Posts about ecological crisis written by Jan Van Leiden II
Posts about Ecological crisis written by kracktivist ..
In the contexts set up by Araeen’s manifesto, it is an encouraging development that artists who do not portray themselves necessarily as environmentalists, and whose practices include a wider range of concerns, nonetheless address ecological issues with great acuity. One example is Sean Martindale’s Nature (2009), homespun by comparison with the elaborate and expensive installations of Horn, Eliasson and many others, but equally telling. Martindale carefully crafted large, cardboard block letters spelling N A T U R E and deposited the word/idea/concept/sculpture on the curb outside his home for pickup by the recycling crew. He was acting as a good, green citizen, putting his cardboard out for collection. He videoed the ensuing drama from a hidden location across the street, capturing cars stopping and backing up for a better look, pedestrians taking pictures of and discussing this gentle intrusion into their urban landscape. He caught the denouement, when city workers loaded the letters into their truck, compressed them, and drove away. If ecology can be defined as the science and humanistic perspective that studies the interactions between organisms and their environment, then this is an ecological artwork. It is low tech, made of recycled materials, and it disappeared within a few hours. Nature is not represented or pictured here in the typical mode of a landscape painting. Neither is the impossibility of its representation presented, as in the category of the Sublime. The work is conceptual to the extent that Nature is presented as language, as a concept. What Martindale catalyzes (and with what? A performance, a sculpture, an intervention?) is conversation about Nature, at home and on the street, his street. His work suggests that Nature is the ultimate global/local concern.
THE GLOBAL ECOLOGICAL CRISIS – Kaieteur News
As reclamation initiatives demonstrate, art and artists can do more than raise awareness of pressing ecological problems (crucial as that activity is in itself). In addition to the participatory and organizational dimensions of such projects, art has the advantage of making an emotional impact often unavailable to us now from the seemingly endless empirical data on climate change we receive through the media. This point is made well by scientist turned photographer and filmmaker James Balog in the documentary Chasing Ice (2012), directed by Jeff Orlowski. Balog’s team documents the rapid recession of glaciers in Alaska, Greenland, and Iceland not by spinning out numbers (though there are statistics) but by photographing and filming this remarkable evidence of climate change. Balog might well have used veteran ecological artist Iain Baxter&’s tongue in cheek but emotionally truthful maxim to describe the impact of this work: “A word is worth 1/1,000th of a picture.”