Landscape, Ecology, Art and Change
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Landscape Painting
Landscape Painting Kate Sandilands Joyce Nelson, Sign Crimes/Road Kill: From Mediascape to Landscape (Toronto, Between the Lines 1992). Andrew Wilson, The Culture of Nature: North American Landscape from Disney to the Exxon Valdez (Toronto, Between the Lines 1991). As Raymond Williams wrote some time ago, "the idea of nature contains, though often unnoticed, an extraordinary amount of human history."'At the same time as the idea marks a series of radically different, and historically changing, usages, relations and meanings, it has also come to represent some basic quality, some underlying continuity that differentiates the epiphenomenal from the essential in humanity's vision of itself and the world. Thus, the movement between the "nature" of something and the something called "nature" shows a social order in the throes of self-definition: the tension between the production of an "essence," a sense of a historical trajectory, and the synchronic proliferation of plural meanings, in the working-out of "nature." Joyce Nelson and Andrew Wilson both capture this tension well; each shows the constitution of nature through the multiple, conflicting, and often destructive dis- courses of modernity and postrnodemity. Indeed, they both go a long way toward showing just how much human history is contained in the idea of "nature." In an era marked by "ecological crisis," such investigations would seem crucial indeed. But these books are not panic texts, not works of social inquiry parroting the voices of "hard" science on environmental apocalypse. They are, instead, works which show the tensions and contradictionsof North Americans's relations to "nature," something that all too many contemporary writings of an environmentalistvein overlook in their singular condemnation of the more destructive elements of western social life. -
Eighteenth-Century English and French Landscape Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. -
The Hudson River School
Art, Artists and Nature: The Hudson River School The landscape paintings created by the 19 th century artist known as the Hudson River School celebrate the majestic beauty of the American wilderness. Students will learn about the elements of art, early 19 th century American culture, the creative process, environmental concerns and the connections to the birth of American literature. New York State Standards: Elementary, Intermediate, and Commencement The Visual Arts – Standards 1, 2, 3, 4 Social Studies – Standards 1, 3 ELA – Standards 1, 3, 4 BRIEF HISTORY By the mid-nineteenth century, the United States was no longer the vast, wild frontier it had been just one hundred years earlier. Cities and industries determined where the wilderness would remain, and a clear shift in feeling toward the American wilderness was increasingly ruled by a new found reverence and longing for the undisturbed land. At the same time, European influences - including the European Romantic Movement - continued to shape much of American thought, along with other influences that were distinctly and uniquely American. The traditions of American Indians and their relationship with nature became a recognizable part of this distinctly American Romanticism. American writers put words to this new romantic view of nature in their works, further influencing the evolution of American thought about the natural world. It found means of expression not only in literature, but in the visual arts as well. A focus on the beauty of the wilderness became the passion for many artists, the most notable came to be known as the Hudson River School Artists. The Hudson River School was a group of painters, who between 1820s and the late nineteenth century, established the first true tradition of landscape painting in the United States. -
1 the Alps, Richard Strauss's Alpine Symphony and Environmentalism
Note: This is an expanded version of an article appearing in the journal Green Letters (2011); it is intended for a literary rather than musical readership, and the punctuation and spellings are British. The Alps, Richard Strauss’s Alpine Symphony and Environmentalism By Brooks Toliver Introduction After love and death, nature may well be European music’s preferred theme; it figures significantly in troubadour cansos, pastoral madrigals and operas, tone poems, impressionistic preludes, and elsewhere. In light of this it is puzzling how seldom actual nature is invoked in musical discourse. Composers—Richard Strauss among them—have been known to seek out nature in the manner of landscape painters, but there is no similar tradition among the critics, who ground nature-music and their judgments of it not in nature but in other music and criticism. When confronted with the vivid imagery of Strauss’s Alpine Symphony (1915), contemporaries wrote primarily of the aesthetics of vivid imagery, relegating the images themselves to the level of anecdote. Musicologists are quite adept at exploring the relationship of works to cultural constructions of nature, but relatively few have brought real environments into the discussion of canonical music. There has as yet been no serious consideration of how the Alps might be critical to an appreciation of the Alpine Symphony, nor has anyone theorized what the consequences of the Alpine Symphony might be for the Alps. Surely it is worth asking whether it metaphorically embodies sustaining or destructive relationships to the environment it represents, if it respects or disrespects nonhuman nature, and if love of nature is contingent on a symbolic domination of it, to name just three questions. -
Hewitt Gallery of Art Catalogues: Psychogeography
psychogeographyartists’ responses to place [and displacement] in real and imagined spaces april 1 - may 1, 2019 gallery director’s statement Frederick Brosen Psychogeography explores artists’ responses to place [and displacement] in real and imagined spaces. From the psychic Ben paljor chatag to the specific, from recollection to recording, the works in this exhibit recreate the power of place in the human jeFF chien-hsing liao imagination. The nine artists in this group exhibition have traversed the dahlia elsayed globe, from the North Pole to Alexandria, Egypt, from Tibet to Italy, and from Flatbush to Central Park. Some travel in ellie ga the imaginative realms, others may never leave the studio. This exhibit takes inspiration from the notion of dérive or kellyanne hanrahan “drifting,” a word coined by French Marxist philosopher, Guy Debord, one of the founders of the Situationists International emily hass movement. Hallie Cohen | Director of the Hewitt Gallery of Art matthew jensen “One can travel this world and see nothing. To achieve sarah olson understanding it is necessary not to see many things, but to look hard at what you do see.” curated By hallie cohen - Giorgio Morandi aBout the artists Frederick Brosen’s exquisite, highly detailed watercolors capture the light, the architecture, and the aura of a New York City street or a Florentine strada, while Ben paljor chatag’s watercolors deal with “inner qualities” he discovered in Tibet before emigrating to the United States. Taiwanese-born jeFF chien-hsing liao’s large- scale black and white photographs of the iconic Central Park are based on the Chinese lunar calendar and call to mind the vertical format and multiple perspectives of traditional Chinese landscape painting. -
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. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
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. -
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. -
Introduction of Tai Xiangzhou
Introduction of Tai Xiangzhou Tai Xiangzhou was born in Yinchuan, China in 1968. He started studying calligraphy with Hu Gongshi from a young age and then followed Master Feng Qiyong. Tai graduated with a Doctorate from Academy of Arts & Design, Tsinghua University, Beijing, China. He is an influential academic artist in the contemporary art field. Tai’s PhD dissertation entitled Observations of Astronomical Phenomena—the Concept of Landscape Painting and its Structure has been highly admired by renowned art historian, professor Fang Wen, who wrote the preface as an encouragement. In recent years, this work is becoming increasingly influential in the art history world, nationally and internationally. Tai has long concentrated on rejuvenating the idealistic forms of traditional Chinese landscape painting. His dedication to the origin and development of “Mountain and Water Representation” (Shan Shui Tu Xiang) has attracted attention from prominent eyes in the field of art. His artworks are largely based on his artistic ideologies. His earlier works faithfully harmonizes with traditional landscape painting from Song Dynasty (960-1279). From 2013 and on, with plentiful researches Tai has done for his doctoral dissertation, he further expands his perspectives of art creations into cosmology, astrology, and how they intertwine with the aesthetics of painting. His reputed series Genesis, Celestial Tales, and Cosmic Symphonies, can be found in the collection of the university museums of Harvard, Princeton, and Yale. Because of their ability to invite viewers and readers to interact with them corporeally, ritualistically, Tai’s artworks and scholarly writings are frequently discussed in art history classes at distinguished universities. -
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 -
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.