Art, Activism, Environment

Emory Douglas
'They bled your mama, they bled your papa, but he won't bleed me.'
'Hey, Mister, What you doing to the poor man, Lord knows you oughta quit it.'
The Yes Men, We Agree (2010)
Advertising: The Power of Human Manipulation
Campaign spoofing Chevron's latest ad campaign
Community participation: Wheat pasting posters
Elsa von Freytag-Loringhoven

Limbswish, c. 1917–1918
metal spring, curtain tassel, and wire mounted on wood block
God, c. 1917
wood miter box and cast iron plumbing trap

Post-Carson Era
1960 – 1979
New Environmental Paradigm (NEP)
Modernism
Introduction of Environmental Art as a genre
Poster Art & Political Movements
1966 – The Black Panther Party is founded by Huey Newton and Bobby Seale


Nils Udo, Rameaux de Douglas, pierres, mousses (1987)
Nils Udo, Clemson clay nest (2005)
Richard Diebenkorn, Cityscape I (1963)
Fairfield Porter, Forsythia and Pear in Bloom (1968)

Lauren Bon, Not a Cornfield
Community Art
Land Use
Conceptual Art
Sculpture


Ivon Hitchens, Curved Barn (1922)


Didier Hess, Los Angeles
Food Pyramid, EATLACMA
Western Pennsylvania
Frank Lloyd Wright, Fallingwater, Kaufmann House (1935)

Salvador Dali, Landscape with Butterflies (1956)
Surrealist
The Yes Men, The Yes Men Fix The World (2009)
Mixed media/assemblage/collage; Powered device; Time Based Media, Paint, fiberglass and flock, 1938 Dodge, recorded music, and player, chicken wire, beer bottles, artificial grass, and cast plaster figures.
Ed Kienholz, Back Seat Dodge '38 (1964)
The Yes Men, We Agree Campaign (2010)
Downloadable poster for community use to protest Chevron's greenwashing campaign.
Louise Nevelson, ROYAL TIDE I, 1960 & WHITE VERTICAL WATER, 1972
J. Walter Thompson Agency, Rosie The Riveter (1943)

Emory Douglas poster from The Black Panther
March 9, 1969 offset lithograph

Political Art
Didier Hess, Food Pyramid
[ Afro-American solidarity with the oppressed People of the world - Emory Douglas. 1969.
[ Revolution in our Lifetime - Emory Douglas 1969 offset lithograph 20 ¼ x 14 in.

Post-TMI Love Canal Era
1980 – present
NEP and the environmental justice movement
Environmental artists continue to evolve
Film
Performance Art
Community Arts
Art/activism

Robert Smithson, Broken Circle, (1971)
Emmen, Holland
Viva la Revolucion!
Robert Smithson, Spiral Jetty (1970)
Rozel Point, Great Salt Lake, Utah

The Yes Men vs. Chevron
The Yes Men, www.chevron-weagree.com

Chevron, www.chevron.com/weagree

Robert Smithson, Yucatan Mirror Displacements (1–9), 1969 (detail)

Robert Smithson, 1971
Lauren Bon, Not a Cornfield
Philip Hyde
Hetch Hetchy Field of Stumps (1955)
Hetch Hetchy Falls from the Dam (1955)
Edward Burtynsky
Edward Burtynsky, Oil Spill #1 REM Forza, Gulf of Mexico ( May 11 2010)
Edward Burtynsky, Nickel Tailings #36 (1996)
Edward Burtynsky, Oxford Tire Pile #8 (1999)
Georgia O'Keefe, Ram's Head White Hollyhock and Little Hills (1935)

Albert Bierstadt
American Painter
Pre-Movement Era
Andy Goldsworthy
Rivers And Tides: Working With Time
Documentary, 2004
The Pre-Movement Era Thomas Cole

Edward Burtynsy
China: Old Industry
Old Factories #5 (2005)
Shenyang Heavy Machinery Group, Tiexi District, Shenyang City, Liaoning Provence, China
Old Factories #1 (2005)
Fushun Aluminum Smelter, Fushun City,
Liaoning Province, China
Edward Burtynsky
China: Recycling
China Recycling #7 Wire Yard (2004)
Wenxi, Zhejiang Provence, China
China Recycling #9 (2004)
Circuit Boards, Guiyu, Guangdong Province
The Pre-Movement Era
The Pre-Movement Era (1820 – 1913)
Romanticism in art (1790 – 1850)
Exploitive Capitalist Paradigm
White middle class males dominated
Proenvironmental ideas expressed through poetry and art
Art raised middle class consciousness
Gu Kaizhi, Luoshenfu (344-406 AD)
Master of the Gîtâ Govinda manuscript, Scene: Krishna embraces Gopîs (1760-1765 AD)
El Greco, View of Toledo (c. 1597)
Art and nature in history
Art, Environment and Activism
Elizabeth Perikli
ENV313 Diana Wu
12/08/10
Andy Goldsworthy



Stonehenge, England
English Gardens
Lascaux Caves, France
Art and nature in history
Edward Burtynsky
China: Recycling
China Recycling #5 (2004)
Phone Dials, Zeguo, Zhejiang Province
China Recycling #2 (2004)
Cutter, Fengjiang, Zhejiang Province
T. Allan Comp
AMD&ART Park
The Litmus Garden
The Pre-Movement Era
Winslow Homer

The Pre-Movement Era Thomas Moran

Imogen Cunningham, Hens and Chickens (1930)

Edward Hopper, Road In Maine (1914)
Realist
Edward Burtynsky
Manufactured Landscapes
documentary (2006)
China:
Manufacturing
Coal and Steel
Old Industry
Recycling

Edward Burtynsky
China: Manufacturing
Manufacturing #17 Deda Chicken Processing Plant (2005)
Dehui City, Jilin Provence, China
Manufacturing #10B (2005)
Cankun Factory, Xiamen City, China
Henri Rousseau, The Dream (1910)
Post-Impressionist

Maya Lin, Vietnam Veteran Memorial, (1980-82) , Washington, DC
Maya Lin, The Wave Field (1995)
Shaped earth. University of Michigan, Ann Arbor Michigan

Maya Lin
Post Hetch-Hetchy Era
Post Hetch-Hetchy Era (1914 – 1959)
Painting
Photography
Architecture
Abstraction
Minimalism
Surrealism and DADA
Art not directly related to any movements

Edward Burtynsky
China: Coal and Steel
Bao Steel #2 (2005)
Shanghai, China
Bao Steel #8 (2005)
Shanghai, China
Here in Los Angeles, the issue of land use and community space is explored by artist Lauren Bon in her project Not a Cornfield. The project bio states:
Not A Cornfield is a living sculpture in the form of a field of corn. The corn itself, a powerful icon for millennia over large parts of Central America and beyond, can serve as a potent metaphor for those of us living in this unique megalopolis. This work follows a rich legacy of radical art during the 20th century on a grand scale. I intend this to be an event that aims at giving focus for reflection and action in a city unclear about where it's energetic and historical center is.
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With this project I have undertaken to clean 32 acres of brownfield and bring in more than 1,500 truck loads of earth from elsewhere in order to prepare this rocky and mixed terrain for the planting of a million seeds. This art piece redeems a lost fertile ground, transforming what was left from the industrial era into a renewed space for the public. The California Department of Parks and Recreation is currently designing the historical park this site will become. This design process has taken several years so far and is a difficult process both because of the many communities adjacent to the site they would all like to serve and because of limited funding. By bringing attention to this site throughout the Not A Cornfield process we will also bring forth many questions about the nature of urban public space, about historical parks in a city so young and yet so diverse. About the questions of whose history would a historical park in the city center actually describe, and about the politics of land use and it's incumbent inequities. Indeed, "Not A Cornfield" is about these very questions, polemics, arguments and discoveries. It is about redemption and hope. It is about the fallibility of words to create productive change. Artists need to create on the same scale that society has the capacity to destroy."
- Lauren Bon. July 20, 2005



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Los Angeles, CA – LACMA (EATLACMA exhibit 2010)
The living, edible pyramid questions the inefficient modes of food
production in the United States that were exemplified by the standard "food pyramid"
taught in public schools until recently. The artists hope to inspire curiosity about
alternative modes of food production that can contribute to more sustainable cities.

Didier Hess, a collaborative led by Oliver Hess and Jenna Didier, pursues a shared interest
in art, public life, the built environment and the infrastructures we create to tie those
forces together. They believe that each city is a living thing - a natural system - that has a
pulse of its own. Through art they connect to the network of relationships that sustains us
by making that pulse visible.
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Water from the fish pond is circulated to the top where it flows down the Food Pyramid. Plants absorb nutrients from the water and purify it as clean and oxygenated to the fish. The water pump is powered by solar panels.
The vegetables in each of the nine totes grow in gravel so no soil or fertilizer is needed, the fish waste provides all the nutrients.
Tilapia relax in the pond among the native bog plants, until they are harvested with the plants for fish tacos.

This type of structure would be well suited in urban community gardens and parks. Similar structures could also be modified and used for larger rural communities who've suffered environmental damage to their own food system, such as the Akwesasne Indians along the St. Lawrence River.
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And then things start to get really interesting. These slides aren't much to look at, but T. Allan Comp's AMD & ART Park and Litmus Garden are excellent examples of how art, science and technology can come together to make change. Following the ecological principle of interdependence, Comp believes that disciplinary boundaries need to be broken down and worked across.

AMD&ART is a non-profit organization founded and led by T. Allan Comp PhD, a historian who works in the US Department of the Interior's Office of Surface Mining. Working with a collaborative group of artists, engineers and scientists, and the entire community of Vintondale, PA, AMD&ART restored a landscape polluted by coal mining and Acid Mine Drainage (AMD) into an artful public park that functions as a passive water treatment system. Polluted water flows along the colorful plantings of a "Litmus Garden" into a series of large gravity-fed water treatment ponds lined with crushed limestone to neutralize the pH and remove toxic metals. The water continues through bioremediation ponds and into an educational History Wetlands area which further purifies the water before it joins a nearby river.


According to Comp: "Frankly, if any of the AMD&ART work had been called "eco-art," all the collaborators and supporting agencies would have fled, except for the artists…In projects that seek successful environmental intervention, even measurable results, artists are necessary, but not sufficient. We are the glue and the spark and the outside insight and more, but we are not enough. The challenge is to bring all the egos in the room to a recognition that no discipline can be compromised and that every discipline must accommodate."

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Here we transition to more unconventional forms of land art. Artist Maya Lin.
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And Andy Goldsworthy, who stages his work, often through painstaking hours of labor patience and persistence.

Portrait; Limestone cone, Brough, Cumbria, 1985; stones arranged by color, balanced to form a black void;
Sand edged to catch early light, Abersoch, North Wales, 1983; .Frozen patch of snow, Brough, Cumbria, 1984; Carefully broken pebbles
scratched white with another stone, St. Abbs, Scotland, 1985


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On a lighter note, there are sculptors and photographers who celebrate nature in its aesthetic forms. Nils Udo, for example.
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On a larger scale, China has become the world's recycler. A resource-hungry economy coupled with an inexpensive, abundant labor force and poorly enforced global rules on waste trade make China the world's choice destination for recyclable materials. Most large scale recycling in China is quite primitive, but there are exceptions.


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In conclusion, throughout history art transforms from a romantic, decorative notion into a critical, radical dialogue. Art becomes a more complex language, involving both symbolic and literal meaning in its discourse. While the voices of the artists remain distinct, there is an underlying theme that is being explored. There is much to be accomplished by applying an interdisciplinary and creative approach to educating the public and solving environmental problems, including but not limited to the arts, science, technology, agriculture and media.

And finally, for those who feel overwhelmed by the scope of the world's environmental injustices, I leave you with a final example of animation that has a powerful and hopefully inspiring message. Nobel Prize winner Wangari Maathai tells narrates.
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Unlike many western nations whose citizens, for the most part, participate in recycling due to a combination of environmental awareness and municipal initiatives, in China the motivation for almost all participants to recycle is purely economic. There are relatively few government or municipal systems for urban collection. On a local level, Chinese citizens scour the streets of cities and villages daily, collecting anything from soda cans and water bottles to old refrigerators, washing machines or simply anything made of metal, paper, wood or plastic.
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all of his art is temporary and created outdoors
works with leaves, rocks, seasons, cycles, snow, ice, sticks, and organic materials
before (or as) they disappear, he records his work in color photographs.
The Documentary Rivers And Tides is a fascinating glimpse into his work and process.




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Much in the way Douglas worked in the artistic genre of political propaganda to convey the Panther's message to "the people", the Yes Men have duplicated a recent Chevron advertising campaign, but with an entirely different message. The We Agree campaign was the coordinated effort of many. They secured a similar web domain, created nearly identical graphics, and pasted posters in cities, mimicking Chevron's every campaign action.
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"When Wright came to the site he appreciated the powerful sound of the falls, the vitality of the young forest, the dramatic rock ledges and boulders; these were elements to be interwoven with the serenely soaring spaces of his structure. But Wright's insight penetrated more deeply. He understood that people were creatures of nature, hence an architecture which conformed to nature would conform to what was basic in people."
(Hoffman, 1993)


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Activists like Emory Douglas of the Black Panther Party began utilized graphic art similar to Warhol's pop art and propaganda art historically utilized by political movements. One of the most well known political advertising campaigns was Rosie The Riveter.
Emory Douglas is a protest artist who followed suit on a more grassroots, or community based arts level. And though he is not directly related with environmental art, I use him to illustrate the concept of protest and community based arts. It is art for change and activism, which later environmental artists will embrace.
1. "The War Advertising Council's Women in War Jobs campaign is the most successful advertising recruitment campaign in American history. Rosie the Riveter, a fictional character immortalized by posters supporting the war effort and a wartime song of the same name, helped to recruit more than two million women into the workforce. Her image graced postage stamps and the cover of Smithsonian magazine and before long Rosie the Riveter became a nickname for women working in wartime industries. In May of 2002, Norman Rockwell's Rosie the Riveter painting was auctioned by Sotheby's for nearly $5 million." – Ad Council.

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An October Day (1889)
Rowing Home (1890)
Waterfall in the Adirondacks (1889)

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"Beret wearing, gun-toting, angry young black men in black are the most persistent icons representing the Black Panthers from the 1960s and 70s. According to mainstream media accounts, their mission was essentially to scare white people about armed revolution in retaliation for discrimination. Mission accomplished – people were scared. J. Edgar Hoover, then head of the FBI, declared the Panthers the greatest threat to American national security. The armed revolutionary icon was a carefully cultivated part of the Party's public image, but only part of their story. There was another part of the Black Panther's visual campaign aimed at poor black people living in US ghettos and oppressed people around the world. According to Douglas, the Panther's Minister of Culture, who created the vast majority of those images, the messages to "the people" were the critical ones.
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Another example of Smithson's large scale work.
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A Wild Scene (1832)
Sunrise in the Catskill Mountains (1826)
Landscape (1825)

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Salvador Dali also wove nature into his surreal dreamscapes.
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Art began raising middle class consciousness in the Pre Movement Era beginning in 1820 to about 1913.
Romanticism played a key role in art and the environmental movements.
The era was dominated by white middle class, and art was represented in landscape painting.
Scenes romanticized the land and recreational pursuits enjoyed by primarily white males. We see many landscapes depicting scenes of fishing and hunting. The artists representative of this time were mostly white males, like these…
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Filmed in China in 2004 – 2005, Burtynsky helps illustrate the huge ecological shift underway in China. With a population of 1.3 billion, the urbanization of China is unprecedented. When Mao finished his reign there was 90% agrarian ad 10% urban. Currently there is 30% agrarian and 70% urban. (Burtynsky, in Manufactured Landscapes)
Burtynsky takes large-format stills of industrial landscapes: factory workers lined up in infinity, giant ships eviscerated, massive recycling dumps, expansive strip mines. His goal is to portray humanity's relationship to nature as we pursue progress.
When Burtynsky speaks, he neither celebrates or condemns but simply explores who were are in relation to our planet. We extract things from the environment to survive, and that is damaging the world.
Unlike the Yes Men, he chooses to keep his work out of the political realm, so that the viewer can comprehend each piece individually and come to their own conclusions. He documents environmental and social subjects in a context and way few people get to experience otherwise.
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Female nature photographer
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Elsa von Freytag-Loringhoven is an early assemblage artist. Mostly influenced by surrealism & DADA, she poineered the use of found objects, turning them into sculptures & mixed media art.
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Photographer. Actual photos of Hetch Hetchy region.
Following a fierce nationwide debate led by John Muir and Will Colby of the Sierra Club, the City of San Francisco was authorized by the U.S. Congress, in the Raker Act of 1913, to construct a dam and reservoir on the Tuolumne River in Hetch Hetchy Valley in Yosemite National Park. The O'Shaughnessy Dam was completed in 1923 and, after the necessary pipelines and power houses were completed, San Francisco began using water from the Hetch Hetchy Reservoir for its water supply and electrical power generation. - Source: Sierra Club
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An October Day (1889)
A Miracle of Nature (1913)
An Arizona Sunset Near the Grand Canyon (1898)

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The Chevron campaign used slogans like, "Oil Companies Need to Get Real," "Oil Companies Should Put Their Profits To Good Use," and "Oil Companies Should Think More Like Technology Companies."
The Yes Men's fake Chevron campaign added slogans like, "Oil Companies Should Clean Up Their Messes" "Oil Companies Should Stop Endangering Life" and Oil Companies Should Fix The Problems They Create."
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During what is known as the Post Hetch-Hetchy Era, art was NOT directly associated to any environmental movement.
However we begin to see an expansion of media and ways in which the environment is represented through art.
There is also the public emergence of more women in the arts.
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From a press release regarding the stunt:
A day-long comedy of errors began Monday morning when the Yes Men, supported by Rainforest Action Network and Amazon Watch, pre-empted Chevron's enormous new "We Agree" ad campaign with a satirical version of their own. The activists' version highlights Chevron's environmental and social abuses - the same abuses they say Chevron is attempting to "greenwash."
"Chevron's super-expensive fake street art is a cynical attempt to gloss over the human rights abuses and environmental degradation that is the legacy of Chevron's operations in Ecuador, Nigeria, Burma and throughout the world," said Ginger Cassady, a campaigner at Rainforest Action Network. "They must think we're stupid."



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Georgia O'Keefe, Ram's Head White Hollyhock and Little Hills (1935)
Famous female artist.
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In this film, one of the Yes Men impersonates a Dow Chemical executive on a televised BBC news interview, where he apologized for the devastation the company has caused in Bhopal, and promises to pay the victims and clean up the mess. It was all a lie, but people in Bhopal were thrilled with the news. The people in Bhopal have been fighting for 25 years to hold Dow accountable and set a global precedent. Once it was discovered to be a hoax, the prank got worldwide attention. 600 articles where published in the US alone connecting Dow and Bhopal in the wake of the BBC appearance.

On their website's Q&A, they explain: "Our intention was to get news about Bhopal into the US, where most people don't even know what happened there in 1984, let alone that a person still dies every day from residual pollution that has never been cleaned up. Right there in Dow's headquarters – Midland Michigan – most people don't realize that Dow still refuses to do the slightest thing to repair the damage they are responsible for. In getting the news to these folks, we succeeded wonderfully; hundreds of articles about the event made it into the US press, whereas on most anniversaries of the accident, it hasn't even found its way into one mainstream source. The Bhopali activists we've spoken to are very happy with these results. In fact, they were happy about them the same day, as soon as they got over their disappointment."
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"Douglas reused images and turned them into icons. One favored visual theme, borrowed from religious iconography, Russian constructivism, and other hero-worshipping genres, is "beatification." Using a visual device often used to portray saints, holy people and powerful leaders, Douglas turned ordinary people into heroes. The radiating lines were a recurring graphic image and almost a signature on his posters." (Gaiter, 2004)
" He advanced the cause of justice for African Americans during a tumultuous period; his cartoons and posters are among the most iconic political images of the era.
His abiding concern has been the promotion of social justice."
Source: College Art Association, Awards 2010



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Photographic Works, Photojournalistic Art
Mining
Recycling
Manufacturing
China
Rail Cuts

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Ivon Hitchens, Curved Barn (1922)
During this era we also see landscapes take on a more abstract quality.
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1. A View From Sacramento (1875)
Autumn in America, Oneida County, New York
3. Buffalo Trail (1869)
4. California Spring (1875)
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Since the mid-1990s, 35 to 40 million workers in China's State Owned Enterprises (SOEs) have lost their jobs because of economic restructuring. This has occurred nationwide, but the Northeast, as the core of China's state-owned heavy industry, has been especially hard hit. In Shenyang, SOEs are rapidly being demolished and rebuilt at industrial parks outside the city, along with many other new factories. Property once used by these immense old factories is now being designated as residential and commercial, spurring real estate frenzy in Shenyang.


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With construction and manufacturing booming as the economy grows at a rate of 9.5 per cent per year, China's appetite for steel seems insatiable. It consumed 258 million tons last year, a full third of the steel used worldwide. Demand this year is expected to reach 310 million tons or more.

Source: EdwardBurtynsky.com
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Environmental artist Robert Smithson is most famous for his Spiral Jetty…
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In the southern province of Guangdong, one can drive for hours along numerous highways that reveal a virtually unbroken landscape of factories and workers' dormitories. These new 'manufacturing landscapes' in the southern and eastern parts of China produce more and more of the world's goods and have become the habitat for a diverse group of companies and millions of busy workers.

Pick up almost any commonly used product and you won't be surprised to find that it was made in China. It is here that 90 per cent of your Christmas decorations are made, 29 per cent of color television sets, 75 per cent of the world's toys, 70 per cent of all cigarette lighters and probably every T-shirt in your closet. The hard drive for your iPod mini was made in the city of Guiyang. Located in China's poorest province, Guiyang is more noted for its poverty than for making state-of-the-art one-inch hard drives.
Source: Edward Burtynsky.com
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More use of found objects as art.
Louise Nevelson.
"Her groundbreaking technique involved assembling cast-off wood pieces and transforming them with coats of monochromatic black, white, and (more rarely) gold spray paint. Nevelson's work started with tabletop scale objects, but quickly grew into human-scale and room-sized works. Her later, monumental public works stood their ground with the buildings that surrounded them."
Source: San Francisco Sentinel
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During the time known as the Post Carson Era, The New Environmental Paradigm emphasized environmental protection, limited industrial growth, and population control, among other issues. Political and civil rights movements inspire activist art.
We begin to see the emergence of "Environmental Art" as a genre.
Environmental Art is a general term which encompasses "ecological art," (eco art) "land art," and "art in nature."
If you search for it online, you'll find everything from whale paintings, to sculpture made from trash, to lawn gnomes. A simple explanation is that "environmental art seeks to positively affect the relationship between humans and nature through creativity."
Source: Greenmuseum.org

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"While living in Berkeley in the early 1960s, Diebenkorn painted a group of representational canvases depicting views of the city and the surrounding landscape. Here, a street is fronted on one side by a row of low, nondescript buildings and on the other by open fields and empty lots. The horizon line is high, and the palette is dominated by cool hues of green, blue, gray, and white, offset by the sandy patch of earth on the right and a small area of red at the extreme left. Diebenkorn based the painting on an existing cityscape, but he left out all the buildings on the right side of the street, creating a flatter, more geometric composition." - SFMOMA
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Art and the environment have been intertwined worldwide for centuries.
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Though assemblage art is not technically considered environmental art, but a genre of its own, I include it to illustrate the concept of recycling found objects into art.
Back seat dodge materials: Powered device; Time Based Media, Paint, fiberglass and flock, 1938 Dodge, recorded music, and player, chicken wire, beer bottles, artificial grass, and cast plaster figures.

"Back-Seat Dodge '38 (1964), almost succeeded in getting an exhibition closed at the Los Angeles County Museum of Art in 1966, when viewers were scandalised by the sight of two mannequins locked in a fierce back-seat embrace. Today it is part of the museum's permanent collection."
Source: The Sydney Morning Herald

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