ART & the ANTHROPOCENE
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This lecture looking at the ways artists have looked at the non-human world, and increasingly towards human impacts on the environment, founded on the understanding that 'nature' as we understand it is a construct.
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ART & the ANTHROPOCENE
- 1. A R T & T H E A N T H R O P O C E N E S M 3 1 3 8 T H E C R E A T I V E C I T Y & U R B A N C R I T I Q U E
- 2. F R E D R I C K L A W O L M S T E A D THE CULTURE OF NATURE “In the broadest sense of the term, landscape is a way of seeing the world and imagining our relationship to nature. It is something we think, do, and make as a social collective.” -Alexander Wilson
- 3. F R E D R I C K L A W O L M S T E A D
- 6. PASTORAL PAINTING & LANDSCAPE DESIGN
- 7. LYNNE COHEN
- 9. LYNNE COHEN
- 10. MARK RUWEDEL, THE ITALIAN NAVIGATOR HAS SAFELY LANDED
- 11. MARK RUWEDEL, THE ICE AGE, LAKE MANLY, ANCIENT FOOTPATH FROM NEVARES SPRINGS TO THE LAKE, 1996
- 12. MARK RUWEDEL, CROSSING #7, 2005
- 13. ROBERT ADAMS – NEW DEVELOPMENT ON A FORMER CITRUS-GROWING ESTATE, HIGHLAND, CALIFORNIA, FROM “LOS ANGELES SPRING” 1986
- 14. “At that time a lot of the world was oddly obscene to photography – that is it couldn’t be portrayed… There seemed to be a horror of facing the environment that we’d made for ourselves. I felt, “okay, this is the hand that you’ve dealt me – these are the fruits of mid-period American capitalism that you’ve given us. Well, look at them.” - LEWIS BALTZ
- 15. P U L L & L I F E O F O B J E C T S ( 2 0 1 3 ) Cornelia Parker MARY MATTINGLY
- 16. M A R Y M A T T I N G L Y Cornelia Parker The Furies (Titian Again), 2013 Floating a Boulder, 2012
- 17. M A R Y M A T T I N G L Y Cornelia Parker The Damned (Titian Again), 2013
- 18. P R O D U C T I O N L I N E - M A D E I N C H I N A & M A D E I N T A I W A N P O - C H I H H U A N G Huang’s work Production Line – Made in China & Made in Taiwan is based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry. By linking two sub-projects, two places and two exhibitions, Production Line – Made in China & Made in Taiwan follows a circuitous industrial route of migration, from the Taipei Biennial to the Shenzhen Sculpture Biennial and back to Taipei again, producing a blue denim shirt co-designed by the artist and a manufacturer. The work thus focuses attention on history, culture, the economy, and relations of production and consumption.
- 19. M A X L I B O I R O N Liboiron’s academic work focuses on how invisible, harmful, emerging phenomena such as “slow” disasters and toxicants from plastics become apparent in science and activism, and how these methods of representation relate to action.
- 24. SEA GLOBES (2013-2014) “This series of sea globes are genuine New York City souvenirs. The plastics came from the Hudson River in south Brooklyn, and the rocks are made of bituminous coal from in a landfill that closed in the 1930s at Deadhorse Bay, which now resides underwater at high tide, also in south Brooklyn. The snails are from a well-known taxidermy shop in SoHo. Overall, the sea globes are accurate representations of the waterfront environment in New York City today.” MAX LIBOIRON
- 25. E N V I R O N M E N T A L M O N I T O R I N G D I A R A M A S M A X L I B O I R O N
- 26. C O A S T M I N I N G ( 2 0 1 4 ) “In the installation Coast Mining, Taiwanese artist Wu Chuan-lun exhibits a selection of objects he found at the beach that look for all the world like rocks, but are actually plastics or industrial byproducts that blur the boundary between natural and artificial. The objects remind the viewer that humanity has largely lost its direct relationship to the earth and the materials of nature, so much so that we can't always tell the difference. This is why Bourriaud calls the exhibition "a tribute to the coactivity among humans and animals, plants and objects"; it is a reminder to deal gently with nature - and not just to the art crowd.” C H U A N - L U N W U
- 27. C O A S T M I N I N G ( 2 0 1 4 ) C H U A N - L U N W U
- 28. W A T E R I V A N H O E R E S E V O I R , L O S A N G E L E S In 2008, the Los Angeles Department of Water and Power dumped 400,000 black plastic balls into the the Ivanhoe Resevoir to block out the sunlight to protect drinking water.
- 29. I V A N H O E R E S E V O I R , L O S A N G E L E S
- 30. I N T O E T E R N I T Y M I C H A E L M A D S E N ( 2 0 1 0 )
- 31. MEGACITIES M I C H A E L G L A W O G G E R ( 1 9 9 8 )
Editor's Notes
- http://aita.ellieirons.com
- 1868 An altogether extraordinary hand colored map of New York City’s Central Park prepared and printed for inclusion in the Thirteenth Annual Report of the Board of Commissioners of the Central Park. This is an extremely rare variant on the map of Central Park that originally appeared in the 1862 Comissioner’s Report. This variant lacks the title, which is printed at the top of the 1862 map, but depicts more of the surrounding area, especially the Upper West Side, and features a decorative border. Depicts the park as a whole and includes pathways, lakes, buildings, individual trees, rocks, and elevation measurements. The streets and avenues surrounding the park as well as the tramways that existed at the time are also noted. This extraordinary map reveals Central Park as conceived by the Landscape Architects, and indeed “artists”, Vaux and Olmstead. Vaux and Olmstead were awarded the task of designing Central Park in 1853 by the City Common Council. Olmstead’s vision drove the overall design while Vaux concentrated his attentions on bridges, buildings, and other structures within the park. The creation of Central Park, which was to consist of some 800 acres of public forest, pathways, promenades, lakes, bridges, and meadows, was a seminal moment in civic urban design. The park itself was designed as a whole with every tree, pond, and bench meticulously planned. Olmstead wrote: “Every foot of the parks surface, every tree and bush, as well as every arch, roadway, and walk and been placed where it is for a purpose.” Historian Gloria Deak writes, “There was a staggering amount of work to be done to transform the area into a blend of pastoral and woodland scenery. This involved the design and construction of roadways, tunnels, bridges, arches, stairways, fountains, benches, lamp posts, gates, fences and innumerable other artifacts. It also involved the supervision of an army of about five thousand laborers…Olmsted, to whom most of the credit goes, insisted on seeing the multidimensional project as a single work of art, which he was mandated to create. For this purpose, he ventured to assume to himself the title of ‘artist.’” Today, because of Vaux and Olmstead’s efforts, New York Yorkers, ourselves included, have the privilege of enjoying what is, perhaps, the finest example of a planned urban public recreation area in the world.
- 1868 An altogether extraordinary hand colored map of New York City’s Central Park prepared and printed for inclusion in the Thirteenth Annual Report of the Board of Commissioners of the Central Park. This is an extremely rare variant on the map of Central Park that originally appeared in the 1862 Comissioner’s Report. This variant lacks the title, which is printed at the top of the 1862 map, but depicts more of the surrounding area, especially the Upper West Side, and features a decorative border. Depicts the park as a whole and includes pathways, lakes, buildings, individual trees, rocks, and elevation measurements. The streets and avenues surrounding the park as well as the tramways that existed at the time are also noted. This extraordinary map reveals Central Park as conceived by the Landscape Architects, and indeed “artists”, Vaux and Olmstead. Vaux and Olmstead were awarded the task of designing Central Park in 1853 by the City Common Council. Olmstead’s vision drove the overall design while Vaux concentrated his attentions on bridges, buildings, and other structures within the park. The creation of Central Park, which was to consist of some 800 acres of public forest, pathways, promenades, lakes, bridges, and meadows, was a seminal moment in civic urban design. The park itself was designed as a whole with every tree, pond, and bench meticulously planned. Olmstead wrote: “Every foot of the parks surface, every tree and bush, as well as every arch, roadway, and walk and been placed where it is for a purpose.” Historian Gloria Deak writes, “There was a staggering amount of work to be done to transform the area into a blend of pastoral and woodland scenery. This involved the design and construction of roadways, tunnels, bridges, arches, stairways, fountains, benches, lamp posts, gates, fences and innumerable other artifacts. It also involved the supervision of an army of about five thousand laborers…Olmsted, to whom most of the credit goes, insisted on seeing the multidimensional project as a single work of art, which he was mandated to create. For this purpose, he ventured to assume to himself the title of ‘artist.’” Today, because of Vaux and Olmstead’s efforts, New York Yorkers, ourselves included, have the privilege of enjoying what is, perhaps, the finest example of a planned urban public recreation area in the world.
- ASHER BROWN DURAND 1861
- For more than thirty years, Lynne Cohen has been photographing interior spaces devoid of people – laboratories, health spas, waiting rooms, classrooms. Their décor, sometimes kitschy, often funny, even if the humour reinforces the aspect of suspense, even of uneasiness. The rigorous framing, the distancing always much the same, the light that puts things in relief and the colour make the images seem constructed. By elaborating on the seemingly fictional quality of the spaces, the purposes of which are frequently ill-defined,
- Mark Ruwedel, "The Ice Age", Lake Manly, Ancient Footpath from Nevares Springs to the Lake, 1996.
- Mark Ruwedel Crossing #7, 2005
- http://www.thegreatleapsideways.com/?p=5845#more-5845
- http://www.artinamericamagazine.com/news-features/magazine/art-for-the-anthropocene-era/ Join artist Mary Mattingly in a collective pull of her 140lb spherical bundle of personal objects. As we pull, roll, and drag the boulder across the suburban terrain between Mississauga and Oakville, we will take stock of the environmental and societal impact of our personal consumption and the weight of our commodified world.
- Mary Mattingly is an artist based in New York. Her work has been exhibited at the International Center of Photography, the Seoul Art Center, the Bronx Museum of the Arts, the New York Public Library, deCordova Museum and Sclupture Park, and the Palais de Tokyo. She participated in smARTpower: an initiative between the U.S. Department of State and the Bronx Museum of the Arts as artist-ambassador to the Philippines. She has been awarded grants and fellowships from the James L. Knight Foundation, Eyebeam Center for Art and Technology, Yale University School of Art, the Harpo Foundation, NYFA, the Jerome Foundation, and the Art Matters Foundation. Her work has been featured in Aperture Magazine, Art in America, Artforum, Art+Auction, Sculpture Magazine, China Business News, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, the Village Voice, and on BBC News, MSNBC, Fox News, News 12, NPR, WNBC, New York 1, and on Art21's New York Close Up series. Mattingly recently undertook a three-part project, beginning with the Flock House Project: three spherical living-systems incorporating rainwater collection that cycled water through edible gardens, solar panels, and enclosed living spaces. These spheres were choreographed through New York City’s five boroughs and are currently in Omaha, NE. Triple Island (part two) was exhibited at Pier 42 in Lower Manhattan. WetLand (part three) launched from the Delaware River in Philadelphia in the Fall of 2014. Mattingly also founded the Waterpod Project, a barge-based public space containing an autonomous habitat. Working with multiple collaborators, from artists to businesses and city agencies, the Waterpod docked at piers in each of the five boroughs. Over 200,000 people visited the Waterpod in 2009.
- http://www.artinamericamagazine.com/news-features/magazine/art-for-the-anthropocene-era/ Join artist Mary Mattingly in a collective pull of her 140lb spherical bundle of personal objects. As we pull, roll, and drag the boulder across the suburban terrain between Mississauga and Oakville, we will take stock of the environmental and societal impact of our personal consumption and the weight of our commodified world.
- Taiwanese artist Po-Chih Huang’s Production Line – Made in China and Made in Taiwan (2014) comprised a sewing space for finishing women’s denim shirts, which had been in part made at another production line at the 8th Shenzhen Biennale (each was overseen by a female member of the artist’s family), mirroring the industrial offshoring of the clothing industry that has dictated the movements of the artist’s mother throughout her working life. Po-Chih Huang’s diverse artistic practice principally explores such issues as agriculture, economics, popular consumption and production, depicting and surveying local history and the evolution of society and the environment. His many shifting roles in society – from project executive to manual laborer to documentary writer – have become key elements in his recent art projects. Seeking points of convergence among these many experiences to serve as his text, he reassembles the fragmented historical and cultural contexts in the background of his experiences, and manufactures daily consumer goods (or events) as “counterfeits” that form connections of social communication, with the aim of exploring how these “art (products or events)” can initiate new meanings and definitions within complex social relationships. Huang’s work Production Line – Made in China & Made in Taiwan is based on his familiar essay Blue Skin: Mama’s Story, relating the trajectory of his mother’s working life, from farm to factory and back to farm again, and encompassing the evolution of the Taiwanese economy, including the offshoring of the clothing industry. By linking two sub-projects, two places and two exhibitions, Production Line – Made in China & Made in Taiwan follows a circuitous industrial route of migration, from the Taipei Biennial to the Shenzhen Sculpture Biennial and back to Taipei again, producing a blue denim shirt co-designed by the artist and a manufacturer. The work thus focuses attention on history, culture, the economy, and relations of production and consumption.
- Max Liboiron is a scholar, activist, and artist. She is an Assistant Professor of culture and technology in the Department of Sociology at Memorial University of Newfoundland. Her academic work focuses on how invisible, harmful, emerging phenomena such as “slow” disasters and toxicants from plastics become apparent in science and activism, and how these methods of representation relate to action. Liboiron is a co-founding member of the Superstorm Research Lab, a mutual aid research collective that works on disasters, and runs the Discard Studies Blog, an interdisciplinary online hub for research on waste and wasting. Prior to her position at Memorial, Liboiron was a Postdoctoral Fellow with both the Social Science Environmental Health Research Institute at Northeastern University and with Intel’s Science and Technology Center for Social Computing. She holds a Ph.D. in Media, Culture, and Communication from New York University.
- Rubbish Topographies, 2011 Mixed media, used tea bags, trash Touchstones Nelson, Nelson, BC, Canada Rule of interaction: Send the artist clean, dry tea bags as raw materials for an art installation. Rubbish Topographies is a landscape made of donated trash. Although the pile of tea bags and cardboard may bring to mind the panicked adage that, “we make too much garbage!”, it symbolizes something further. Every tea bag was saved, dried, and delivered by the artist’s family, friends, friends-of-friends, coworkers, and even strangers from around the world. Rubbish Topographies is not meant to represent a pile of guilt, but is a quantitative testimony to how people will mind and care for their waste when there is an opportunity to reuse it. As such, Rubbish Topographies is a tea-bag tally-chart of individual commitment to, conscientiousness of, and generosity with their waste. It is an effort to look at systems of waste rather than individualize and moralize trash practices. Visitors were invited to add their used, dried tea bags to build up any part of the exhibition.
- The Dawson City Trash Project, 2008 Mixed media, trash ODD Gallery, KIAC, Dawson City, YK The Dawson City Trash Project is a miniature diorama of the current and historical garbage sites in Dawson City, Yukon. All of the raw materials used to create the miniatures are scavenged from these dump sites, and because visitors to the gallery had technically provided the materials for the exhibit, every piece of the installation was free to take away. The project enacts a landfill that erodes into people’s personal spaces as opposed to the usual circulation of garbage away from people and into landfills. Yet people were generous with how they took pieces so that the exhibit would not be diminished for others. People only allowed themselves (and occasionally told others) that they could only take one piece. Some people took the plentiful, not-very-artistic trees instead of more unique pieces that looked like art objects. Some people waited until the show was complete before they took anything. When taken together, these interactions create social economies that exhibit different characteristics than those of our everyday market-driven capitalist economies. They show that people are not inherently greedy, self-maximizing, or selfish, but generous, creative, and even daring in their relationship to each other and to trash.
- This series of sea globes are genuine New York City souvenirs. The plastics came from the Hudson River in south Brooklyn, and the rocks are made of bituminous coal from in a landfill that closed in the 1930s at Deadhorse Bay, which now resides underwater at high tide, also in south Brooklyn. The snails are from a well-known taxidermy shop in SoHo. Overall, the sea globes are accurate representations of the waterfront environment in New York City today.
- Environmental Monitoring Diorama Series, 2009-2010 Max Liboiron Trash, mixed media, various sizes While scavenging for Styrofoam from the old Dawson City dock in the Yukon, I noticed that huge holes had been dissolved or eaten into the plastic material. This had all happened underwater while the dock had been in service. Chemicals in the local Yukon River, where local people fished, dissolved Styrofoam. I used the damaged materials as the basis for a series of miniature northern landscapes; the pollutants did the sculpting, I merely added details. Pollutants are an inextricable part of land and life in the 21st century, even in the far north.
- http://www.scmp.com/lifestyle/arts-culture/article/1596022/taipei-biennial-sounds-warning-about-our-treatment-world
- Chuan-Lun Wu, Coast Mining, 2014. Found coastal petrochemical objects, sand, photo on plexiglass, dimensions variable. from “The Great Acceleration: Art in the Anthropocene” 9TH TAIPEI BIENNIAL, Taipei September 13–January 4, 2015
- In 2008, the Los Angeles Department of Water and Power dumped 400,000 black plastic balls into the the Ivanhoe Resevoir to block out the sunlight, ..The agency started dumping thousands of floating plastic balls into Ivanhoe Reservoir -- the dwarf sibling next door to Silver Lake Reservoir, the neighborhood's crown jewel -- to protect the drinking water supply needed for summer. The water needs to be shaded because when sunlight mixes with the bromide and chlorine in Ivanhoe's water, the carcinogen bromate forms, said Pankaj Parekh, DWP's director for water quality compliance. Bromide is naturally present in groundwater and chlorine is used to kill bacteria, he said, but sunlight is the final ingredient in the potentially harmful mix. The DWP drop was designed to stop the three from mingling in the 10-acre, 58-million-gallon Ivanhoe Reservoir. The 102-year-old facility serves about 600,000 customers downtown and in South Los Angeles.
- In 2008, the Los Angeles Department of Water and Power dumped 400,000 black plastic balls into the the Ivanhoe Resevoir to block out the sunlight, ..The agency started dumping thousands of floating plastic balls into Ivanhoe Reservoir -- the dwarf sibling next door to Silver Lake Reservoir, the neighborhood's crown jewel -- to protect the drinking water supply needed for summer. The water needs to be shaded because when sunlight mixes with the bromide and chlorine in Ivanhoe's water, the carcinogen bromate forms, said Pankaj Parekh, DWP's director for water quality compliance. Bromide is naturally present in groundwater and chlorine is used to kill bacteria, he said, but sunlight is the final ingredient in the potentially harmful mix. The DWP drop was designed to stop the three from mingling in the 10-acre, 58-million-gallon Ivanhoe Reservoir. The 102-year-old facility serves about 600,000 customers downtown and in South Los Angeles.
- Mr. Glawogger’s kinetic 1998 breakthrough, “Megacities,” subtitled “12 Stories of Survival,” strings together immersive portraits of street peddlers and other urban dwellers in their bustling environments. The film hops freely among the mostly poor inhabitants of Mumbai, New York, Mexico City and Moscow but stays just long enough to show what and how they do what they do, without the aid of a voice-over to tie everything together.