boundaries of sympathy. Ecological issues such as species extinction occurred as one of the most disturbing problems presented in eco-art.
Carroll, B. (2017). A role for art in ecological thought. Concentric: Literary and Cultural Studies 43(1), 145-164. Web.
It is a thoughtful analysis of the problem of natural or artificial in ecological art. The works of three philosophers, T. Morton, L. Bryant, and S. Žižek, constructed the base to explain the messages of contemporary Chinese artists that provide their unique vision on environmental issues.
The article introduces Chinese artists Ren Jie, Leo Xu, Cai Guo Qiang, and Vietnamese-born artist Binh Danh. The ecological issues are represented in the biomimicry of design and integration with nature.
Cucuzzella, C. (2021). Making the invisible visible: Eco-art and design against the Anthropocene.Sustainability, 13(7), 3747. Web.
Cucuzzella examines the Anthropocene imagery in art and design installations and their educational value. She concludes that artworks could be eyes openers, raise awareness and change people’s conduct. However, the works rarely propose solutions to make systematic changes.
The article is relevant to my work as it presents a range of exhibitions and the analysis of their eco-messages. The artists represented there are G. Beaulieu, A. Polli, C. Varga, A. Pozzi, etc.
Cucuzzella, C., Chupin, J. P., & Hammond, C. (2020). Eco-didacticism in art and architecture: Design as means for raising awareness.Cities, 102, 102728. Web.
The authors of the article investigate the cross-disciplined issue of eco-art installation and its deductive power. Starting from a brief history of eco-art, the authors move to the explanation of such eco-lesson peculiarities. They focus on urban landscapes’ eco-messages and study their forms and methods of delivering information about ecological issues to the audience.
The authors trace back ecological awareness to the 60s with Land Art and name important artists, such as R. Smithson, M. Heizer, W. de Maria, M. Miss, M. Creates, the Particle Works collective, J. Gural, E. Nuyts, and A. Ikan, etc. with their most striking works. In addition, the article contains a summary of eco-messages from the artists with explanations.
Gilmurray, J. (2017). Ecological sound art: Steps towards a new field.Organised Sound, 22(1), 32. Web.
The article establishes the need to recognize sound artists as representatives of an ecological sound art field. Gilmurray explores the ways sound could be connected with environmental issues. In addition, he shows the power of sound art as a form of eco-promotion in the frames of contemporary ecological theory.
My research on ecology in art is enriched by the names of D. Monacchi, L. Barclay, A. Polli, M. Burtner, D. Dunn, and J. Winderen, etc. The trend in sound art is also represented through the Ear to the Earth festival, an activism network called EcoSono, and EcoSono Institute. The sound facilitates awareness of extinction, dangerous ice-melting, harmonious coexistence, sensitivity to nature, and so on.
Machotka, E. (2018). Consuming eco-art: Satoyama at the Echigo-Tsumari Art Triennale 2012. In K. J. Cwiertka & E. Machotka (Eds.), Consuming Life in Post-Bubble Japan (pp. 215-236). Amsterdam University Press. Web.
The article explores a pro-ecological ideology of satoyama (“village mountain”). It points out the significance of harmony between people and nature. Focusing on the example of the art festival in Japan, the author investigates its ties with socially engaged art and sustainable art and analyses some works of eco-artists.
The source is useful for my research as it determines the new environmental activism term “satoyama.” It provides information on valuable art installations, such as Australia House by A. Burns, Gejō kabuki no tō by Mikan + Sogabe Lab, etc. In addition to art messages, there is an overview of the festival’s crucial role in local ecological sustainability.
Meenar, M., & Howell, T. (2019). Exploring environmental issues using eco art. Open Educational Resources, 17. Web.
As a teaching activity plan, the work guides how to encourage students’ interest in eco-art projects. The authors provide lesson steps that include reviewing the prominent environmental art projects, community-oriented art, and case studies on such artwork’s influence on understanding ecological issues.
The work serves as an example of the deductive power of eco-art. The valuable pieces represented there, such as Landscape of Change by J. Pelto, Lines (57° 59′ N, 7° 16’W) by P. Niittyvirta, and T. Aho, Unmoored by M. Chin, are designed with the use of cutting-edge technologies (big data, LED sensors, VR).
Raducanu, M. (2016). Eco-art. Romanian Economic and Business Review, 11(4), 39-43. Web.
The article represents a brief history of eco-art development from the concept of Land Art (USA) to the 2012 conference in Japan regarding Land Art. Raducanu shows that eco-art could be seen in various forms and materials, be complex and minimalistic, elaborate and simplistic.
The source introduces Japanese artists M. Ando, M. Mizuno, C. Shiota, I. Yamada, and Romanian eco-artwork representatives S. Bertalan, W. Mihuleac, D. Popa, D. Dup. The artworks include flower installations, ceramics, drawings, photography, etc.
Sheren, I. (2020). Troubling the waters of neutrality: Eco-art as an identity proposition.Afterimage: The Journal of Media Arts and Cultural Criticism, 47(2), 28-34. Web.
Share analyses an Indian artist Vibha Galhotra and argues that utilizing a non-Western perspective on ecology could provide valuable insights into climate change. The object of observation is Galhotra’s video Manthan (2015). The author reveals the references to Hindu mythology and discusses the issue of the sacred’s toxic sublime and political exploitation.
The research gets one more dimension: films as a form of eco-art. In addition, the list of environmental issues depicted in the artwork is complemented by the contradictory logic of religious resistance to intervention in the sacred.
Wołek, M. (2019). Ecological art and its main thesis. Zeszyty Naukowe Politechniki Śląskiej. Seria Organizacja i Zarządzanie, 141(2019), 429-442. Web.
The topic of eco-art is presented in the article by analyzing the disproportion between the status of the issue and the mediocre place that such artworks occupy nowadays. The author refers to the Nietzschean paradox to explain that problem.
The article outlines crucial eco-publications, such as Bulletin of the Atomic Scientists, Silent Spring, Population Bomb, The Limits to Growth, etc., and the pro-ecological movement of Arne Næss’ deep ecology. Ecological art is represented in the works of H. Haacke, H. Harrison, and N. Harrison, M. Chin, C. Malik.