All Art is Ecological (Green Ideas)

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Moyer, Twylene; Harper, Glenn, eds. (2011). The New Earthwork: Art Action Agency. Seattle, WA: ISC Press. ISBN 9780295991641. Britannica. n.d. Available online: https://www.britannica.com/dictionary (accessed on 12 August 2022). 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]

Warren, Karen J. (1987). "Feminism and Ecology: Making Connections". Environmental Ethics. 9 (1): 3–20. doi: 10.5840/enviroethics19879113. Let’s think about the delivery mode of ecological advice– drive less, shop locally, save energy, all the usual “should” that we hear again and again. Either we are being preached to as individuals, being made to feel bad and encouraged to change our habits, so that maybe we will feel better, because we think others think of us differently –or we are being lectured at, made to feel powerless, because the thought of revolution or other kinds of political change are very inspiring, but also bring up thoughts of how they might be resisted or constrained: the powers that be are too great, revolutions are always co-opted.”

Leopold, Aldo (1987). A Sand County Almanac, and Sketches Here and There. New York: Oxford University Press. Miles, Malcolm, Eco-Aesthetics: Art, Literature and Architecture in a Period of Climate Change (Radical Aesthetics, Radical Art), 2014. Dederer, Claire (September 23, 2007). "Looking for Inspiration in the Melting Ice". New York Times . Retrieved 23 August 2015. Howard, Peter; Thompson, Ian; Waterton, Emma, eds. (2013). The Routledge Companion to Landscape Studies. Routledge International. p.200. ISBN 9780415684606.

Barger, Jennifer. 2020. This Copenhagen Artist Turns Trash into Trolls. In National Geographic. Online Resource, June 15. Available online: https://www.nationalgeographic.com/travel/article/this-copenhagen-artist-turns-trash-into-trolls/ (accessed on 12 August 2022). Van den Berg, Karen, and Philipp Kleinmichel. 2020. Performance, Autonomie und mögliche Wirklichkeiten. In Funktionen der Künste. Transformatorische Potentiale künstlerischer Praktiken. Edited by Birgit Eusterschulte, Christian Krüger and Judith Siegmund. Stuttgart: J.B. Metzler, pp. 165–80. [ Google Scholar] Remediation projects: reclaim or restore polluted and disrupted environments – these artists often work with environmental scientists, landscape architects and urban planners. [52] [53] Spaid, Sue (2002). Ecovention: current art to transform ecologies. Cincinnati, OH: The Contemporary Arts Center; Green Museum; EcoArtSpace. ISBN 0917562747. Archived from the original on 2016-03-08 . Retrieved 2015-08-23.Kagan, Sacha. "The practice of ecological art". PLASTIK: art & science. PLASTIK. Archived from the original on 3 March 2016 . Retrieved 23 August 2015. Along with classics like Masanobu Fukuoka’s The Dragonfly Will Be the Messiah and Rachel Carson’s The Silent Spring; there is the work of many contemporary thinkers, such as Greta Thunberg’s No One is Too Small to Make a Difference, Amitav Ghosh’s Uncanny and Improbable Events, and George Monbiot’s This can’t be happening. Anthroposphere: The Oxford Climate Review (2022). 'Art and Climate Change: Separate Bubbles or Mutual Membrane?' . Oxford: Oxford Climate Society . Retrieved 12 July 2023.

Prigann, Herman; Strelow, Heike; David, Vera (2004). Ecologcial aesthetics: art in environmental design: theory and practice. Switzerland: Basel [etc.]: birkhauser. ISBN 3764324244. Strelow, (Heike (1999). Natural Reality: Artistic Positions Between Nature and Culture/Kunstlerische Positionen Swischen Natur und Kultur. Stuttgart: Ludwig Forum fur Internationale Kunst. Stoltz, Barbara. 2023. Künstlerische Konzepte versus Kunsttheorie seit der Renaissance—aus der Sicht der Moderne und Postmoderne. In Grundlegende Konzepte der Renaissance in der Kunst der Moderne, Postmoderne und Gegenwart. Widerlegung, Wiederaufnahme, long durée. Edited by Barbara Stoltz. Bern: Peter Lang Verlag, In redaction. [ Google Scholar] I found it quite hard to finish, Personally, I found it much harder to finish this booklet then, say, Mark Fisher or Franco Berardi (or even Sigmind Freud). I don't vibe with this author at all...even though I am interested in the topic. Baum, Kelly; etal. (2010). Nobody's Property: Art, Land, Space, 2000-2010. Princeton, New Jersey: Princeton University Art Museum, Distributed by Yale University Press.

Coincidentally, Morton lives near the Rothko Chapel in Houston and has watched people leave unmoved while others sit for hours soaking in the paintings. And he reminds is that something peculiar can happen to people as they stand in front of great works of art. Garber, Elizabeth. "Social Restoration". Art & Ecology: Perspectives and Issues. Greenmuseum.org. Archived from the original on 16 December 2010 . Retrieved 4 September 2015. Feige, Daniel Martin. 2020. Die Funktionalität der Kunst? Für einen revidierten Begriff künstlerischer Autonomie. In Funktionen der Künste. Transformatorische Potentiale künstlerischer Praktiken. Edited by Birgit Eusterschulte, Christian Krüger and Judith Siegmund. Stuttgart: J.B. Metzler, pp. 33–44. [ Google Scholar]