The genre of art known as Ecological Art, or, more commonly, Eco Art, is growing not only as a movement but also as a topic of discussion among scholars. While a selection of scholars have attempted to clearly define this genre of art, a great number have also focused on the various effects that Eco Art has or could possibly have upon both the biotic and anthropic spheres of the environmental movement. Another common topic that is discussed in the scholarly conversation concerning Eco Art is the ability of visual images to communicate with people in a way that textual images and quantitative images cannot. Additionally, scholars discuss the ability of Eco Art to work with and portray scientific findings in a way that can be better noticed and understood by the public. By examining the congruent and controversial ideologies held by Eco Art scholars, one can gain a better understanding of the multi-faceted composition of the continuously evolving genre and the goals and actual effects of this Ecological Artwork.

       A well-thought-out definition of Ecological Art can be found in the Ruth Wallen’s article entitled “Ecological Art: A Call for Visionary Intervention in a Time of Crisis.” In this piece, Wallen describes this genre as art that is “grounded in an ecological ethic and systems theory, addressing the web of interrelationships between the physical, biological, cultural, political, and historical aspects of an ecosystem” (Wallen). Through this definition, it is clear that Wallen believes that Eco Art has the ability to span many boundaries, and that it frequently does so. By crossing the boundaries between the physical, the biological, the cultural, the political, and the historical, Eco Art is able to tie these extremely different aspects together, allowing people to find similarities and realize the interconnectedness of these different aspects.

       The genre of Eco Art is also defined by Beverly Naidus, the author of the book, Arts for Change: Teaching Outside the Frame. In this book’s chapter on the best and most effective methods of teaching Eco Art, Naidus defines the term as “art that address the ecological crisis by reclaiming, restoring, and remediating damaged environments and/or informs audiences about the environmental problems we face and how they are intricately connected to social issues, and/or re-envisions a just, ecological future” (62). In this definition, Naidus emphasizes the ability of Eco Art to make a tangible, evident difference in the physical ecosystem as well as its ability to influence the human audience through passing on information concerning current environmental crises. While Naidus’ definition does touch on the idea that Eco Art has the ability to connect environmental issues and social issues, it does not focus on the interconnectedness of the multiple facets that Wallen’s definition distinguishes and emphasizes. Additionally, while Wallen’s definition discusses the ability of Eco Art to draw upon the history of different ecosystems in order to better portray the current crises, Naidus’ definition suggests Eco Art’s more futuristic focus and goal—through making, viewing, and sharing this type of art, Naidus believes that humans will have a better chance at shaping a more environmentally healthy and stable world.

        Another topic that is frequently discussed in the conversation on Eco Art is the primary goal (or goals) of Eco Art and the effectiveness by which those goals may be reached. For many participating scholars, this primary end of the genre is to promote some form of activism. The use of Eco Art as a means by which to encourage social activism is evident in Terre Duffy’s article, "Lovely Weather Donegal Residencies: Art and Climate Change as Public Art Project." In this article, Duffy examines the ways in which the creation of Eco Art that addresses the impending climate crisis of our world has had the ability to raise the awareness of the issue in the eye of the public. Though the art itself is not changing the condition of the environment or atmosphere, Duffy claims that the town of Donegal’s public Eco Art project has allowed the citizens of this town and surrounding areas to become more accustomed to the climate change problem at hand, and see it less as a cloud of doom and gloom and more as a crisis that human beings do have a chance at combatting. The leaders of the community-wide project stated that they “believe that an effective public artwork does not patronize or placate its public” (Duffy 196). A similar view can be found in the Natural World Museum’s book, Art in Nature: Nature, Creativity, and Our Collective Future. This compilation of international Eco Art takes the first few pages to ponder the effect art can have on the environmental crises. It muses, “Can art really change the environment? Perhaps not directly, but it is a powerful communications medium that can open our eyes, mind and heart” (Art in Nature10). This compilation of Eco Art in the form of a book hopes to inspire the book’s audiences into action through whatever type of activism they may be able or willing to do. Returning to Wallen’s piece, it is evident that this role of Eco Art to inspire change is also a primary goal in Wallen’s argument. She states that Eco Art should “inspire, advocate and innovate” (Wallen 235). Wallen views the ability of Eco Art to do these three things as a form of activism in itself, and claims that term “activism” should not be confined to simply one aspect of a piece of art. Instead of sectioning activism off as an outcome that is separate from the other possible outcomes of a piece of Eco Art, Wallen argues that the activism of a work of art can stem from work that focuses on “physical innovation, transformation and restoration” (Wallen 237) as well as “sociopolitical activism” (Wallen 237) and even “ecological values and perceptions” (Wallen 237).

While Duffy and the editors of Art in Nature agree that the source of activism in most Eco Art is found in the ability of the art to inspire and raise awareness in human beings, other scholars such as Peter Warshall agree with Wallen that Eco Art can be physically innovative and directly affect the environment that it is placed in. In his article called “Eco-Art” Warshall examines the work of several Eco Artists who have created works that not only startle and catch the attention of human viewers, but that also directly influence their environments in some way or another. Through discussing the sculptures of Lynn Hull that provide nesting places for hawks and the plant bombs of Katheryn Miller that reintroduce native plants into areas with diminished native plant populations, Warshall emphasizes the clear impact that Eco Art may have on combatting environmental issues without the use of the middle man that is the art’s viewers.

       Another topic that has arisen in the conversation is the role that science plays in relation to Eco Art. In Joseph Emmanuel Ingoldsby’s article, “Vanishing Landscapes: The Atlantic Salt Marsh,” the concept of science-influenced Eco Art is examined. Ingoldsby, an artist himself, discusses his reliance upon scientific measurements and discussions when creating a piece of Eco Art. Relying on the input of scientists, governmental agencies, environmental organizations and the community, Ingoldsby attempts to make art exhibits that have the ability to share general or even detailed scientific concepts or discoveries in a way that is more accessible to the public and is easier for them to understand. Wallen also discusses the strong reliance on science in her Eco Art in another one of her articles. This article, “Of Story and Place: Communicating Ecological Principles Through Art,” discusses the way in which scientific documentation of changing ecosystems can actually be recorded in photographs and displayed as a form of Eco Art. Wallen states that her “work is informed as much by scientific as by artistic traditions” (Wallen 179).

        Although critiques such as Warren, Ingoldsby, Warshall, and Naidus view Eco Art to be an extremely helpful attribute to the environmental movement, be it through raising social awareness, directly influencing an environment, or aesthetically displaying scientific evidence, not all scholars of the subject view its effects in such an overwhelmingly positive light. One such scholar, Malcolm Miles, suggests in his article, “Representing Nature: Art and Climate Change,” that some Eco Art is not quite as beneficial to the environmental movement as many would like to believe that it is. Miles ponders the question of “whether art which represents the issues and effects of climate change has the capacity…to shift awareness and provoke action” (Miles 31).  Acknowledging that many pieces of Eco Art, specifically climate change themed Eco Art, have the ability to capture the viewer’s attention and cause them to think about the problems at hand, Miles also believes that many pieces of art are not able to overcome “the gap between consumption of the spectacle and the step to personal action” (Miles 31). Though Miles’ article is not entirely pessimistic as he argues that some Eco Art has been able to draw attention to the problems at hand—an argument that is, in fact, similar to many of the aforementioned critiques—this article suggests that he is much more wary of claiming Eco Art to hold more power than it actually does.

       The sources examined here are only a small representative of the growing conversation surrounding the genre of art known as contemporary Eco Art. Despite this relatively small sample size of the existing work in this sphere, these particular sources do allow for a well-rounded introduction to the broad topic. Through these sources, a better understanding can be gained of Eco Art’s defining parameters, its possible ability to directly affect the environment, raise awareness of environmental issues, and promote activism, as well as its limitations in actually influencing people so much as to effect true change.

 

 

 

 

 

 

 

 

 

Sources

 

Duffy, Terre. "Lovely Weather Donegal Residencies: Art and Climate Change as Public Art Project." Leonardo 45.2 (2012): 196. Web. 15 Oct. 2014.

 

Ingoldsby, Joseph Emmanuel. “Vanishing Landscapes: The Atlantic Salt Marsh.” Leonardo. 42.2. MIT Press: 2009. 124-131. Project Muse. Web. 11 Oct. 2014.

 

Miles, Malcolm. "Representing Nature: Art and Climate Change." Cultural Geographies 17.1 (2010): 19-35. EBSCO. Web. 22 Oct. 2014.

 

Naidus, Beverly. Arts for Change: Teaching Outside the Frame. New Village Press. Oakland: 2009. Print.

 

Natural World Museum. Art in Action: Nature, Creativity and Our Collective Future. Palace Press International: 2007. Print.

 

Wallen, Ruth. Ecological Art: A Call for Visionary Intervention in a Time of Crisis. Leonardo 45.3. 234-242. 2012. Web. 12 Oct. 2014.

 

Wallen, Ruth. “Of Story and Place: Communicating Ecological Principles Through Art.” Leonardo. 36.3. MIT Press: 2003. Project Muse. Web. 08 Oct. 2014.

 

Warshall, Peter. “Eco-Art.” Whole Earth. Issue 101. New Whole Earth, LLC. 2000. 92-96. ProQuest Gold. Web. 28 Sept. 2014.