The Origins of the Environmental Art Movement:
Abstract
This paper aims to explore the origins of the environmental art movement by connecting nature and sustainability in art education. The research guides readers through the use of nature in education, nature in art, and the shift to creating art for nature. In studying the evolution of environmental art, this paper examines forest schools, land art, and the influential artists of the environmental art movement. To conclude, I share how my experiences seeing the impact of climate change firsthand has inspired my passion for sustainability. Also, I indicate how artists and art educators can inspire society to be advocates for their planet.
Introduction
The natural world around us has served as inspiration for artists since the beginning of time. The earliest we see nature in art is the etchings of horses and animals in cave paintings; overtime, humans and artists continued to be inspired by their environment. We see depictions of nature in Van Gogh's Irises (1889), Monet's Water Lilies (1919), and throughout O'Keefe's many flower paintings. Acknowledging, sharing, and capturing the beauty of our environment is a part of human nature. Furthermore, our curiosity and desire to depict nature are seen throughout early art education philosophies, art curriculum, and numerous art movements. Artist's interest in nature has quickly advanced alongside the increased concern of climate change. This interest evolves from artists using nature as inspiration to artists using earth as a gallery or medium. Finally, we see artists use their art for nature to bring awareness to our planet's fragility.
The Progressive movement in the late 1800s urges teachers to introduce design elements to their students. Plants and landscapes become a common source of inspiration for students and educators. Other philosophies, such as those from Froebel and Malaguzzi's Reggio Emilia approach, emphasize the environment's role within education; these philosophies lead to Forest Schools' development. We see correlations between students raised to cherish and be inspired by their environment to those who grow up to be advocates for a more sustainable world.
With nature being so intertwined in art study, it is natural that artists continue to pull inspiration from their environment as their career progresses. In the 1960s, we see some artists outgrow modernist and minimalist theories; they begin searching for innovative and less commercialized ways to share their ideas and artwork. These postmodern beliefs lead to the Land Art movement, where we see artists begin to use materials from the earth to showcase the world's natural beauty. Artists' use of the world as a canvas leads to controversies and illuminates how an artist's work can negatively impact the planet. The late 20th century sees a rise in the discussion of climate change. As technology advances, scientists become more aware of the impact a warming world will have on earth. Artists begin to consider the real impact of their work, and we see the rise of the environmental art movement. Looking into the work of environmental artists, we can discover just how vital their work can be.
Nature in Education
Landscapes, wildlife, flora, and fauna have always been at the forefront of art education. These themes are easy to use as inspiration for art study, making nature a central concept in art education. Stankiewicz (2001) describes how art study in the late 1800s was focused on nature and representational drawing. (pp. 17-18). Students would learn about form and color while drawing plants, seeds, and fruit. As art education progressed in the United States, the use of nature as inspiration continued to grow. Stankiewicz (2001) describes how the “Prang Elementary Course introduced American art teachers to Arthur Wesley Dow’s design theories by comparing a naturalistic sketch of a poppy” (p. 95). Due to the progressive movement, the art curriculum became more focused, and many teachers began to incorporate Dow’s design elements into lessons. Many of these elements were easily taught by referencing flowers, landscapes, and items found in nature. Additionally, Stankiewicz (2001) explains how reference images could be hard to obtain; access to the natural world as inspiration was far more accessible for teachers at this time. (p. 18). Even more so, these lessons allowed students not familiar with country life to learn about environments not available to them.
Forest schools work to integrate nature even more; with classes being held entirely outside, young children can learn more from their environment. Forest or outdoor schools utilize natural resources found outdoors as a foundation for learning and development. (Happy Acres Forest School, n.d.) Not common in the United States until the 1990s, forest schools grew from the progressive movement and philosophies from Froebel and the Reggio Emilia approach. According to Bradshaw (2018), “in forest schooling, the environment is seen as a third teacher, an outlook that is shared by educators enacting a Reggio Emilia approach” (p. 32). Strauch-Nelson (2012) explains that “nature study was foundational to Froebel’s pedagogy. He saw it as an essential pathway to understanding the interconnectedness of all things” (p. 35). Additionally, these teaching philosophies emphasize play, self-exploration, and spontaneity. Using the forest as a learning environment helps cultivate a more robust imagination and creative thinking, all skills that benefit society and are essential for working artists. The more students learn and interact with nature, the more they grow to appreciate and care for their environment. In Sally Armstrong Gradle’s 2008 journal article she explains how David Orr’s 1994 book, “observes that almost all contemporary scholars of ecological activism spent their childhood in natural places that altered the course of their lives” (p. 6). Whether schools infuse nature in the classroom or the class is conducted entirely in a forest, students, and society as a whole benefit. Awareness of how our actions affect the world can be understood in learning to care for the natural world.
Nature in Art
Looking beyond the classroom, artists have drawn inspiration from nature for years. In the late 20th century, we begin to see artists use objects found in nature to create art. Land art or earthworks are a type of art that utilizes materials found in nature such as rocks, soil, trees, water, or leaves; artworks are often realized within their natural habitat and photographed for public viewing. (The Art Story, n.d.). Land art became a popular aesthetic during the 1960s and into the 1970s as a way for postmodern artists to challenge the commercialization of art within gallery walls. According to Martinique (2016), "land artists rejected the commodity status these venues conferred on art and questioned the notion of art as something to be bought and sold for profit" (para 3). Robert Smithson's Spiral Jetty is a more well-known example of Land Art. Spiral Jetty was built in 1970 in Great Salt Lake, Utah. The Holt Smithson Foundation (n.d.) explains the earthwork was "constructed from 6,650 tons of rock and earth, the spiral continuously changes form as nature, industry, and time take effect" (para 1). While this aesthetic became more popular in the art world, it is essential to understand that scientists began to share data that provided a clearer picture of the implications of climate change. Briefly, in the 1970s, some scientists believed that the world was cooling, and Time Magazine (1974) published information about concerns for a potential Ice Age. As technology progressed, scientists offered more evidence that the world was, in fact, warming; according to history.com editors (n.d.), "computer models consistently showed that doubling of CO2 could produce a warming of 2 degrees C or 3.6 degrees F within the next century" (para 30). The world began to understand the real toll of the industrial age and the impact humans have had on the planet. In light of these discussions, artists consider the consequences of earthworks. Rothstein (2016) references the 1983 book Overlay by Lucy Lippard, in which she suggested that "to treat the earth as a canvas for one's own creation is little difference than to treat its minerals as cash pouring from a natural ATM" (para 5). The environmental art movement and an interest in more sustainable practices emerge from many artists being unsatisfied with the Land Art movement and increasing awareness of climate change. According to Martinique (2016), "some artists would argue that early Land Art is not so much about restoration, ecology or direct activism, but about using land and nature as a medium for self-expression or to explore art ideas or the beauty of nature" (para 3). Environmental artists want their work to go beyond self-expression and the beauty of nature.
Art for Nature
The environmental art movement comments on ecological concerns while emphasizing sustainable practices and care of the earth. Betty Beaumont's Ocean Landmark (1970) expresses all of these concepts and is an important example of early environmental art. Ocean Landmark was constructed between 1978-1980; it is an underwater sculpture that transformed recycled waste into a sunken garden and fish habitat. According to Beaumont (n.d.), "the work was inspired by the potential of the continental shelf and by a team of scientists experimenting to stabilize an industrial by-product in water. It has grown and developed into a productive new ecosystem over the years and continues to evolve" (The Schuylkill Center, para 1). While Beaumont's work works to create a previously lost ecosystem, many environmental photographers used their work to save ecosystems. Philip Hyde's early photographs of the American southwest inspired Americans to take action against the destruction of natural landscapes. David Leland Hyde (2018), Phillip Hyde's son, wrote that his "purpose in making photographs was to help people see both the beauty in wilderness undisturbed and man's destruction of nature" (para 4). The publishing of his 1964 book Time and the River Flowing: Grand Canyon directly worked to stop the construction of two dams set to be built through the Grand Canyon. In 2016, the New York Times spoke with Tom Turner, senior editor at Earth Justice, who stated that "it was published explicitly to stop the federal government from allowing dams to be built in the Grand Canyon, mostly for power generation and a little for irrigation…the text was hard-hitting, and it succeeded" (para 6).
Individually artists were taking action, but globally, tangible action to counteract the impact of climate change was not taken by world governments until 1989 with the creation of the Intergovernmental Panel on Climate Change (IPCC) (History.com Editors, n.d.). As society understood and became more aware of climate change, more artists began using their voices to bring awareness to the many issues that negatively impact the planet. The Art Story (n.d.) shares how "environmental art has gained more traction since the 1990s when artists began to think about their surroundings not just in terms of lived or built space, but as a cohesive system in which humans have a central part to play" (para 1). Sarah Sze, an environmental artist, began creating intricate sculptures in the 1990s using found and recycled objects and materials. "Her immersive and intricate works question the value society places on objects and how objects ascribe meaning to the places and times we inhabit" (para 1). These sculptures are not found in a forest and do not use or replicate the natural world, but they do well to ask the viewer to question how much they rely on single-use material goods. Examining our actions and understanding that those actions affect society as a whole is critical in environmental art and ecological advocacy. Environmental art helps advocate for more sustainable living while also urging viewers and the community as a whole to speak up and take action for their planet.
Connecting Past & Present
Present-day, it seems society's concern for the well-being of our planet is heighten with an aggressive sense of urgency, making environmental art and sustainable art practices even more important. Globally, we are seeing a push towards living more sustainably and holding ourselves and corporations accountable. By studying the environmental art movements in the 21st-century art classroom, educators can discuss the impact art has on society in relation to understanding climate change. These conversations can inspire our young people to be advocates for the planet. Martinique (2016) said, "Art can challenge the status quo by its very nature, but it can also serve as a powerful weapon" (para 7). Data can be overwhelming for many; art can visually show the impact of human beings on earth. In 2018, Perovich explained how it would take more than government regulations and policies to reduce the impact of climate change. Perovich (2018) writes, "it's time to realize that we are not going to solve the climate crisis through our rational mind alone. Action on climate change requires more than information provided by IPCC reports and other sources. It requires inspiration. We need to be inspired and motivated to change" (p. 15). More people have access to seeing first-hand the impact of deforestation, growing landfills, rising sea levels, and the increase of waste in our oceans through art and photography.
Over the last few years, I have had multiple opportunities to discover and experience nature up close. I have seen first-hand the negative impact human beings have on this world. Two rather eye-opening memories come to mind, and I know that these experiences have inspired my passion for environmental art. The first was in the summer of 2017; I stood on the north rim of the Grand Canyon with 25lbs on my back; I was prepared to spend the next three days fully immersed in nature while hiking the strenuous 24 miles to the south rim. The isolation I experienced on this hike was the most obvious whenever I crossed paths with animals, mostly deer. There were numerous signs and warnings about the alarming number of deer killed each year from digesting plastic bags left along the trail. My second experience happened in early 2020 in Iceland, on a Katla ice cave tour on Myrdalsjokull Glacier. Upon arrival, I quickly saw that the cave was actually a tunnel. As we walked through the tunnel, admiring the towering layers of ice, our tour guide told us how a mere six months prior, he could not walk through this tunnel. The two experiences resonated with me because I saw how one person's actions directly influenced animals in the Grand Canyon. In Iceland, I saw the impact years of human neglect have made on beautiful natural landscapes. These events are a driving force in my desire to be an arts educator because I know that art can change the world.
So how can educators take steps to inspire and instill ecological advocacy in their students? As shown in my research, ecological activism stems from an early childhood education enriched with nature study. With forest schools being relatively rare and not accessible for all children, educators should incorporate nature and sustainability in their art curriculum. Ulbricht (1991) suggests starting "with the discussions about social needs, responsibility, and what constitutes an improvement in society" (p. 33). Lessons could be simple discussions about reducing waste or creating artwork from our leftover art trash. Educators might explore artwork from land artists or environmental artists and ask students to discuss the negative and positive affect the artwork has on the earth. Lankford (1997) advised that "purposeful creativity is required-creativity directed toward increasing awareness, expressing ideas, feelings, and values, and problem-solving related to local and global ecologies" (p. 50). A classroom that allows students to explore nature and their environment will benefit the student, communities, and society for many years.
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