DOCSLIB.ORG

Ecological Art Exhibition As Transformative Pedagogy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ecological Art Exhibition As Transformative Pedagogy University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Public Access Theses, Dissertations, and Student Research from the College of Education and Human Sciences, College of Education and Human Sciences (CEHS) 2020 Ecological Art Exhibition as Transformative Pedagogy Stacey Skold University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/cehsdiss Part of the Fashion Design Commons, Fine Arts Commons, Museum Studies Commons, Other Education Commons, and the Social and Behavioral Sciences Commons Skold, Stacey, "Ecological Art Exhibition as Transformative Pedagogy" (2020). Public Access Theses, Dissertations, and Student Research from the College of Education and Human Sciences. 363. https://digitalcommons.unl.edu/cehsdiss/363 This Article is brought to you for free and open access by the Education and Human Sciences, College of (CEHS) at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Public Access Theses, Dissertations, and Student Research from the College of Education and Human Sciences by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ECOLOGICAL ART EXHIBITION AS TRANSFORMATIVE PEDAGOGY by Stacey Skold A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: Human Sciences (Textiles, Merchandising & Fashion Design) Under the Supervision of Professors Mary Alice Casto and Barbara Trout Lincoln, Nebraska August, 2020 ECOLOGICAL ART EXHIBITION AS TRANSFORMATIVE PEDAGOGY Stacey Skold, Ph.D. University of Nebraska, 2020 Advisor: Mary Alice Casto Environmental degradation is considered one of the biggest issues facing humankind. The problem is deep and global With fast fashion playing a significant, yet underrealized role. Scholars have established that developing the sustainable behaviors necessary to mitigate the effects of environmental degradation is a complex process, that knowledge of environmental degradation alone is insufficient to develop sustainable behaviors, and that both attitudinal and behavioral transformations are necessary for global environmental action and steWardship. As a result, researchers have called for neW approaches to environmental education to promote transformative learning. Art experiences can function as a powerful tool in learning and transformation, but art exhibition experiences are underutilized in environmental education. This quasi- experimental study Was designed to determine whether an ecological art exhibition, Canary Concepts and the Hidden Danger of Ubiquitous Things, could be associated With internal factors related to sustainable behaviors in fast fashion consumption—specifically an environmental attitude consisting of knowledge, values, and intended sustainable behaviors. This repeated measures study compared pre-exhibition and post-exhibition knowledge, values, and intended sustainable behaviors test scores of 163 University of Nebraska-Lincoln student participants. They consisted of 148 females and 15 males ranging betWeen 18 and 34 years-of-age. TWo-tailed t-tests were used to determine Whether there was a statistically significant increase in knowledge, values, and intended sustainable behaviors associated with the exhibition-intervention. Results indicated a statistically significant increase in knowledge, values, and intended sustainable behaviors supporting the primary hypothesis that an ecological art exhibition experience can be an effective educational intervention and transformative experience. Results also demonstrated the importance of the holistic nature of the exhibition experience, as the majority of participants attributed changes in knowledge, values, and intended sustainable behaviors to the exhibition-as-a whole rather than individual labels or installations. Relationships betWeen participants’ characteristics and changes in knowledge, values, and intended sustainable behaviors Were also explored. Keywords: environmental attitude, ecological art exhibition, environmental education, environmental degradation, sustainable education, fast fashion, textile industry, environmental attitude, environmental knowledge, values, transformative learning theory, fashion footprint, chemical pollution, plastic pollution iv Dedication This dissertation is dedicated to my family. I am especially grateful for the patience and support of my husband, Mark; my daughters, Halsten and HathaWay; my parents, John and Virginia; and my brother, Jason. It is also dedicated to finding tools to live in the After…to keep our boat afloat (to paraphrase Mary Pipher, 2013) and to sail on in a world with safer chemicals, better legislation, and a whole lot more trust. v Acknowledgements This dissertation and the Canary Concepts and the Hidden Danger of Ubiquitous Things exhibition could not have taken place without the involvement of many others. I appreciate the commitment, professionalism, and knowledge of my committee at the University of Nebraska-Lincoln. I am indebted to: Dr. Casto, for her insight, excitement, and the confidence she instilled; Dr. Trout, for her support early in my courseWork as my topic evolved; Dr. Torquati, for her guidance developing the surveys and her attention to detail; Dr. Starkey, for her commitment to this project and her attention to readability; and Dr. Shope, for his expertise in research methods. In addition, the following people and organizations played an important role in the writing process: The Nebraska Evaluation and Research (NEAR) Center; Cindy DeRyke, Katherine Pierson, and Barb Sanford (editors); and Stacy Asher, Associate Professor of Art, Who collaborated on the graphic design. vi The Canary Concepts and the Hidden Danger of Ubiquitous Things exhibition Was the heart of this study. I appreciate those who played a special role in making it a reality: The Textiles, Merchandising & Fashion Design Department faculty and staff, including Assistant Professor Michael Burton, Ardis James Professorship Studio Assistant Leah Sorensen-Hayes, and Kylin Flothe; The students who participated in the study; Goodwill Industries of Nebraska; My immediate and extended family who “showed up” for both installing and deinstalling the exhibition; and Chris Jordan, for lending his transformative movie trailer, Midway: Message from the Gyre—the anchor for the exhibition and the “key for the lock.” vii Table of Contents List of Figures ............................................................................................................ ix List of Tables ............................................................................................................. xii List of Appendices ..................................................................................................... xiv Abbreviation Key ...................................................................................................... xv Chapter 1—Introduction ............................................................................................ 1 Background of Study ........................................................................................... 1 Purpose of the Study ............................................................................................ 2 Research Questions, Objectives, and Hypotheses ............................................... 3 Primary .......................................................................................................... 3 The Primary Research Question .............................................................. 3 The Primary Research Objective ............................................................. 3 Primary Hypotheses ................................................................................. 3 Secondary ...................................................................................................... 4 Secondary Research Question ................................................................. 4 Secondary Objective ................................................................................ 4 Secondary Hypotheses ............................................................................. 4 Chapter 2—Research and Literature RevieW: Fast Fashion (FF) and Environmental Degradation (ED) .................................................................. 5 Introduction ......................................................................................................... 5 Fast Fashion (FF) Development .......................................................................... 5 Fast Fashion (FF) in the Consumption and Aesthetic Ages .......................... 9 Slow and Circular Fashion ............................................................................ 12 Fast Fashion (FF) System and Its Footprint ................................................. 16 viii Pre-consumption Stage: Extraction, Production, and Distribution ............... 17 Fiber Types: Natural and Manufactured .................................................. 18 Textile Dyeing and Finishing .................................................................. 21 Consumption Stage: Use and Maintenance .................................................. 23 Post-consumption Stage ................................................................................ 24 Fast Fashion (FF) Footprint—Chemical and Plastic Pollution ..................... 25 Environmental
Load more

Recommended publications
  • Sustainability in Designing of Plastic Arts
    International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-7, Issue-6S5, April 2019 Sustainability in Designing of Plastic Arts Arjun Kumar Singh, Jasvinder Singh Abstract:In United States, Sustainable design is called Baudelaire's declaration, articulated destructive changes environmentally sustainable design in Art education. It is also appearing in the surrounding of the mankind. His research referred to as environmentally conscious Art Design. In Europe, work was the earliest testimony in which environment was it is mentioned as eco-design. It is a modern philosophy of Visual directly brought in relation with the human being[1]-[5]. Arts, where emphasis is on design-theory and relevant aesthetics. With his book, Marsh wanted to bring to our notice Socio-economical development and proliferation of waste has generated a new awareness. For pliable atmosphere, various the changes produced by the human actions in the physical stakeholders are requested to search solutions for these complex conditions of our planet by pointing dangers caused by issues. Even children in preparatory schools are made aware of imprudence in planning and execution of development their locale and through new ethics, are trained to become more projects. He wanted to caution his readers as he found greed responsible and watchful. For invigorating their locale, and selfishness forcing industrialists in western nations to environmentally conscious thinkers are engaging artists to go for new industries in new areas. He knew that the contextualize aesthetically, with new art designs, various human depletion of natural sources at alarming stage in all issues .The ultimate goal is to create a man friendly environment operations was interfering with the spontaneous by making Sustainable Arts from cheap materials in the light of arrangements in Nature.
    [Show full text]
  • Eco-Art and Design Against the Anthropocene
    sustainability Article Making the Invisible Visible: Eco-Art and Design against the Anthropocene Carmela Cucuzzella Design and Computation Arts, Concordia University, Montreal, QC H3G 1M8, Canada; [email protected] Abstract: This paper examines a series of art and design installations in the public realm that aim to raise awareness or activate change regarding pressing ecological issues. Such works tend to place environmental responsibility on the shoulders of the individual citizen, aiming to educate but also to implicate them in the age of the Anthropocene. How and what these works aim to accomplish, are key to a better understanding the means of knowledge transfer and potential agents of change in the Anthropocene. We study three cases in this paper. These are examined through: (1) their potential to raise awareness or activate behavior change; (2) how well they are capable of making the catastrophic situations, which are invisible to most people, visible; and (3) how well they enable systemic change in the catastrophic situations. In the three cases studied, we find that they are successful in helping to raise awareness and even change individual behavior, they are successful in rendering the invisible visible, but they are incapable of engendering any systemic change of the catastrophic situations depicted. Keywords: Anthropocene; public art; eco-art installations; eco-design; raising awareness Citation: Cucuzzella, C. Making the Invisible Visible: Eco-Art and Design 1. Introduction against the Anthropocene. Sustainability 2021, 13, 3747. https:// Earth has experienced many planetary-scale shifts in its 4.5-billion-year history. The doi.org/10.3390/su13073747 first signs of life, in fact, forcefully altered the future of the planet.
    [Show full text]
  • Public Pedagogies of Arts-Based Environmental Learning and Education for Adults European Journal for Research on the Education and Learning of Adults 8 (2017) 1, S
    Walter, Pierre; Earl, Allison Public pedagogies of arts-based environmental learning and education for adults European journal for Research on the Education and Learning of Adults 8 (2017) 1, S. 145-163 Empfohlene Zitierung/ Suggested Citation: Walter, Pierre; Earl, Allison: Public pedagogies of arts-based environmental learning and education for adults - In: European journal for Research on the Education and Learning of Adults 8 (2017) 1, S. 145-163 - URN: urn:nbn:de:0111-pedocs-140063 - DOI: 10.3384/rela.2000-7426.relaOJS88 http://nbn-resolving.org/urn:nbn:de:0111-pedocs-140063 http://dx.doi.org/10.3384/rela.2000-7426.relaOJS88 in Kooperation mit / in cooperation with: http://www.ep.liu.se Nutzungsbedingungen Terms of use Gewährt wird ein nicht exklusives, nicht übertragbares, persönliches und We grant a non-exclusive, non-transferable, individual and limited right to beschränktes Recht auf Nutzung dieses Dokuments. Dieses Dokument ist using this document. ausschließlich für den persönlichen, nicht-kommerziellen Gebrauch This document is solely intended for your personal, non-commercial use. Use bestimmt. Die Nutzung stellt keine Übertragung des Eigentumsrechts an of this document does not include any transfer of property rights and it is diesem Dokument dar und gilt vorbehaltlich der folgenden Einschränkungen: conditional to the following limitations: All of the copies of this documents must Auf sämtlichen Kopien dieses Dokuments müssen alle retain all copyright information and other information regarding legal Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen Schutz protection. You are not allowed to alter this document in any way, to copy it for beibehalten werden. Sie dürfen dieses Dokument nicht in irgendeiner Weise public or commercial purposes, to exhibit the document in public, to perform, abändern, noch dürfen Sie dieses Dokument für öffentliche oder distribute or otherwise use the document in public.
    [Show full text]
  • Pandemic Response Racial Justice Initiative Environmental Analysis
    Special 2020 Issue Vol. 53 No. 1 Pandemic Response Racial Justice Initiative Environmental Analysis The College transitions to remote learning Three areas of transformative action Celebrating 50 years President’s Message I write this message at the determination, endless creativity and a profound commitment to each and outright strange conditions, we found ways to broaden our to work through shifting mountains of logistics and multiple scenarios for end of a year that has continually other and our shared ideals. While Pitzer’s campus has been closed since academic and co-curricular ambitions. We kept innovating. Pitzer Now, delivering a Pitzer education in a pandemic. defied and redefined our sense mid-March, and we will start spring 2021 online, you will read how our Pitzer@Home, and the People’s Pitzer are just some of the programs That work goes on. In the midst of such uncertainty, we do know this: of reality. We have struggled community came together even as we were forced apart. These pages show that were born as faculty, students and staff created new platforms to Pitzer’s commitment to its brand of liberal arts education and core values at times to comprehend the how we individually and collectively rose to meet this moment and, as the address our community’s needs. On December 10, Pitzer and the Justice endures. When we return to campus, not everything will or should go moment we’re living in. We have Dean of Faculty Allen Omoto says, “learned from each other.” Education Initiative of The Claremont Colleges launched the country’s back to the way it was before.
    [Show full text]
  • Artlink Sustainable Art Consulting
    W SUSTAINABLE ART CONSULTING ARTLINK VISION OF SUSTAINABILITY To harness the power of art and craft in driving awareness to the fragility and preciousness of the world we live in and to the variety and fascination of cultural voices. ARTLINK MISSION OF SUSTAINABILITY To conduct ourselves in the most responsibly sustainable way possible, become the world’s first certified, sustainable global art player and set a new industry standard. We combine methodologies designed to promote cultural sustainability and regeneration with eco-sensitive practices, sustainable logistics and nourishment of local creative communities. In 1990, while a student in New York City, I joined the founders of Amanaka'a, an organization launched to bring awareness to the rapid, irresponsible destruction of the Brazilian rainforest. Following the Chico Mendez Campaign, Amanaka'a established Amazon Week in New York. For a decade, it was the largest global event of its type. In 1992, I spent two months in the jungles of Brazil, producing a documentary film about the internal violence against the local rubber tappers. That film, which opened the NGO Assembly of the Earth Summit in Rio de Janeiro that year and later opened the PBS nationwide season in the US, marked an important milestone in my understanding of how far a personal drive for a more sustainable world may go. This drive has led me in many different directions over the years and matured into different activities in all of my undertakings. At ArtLink, we believe that any drive for sustainability starts with self-awareness and develops through understanding the importance of the sustainability and regeneration of cultures.
    [Show full text]
  • Thomas Erben Gallery Ecofeminism(S)
    Thomas Erben Gallery ecofeminism(s) curated by Monika Fabijanska June 19 - July 24, 2020 Press Day: Thursday, June 18, 2020, 12-6pm Reopens: September 8-26, 2020 526 West 26th Street, Suite 412-413 New York, NY 10001 Gallery Hours: Tue - Sat, 10-6pm Summer Hours: Mon – Fri , 11-6pm (June 29-July 24) NEW INFORMATION (updated August 28, 2020) ecofemisnism(s) online: PRESS RELEASE PRESS KIT: WORK DESCRIPTIONS & IMAGES LIST OF ARTISTS LIST OF ARTWORKS IMAGES ESSAY EXHIBITION PRESS UPCOMING PROGRAMS: Thursday, September 10, 6:30 PM EST Christies’s webinar: Spotlight on ecofeminism(s) REGISTER This complimentary webinar explores the critically acclaimed group exhibition ecofeminism(s) at Thomas Erben Gallery. Exhibition curator Monika Fabijanska and gallerist Thomas Erben will join Christie’s Education’s Julie Reiss for a discussion about the show’s timeliness and the increasing centrality in the art world of art grounded in ecological and other human rights concerns. Wednesday, September 16, 6:30 PM EST Zoom conversation with Raquel Cecilia Mendieta, niece and goddaughter of Ana Mendieta and Mira Friedlaender, daughter of Bilge Friedlaender, moderated by Monika Fabijanska. LINK TO ZOOM Meeting ID: 969 1319 1806 Password: 411157 RECORDED PROGRAMS GALLERY WALKTHROUGH WITH THE CURATOR ZOOM CONVERSATIONS moderated by curator Monika Fabijanska: Wednesday, July 8, 6:30 PM EST Lynn Hershman Leeson Mary Mattingly Hanae Utamura Julie Reiss, Ph.D., Christie’s Education CLICK TO WATCH THE RECORDING Wednesday, July 15, 6:30 PM EST Aviva Rahmani Sonya Kelliher-Combs
    [Show full text]
  • Title/Description of Lesson Andy Goldsworthy - Environmental Art
    VViiissuuaalll && PPeerrffoorrmmiiinngg AArrttss PPrrooggrraamm,,, SSJJUUSSDD AArrttss CCoonnnneeccttiiioonnss Title/Description of Lesson Andy Goldsworthy - Environmental Art Grade Level: 7th – 12th Lesson Links Objectives/Outcomes Materials and Resources Vocabulary Procedures Criteria for Assessing Student Learning California Standards in Visual & Performing Arts Other Resources Objectives/Outcomes (Return to Links) • To introduce students to Environmental Art. • To introduce students to the Environmental Artist Andy Goldsworthy. • Students will create their own Environmental Art Sculpture using found natural objects and the Elements of Art. • Students will evaluate their own sculpture by writing a brief paper about their artwork. The students will have an art critique. Materials and Resources (Return to Links) • Natural materials such as grass, twigs, leaves, flowers, etc. • Student Handouts • Photographs and books of Andy Goldsworthy’s art and other examples of Environmental Art • Camera for documenting student artworks Visual & Performing Arts Program, SJUSD Author: Kristi Char Page 1 of 9 Art Connections Last Updated: 10/23/2011 Vocabulary (Return to Links) *Definitions taken from the Green Museum web site @ www.greenmuseum.org Environmental Art: Art that helps improve our relationship with the natural world. It is an umbrella term which encompasses eco-art, land art, ecoventions, earth art, earthworks, and art in nature. Ecological Art (Eco-art): A contemporary art movement which addresses environmental issues and often involves collaboration, restoration, and usually has a more activist agenda. Art in Nature: Art in nature projects are usually beautiful forms created in nature, using materials such as twigs, leaves, stones, flower petals, icicles, etc. They are usually small- scale projects which often involve an overt spiritual dimension and are seen by artists as healing rituals for the earth.
    [Show full text]
  • The Ceramic Body: Concepts of Violence, Nature, and Gender
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 The eC ramic Body: Concepts of Violence, Nature, and Gender Chrysanna R. Daley Scripps College Recommended Citation Daley, Chrysanna R., "The eC ramic Body: Concepts of Violence, Nature, and Gender" (2016). Scripps Senior Theses. Paper 784. http://scholarship.claremont.edu/scripps_theses/784 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Ceramic Body: Concepts of Violence, Nature, and Gender Chrysanna Daley Submitted to Scripps College in Partial Fulfillment of the Bachelor of Arts Degree Professor Susan Rankaitis Professor Adam Davis December 2015 1 Acknowledgements A huge thank you to Professor Susan Rankaitis, Professor Adam Davis, Professor Nicole Seisler, Kirk Delman, T Robert, and the faculty of the Scripps College Art Department for your generous feedback, help, and advice. Thank you to my family for your unending encouragement and support of my artistic ventures. I would not be where I am today without all of you. 2 Table of Contents Introduction 4 On the Woman-Nature Connection 5 The History of Ecofeminism and Ecofeminist Art 11 Criticisms of Western Ecofeminism 20 My Work 21 Conclusion 22 Works Cited 25 3 Introduction Who exactly is “Mother Nature”, and why is she female? One issue that is of debate among proponents of ecofeminism, a field of study that combines environmentalism and feminism, is the validity of the association between nature and women.
    [Show full text]
  • A Designed Eco-Art and Place-Based Curriculum Encouraging Students’ Empathy for the Environment
    ecologies Case Report A Designed Eco-Art and Place-Based Curriculum Encouraging Students’ Empathy for the Environment Asvina Sunassee and Chandradeo Bokhoree * School of Sustainable Development and Tourism, University of Technology, La Tour Koenig, Mauritius; [email protected] * Correspondence: [email protected] Abstract: Environmental art education is gaining importance in schools as arts education begins to acquire a more significant role in environmental education. This emerging field of study is an interdisciplinary endeavor that is centered on the different fields of environmental education and visual art education and provides a means of making students aware of environmental issues through environmental art education. It has been suggested that students get into a relationship with nature prior to the request to conserve the environment in order to be nature connected. This abstract focuses on teaching and learning through the arts, a pedagogical way in which students discuss the challenging aspects of environmental issues. The aim of this study is to make students act like protectors of their environment through an eco-art place-based curriculum. This paper’s pedagogies will provide educators with a framework for developing environmental art education lessons and curricula. This experimental study has been planned to gather data from interviews and observation of students and by making the students participate in nature-related activities. The findings show that students prefer to let go of their fascination with formulating better ecological perspectives. On the positive side, a few students went through some frustration during the program and the activities. Students have given positive feedback on the program in positive terms, such as “fun”, “interesting”, and “cool”, to express their experience gained through the class activities.
    [Show full text]
  • Eco-Centricity in Art and Education. the Journal of Public Space [Online], 5(4): Art and Activism in Public Space, Pages 67-86
    FREMANTLE, C. 2020. The hope of something different: eco-centricity in art and education. The journal of public space [online], 5(4): art and activism in public space, pages 67-86. Available from: https://doi.org/10.32891/jps.v5i4.1385 The hope of something different: eco-centricity in art and education. FREMANTLE, C. 2020 This document was downloaded from https://openair.rgu.ac.uk The Journal of Public Space ISSN 2206-9658 2020 | Vol. 5 n. 4 https://www.journalpublicspace.org The Hope of Something Different: Eco-centricity in Art and Education Chris Fremantle Robert Gordon University, Gray's School of Art, United Kingdom [email protected] Abstract Educational theorist Gert Biesta proposes that we need to be “in the world without occupying the centre of the world.” (Biesta, 2017, p. 3). This injunction provides a frame with which to interrogate the hybrid practice of ecoart. This practice can be characterised by a concern for the relations of living things to each other, and to their environments. Learning in order to be able to act is critical. One aspect is collaboration with experts (whether those are scientists and environmental managers or inhabitants, including more-than-human). Another is building ‘commons’ and shared understanding being more important than novelty. Grant Kester has argued that there is an underlying paradigm shift in ‘aesthetic autonomy’, underpinned by a ‘trans-disciplinary interest in collective knowledge production’. (2013, np). This goes beyond questions of THE JOURNAL OF PUBLIC SPACE THE JOURNAL interdisciplinarity and its variations to raise more fundamental questions of agency.
    [Show full text]
  • MATERIAL SENSITIVITY for SUSTAINABLE ART PRODUCTION Ellie Barrett
    MATERIAL SENSITIVITY FOR SUSTAINABLE ART PRODUCTION Ellie Barrett INTRODUCTION: SUSTAINABILITY AND THE ART MARKET ‘Sustainability’ is a dirty word in the art world. The term has uncomfortable connotations, linking to individual artist’s career development, the impact of production and fabrication, and the economic value of artworks. Asking about ‘sustainability’ throws up questions about how materials for art are sourced, purchased, processed and, ultimately, how ethical it is to be continuously making objects which are mostly built to last, and must be stored and maintained indefinitely. Because of the plunging moral rabbit hole connected to sustainability, the art world - for the most part - appears to be in a state of strategic ignorance. The sheer mass of work that is churned out for art fairs or biennials; for sale at the enormous expense of the wealthy; or for institutional commissions to fill ambitious public programmes is staggering. Whilst the rest of the world is realising that industrial production is irreversibly damaging the planet, art has managed to avoid the scrutiny that other sectors have been subjected to. Hunger for contemporary art ownership has grown rapidly in the early twenty-first century, as the world’s top earners stockpile wealth with a need to spend it on original products. Artworks made from galvanized steel or cast platinum are fetching substantial sums of money at auction and the ongoing amassing of art objects is showing no signs of slowing, despite the current urgency to deal with the ethics of production. Whilst there is a growing demand, there is a growing need to produce.
    [Show full text]
  • The Ecofeminist Lens
    The Ecofeminist Lens: Nature, Technology & the Female Body in Lens-based Art Nikki Zoë Omes Nikki Zoë Omes S2103605 Master’s Thesis Faculty of Humanities, Leiden University MA Media Studies, Film & Photographic Studies Supervisor: Helen Westgeest Second Reader: Eliza Steinbock 14 August 2019 21,213 words Contact: [email protected] ​ Cover page collage created by writer. 1 Table of Contents Introduction 3 Chapter 1: Photographic Transitions in Representing the Human-Nature Relation 10 ​ ​ 1.1. From Documentary to Conceptual: Ana Mendieta’s Land Art 11 1.2. From Painterly to Photographic: The Female Nude in Nature 17 Chapter 2: The Expanding Moving Image of the Female Body in Nature 27 ​ ​ 2.1. From Outside to Inside: Ana Mendieta’s Films in the Museum 28 2.2. From Temporal to Spatial: Pipilotti Rist’s Pixel Forest as Media Ecology 35 Chapter 3: An Affective Turn Towards the Non-human/Female Body 42 ​ ​ 3.1. From Passive Spectator to Active Material: The Female Corporeal Experience 43 3.2. From Iconic to Immanent: The Goddess in Movement 49 Conclusion 59 Works Cited 61 Illustrations 68 2 Introduction I decided that for the images to have magic qualities I had to work directly with nature. I had to go to the source of life, to mother earth (Mendieta 70). Ana Mendieta (1948-1985) was a multimedia artist whose oeuvre sparked my interest into ​ researching the intersection between lens-based art and ecofeminism.1 Mendieta called her interventions with the land “earth-body works,” which defy categorization and instead live on within several discourses such as performance art, conceptual art, photography and film.
    [Show full text]