The Aim Of Art. Artists All Over The World Explore Different

People and the landscape are inextricably linked and consequently each play a role in shaping the other. The texts we have studied show the implications for the individuals present based on their treatment of the landscape, highlighting the connection between the two. Both Judith Wright in her poems “Brother and Sisters” and “The Hawthorne Hedge” as well as Michael Wilding in his short story “As Boys to Wanton Flies” showcase the emotional ties between the individuals and the landscape. Both composers, through their chosen text demonstrate how the individuals are connected, influenced and shaped by the landscape showing that they are not merely inhabitants but are a part of their chosen landscape. This has been done to highlight the involvement

Irma, Harvey, Mexico City earthquake, the 2011 tsunami in japan, Haiti earthquake; nature time and time again smites us with its relentless and unmatched force. Though out the years mankind has battled for survival against the brutal conditions nature has thrown at them and they have created themselves. Continually, without hesitation, they have risen from these disasters to build and grow a new. Yet still, mankind seems to bath in its own naivety at the truth of what nature really is for them. Without haste they push against nature and forget all it has done for them. This idea of respect, however is not so easily forgotten by all. Many writers and poets tell beautiful stories and tales of the power and care of mother nature’s hand extends. One such poem, “The earth is a living thing”, by Lucille Clifton, brilliantly adds to such ideas. The idea that nature poses not only strength but the smarts and heart right along with it. A concept that is not readily shared by many essay writers. Despite these other writers, John Muir follows suit with Clifton in, “A Wind-Storm in the Forest”. Where Muir bashes his reader with the harsh reality of winter, followed by an explanation of the gentle caring hand nature extends to us all. Mother nature has the power to shelter and protect, nurture and grow, but also has the power to demolish and take away everything

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

In the poem “To Paint a Water Lily” by Ted Hughes, the speaker conveys his attitude toward nature as perplexing, complex, and deceiving. He also expresses his opinion of the artist and the difficulties brought on by him trying to paint and recreate not only the picture of a water lily and its natural scene, but also capture the intense environment that is both peaceful and full of constant activity. The author achieves this through literary techniques such as: imagery and juxtaposition.

“Could it be that we are supposed to be talking to the plants and animals, interacting with them, accepting the gifts they offer, and using them in ways that further their growth?”(Starhawk, 162). I feel this quote from “Our Place in Nature” is a great way to start the topic of how artists uses plant life in their work. It shows how artists might try to interact with the environment for ideas on the works that they come up. I feel also that they are trying to be one with the environment. I feel if you spend enough time in nature, you will build a strong connection with everything around you. This comment is justified when Starhawk said, “I can walk into any forest where the trees are strange and understand something about the relationships

Using nature is a way of creating art this is beautiful. Andy Goldsworthy, and earth artist, lived by one simple rule for his style of art. He would work outside and only use materials he could find nearby. (Hulick 7) Andy Goldsworthy made

Rosalie Gascoigne started working as an artist in Australian later in her life during the 1970’s to late 1990’s. Her focus was on the environment and sustainability as she often used discarded objects such as streets signs and drink crates and gave them purpose. Her line of work is closely associated with the postmodernism movement which challenged the notion of art existing to be representative and instead insisted there is no ‘real art’ meaning anything can be art.

The aim and intentions of this essay is to compare and contrast how the three artists (Michelle Lougee, Andy Goldsworthy, and Hermannsburg Potters) use their materials to communicate ideas about the natural environment.

Indeed other photographers are important for their photographs of land and nature. Notably, Adams is the most prolific contributor and documenter of the land, at least, that is, in America. It is, after all, Ansel Adams’s studio, home and legacy. Although Adams did focus on critically exposing social problems in society and remedy them, he was influential in shaping conservation legislation for open places and spaces in America. While the 1950s was not a time to “go green,” Adams understood then, just as photographers do now words are not enough.

One artists in particular whose work stood out to me was Claire Pentecost with her work Soil-erg. This distinct exposition was located in the hearth of

Artwork that depicts the environment is fascinating. Artists that create artwork about environmentalism and ecology tend to focus on nature as a whole or one specific thing from nature. They like to create artwork that shows how things shape our understanding of the natural world, show the changing of landscapes of the American West, or even artwork that addresses some of the problems with animal rights. Mark Dion is an artist who observes how ideologies and public schools tend to mold our understanding of the natural world and history. Robert Adams is a photographer who documents the issues about the changing of the American West. His photography shows how nature is being destroyed because of the fast paced growth of human living and society. Marco Evaristti is an installation artist like Mark Dion but Evaristti’s art focuses on animal rights. He uses living animals in certain situations to where the audience could potentially cause harm to the animals. This kind of artwork focused around the environment and nature really appealed to me because I like the outdoors and seeing animals in the wild. These three artists appealed to me because I liked their reasoning behind their artwork. I do believe urban cities are growing at a really

In this text, William Cronon analyzes the perspective of nature in today’s society. The author elaborates on the concept of nature and the environment; Cronon challenges popular ideas related to these concepts. According to the text, there are many perspectives of nature throughout society. These different perspectives influence how we react and view the environment. A prominent view that is mentioned in the text is nature as something that is “out there.” In short, this perspective perceives nature as something separate from humanity. For example, a person might take a trip into nature and return back to their home that is separate from the nature they experienced. Cronon challenges this perspective by implying that nature might not be disconnected

Using natural phenomenon as a starting point for abstraction, Mark Grotjahn’s paintings straddle the polarities of artifice and nature. His painting, Lavender Butterfly Jacaranda over Green (Fig. 2), expresses his fascination with nature. Transferring the experience of observation to an intrigue of creative possibility, Grotjahn harnesses the mysticism of nature through aesthetic formality.

In Nature & Landscape: An Introduction to Environmental Aesthetics, Allen Carlson proposes that scientific knowledge can enhance our aesthetic appreciation of the natural world. He draws a connection between technical know-how used in the context of natural landscapes and art history or criticism in the context of conventional art forms. In either case, the viewer would find relatively more meaningful experiences of aesthetic appreciation than if one looked at a painting or landscape without any prior knowledge about it. Carlson endorses this point within his larger Natural Environmental Model, which asserts that though the environment is not entirely of our creation, it does not mean that we have to approach it without any prior understanding.

Art is personal; an expression of inner thoughts and desires, affecting the way I not only see the world but myself. In order for a person to grow they must know who they are, their aspirations, the true nature of their thoughts, and their actuality of their persona; the physicality of art has given me this knowledge. With practicing in the arts I am able to grow as a person and I am able to see that growth within me.  For with the expression of creativity, comes an outlet, an outlet of the unconscious, forming and showing the reality of the mind. This outlet releases internal emotions and helps me to find tranquility within myself. This state of mind is a supplement for my own personal problems.  Also, I am able to create new ideas, ones that help me see the world in a new light. I am able to form a relaxing and mesmerizing state of mind, one that leaves me fascinated with the world around me, along with a deep love for simplicity.  Visual arts have truly given me an insight on my own mind and happiness in my life. This is why I full-heartedly believe and practice in the arts, to find peace of mind, not in the world, but in myself.