The Environmental Art Exhibition Entitled ' Earthworks '

Thinking about a tree, one might think about the leaves and how they could symbolize balance, growth, and harmony. Or one might think about how a tree represents nature itself by symbolizing such attributes as strength, stability, diversity and withstanding the greatest of challenges to survive. Andy Goldsworthy is a British sculptor, photographer and environmentalist who produces site specific land art which embody these characteristics and represent nature as a whole. Goldsworthy’s process is to be as involved in nature as he possibly can and to produce sculptures to draw out the character of the environment. He seeks to draw emphasis to the beauty and exquisiteness of nature while also displaying the stages of life nature goes through; it grows, stays and decays as an integral part of the circle of life. Goldsworthy’s piece Ice Spiral: Tree Soul, exemplifies these distinctive elements and displays his unique technique in a way that captures the essence of nature. When one first looks upon the photograph of Tree Soul, it almost looks unreal or that the ice spiral surrounding the tree was digitally added to the image of the tree. The spiral ice sculpture is perfectly molded to wrap around the tree and opens the eyes of the audience in sensing the beauty and multidimensional details of the natural world.

Ecology is the branch of biology that studies the relationship between organisms and their environment. Ecology is a basic tool of environmental science.

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.

Ecology: The study of the interactions between organisms and the other living and nonliving components of their environment.

“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

Frederic Edwin Church is one of the most significant painters of the Hudson River School whose greatest works inspire awe about natural wonders. One of his famous works “Rainy Season in the Tropics” (1886), oil on canvas, is currently part of the Mildred Anna Williams Collection at The Fine Arts Museums of San Francisco, USA. This work presents the enormous power of the nature but at the same time it calls the viewer to step into and explore the true value of the nature.

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.

This declaration focuses on cultural landscapes in terms of the ' interaction of people and nature over time' .3 The majority of World Heritage listed cultural landscapes are ' evolved continuing landscapes, where people and nature dwell together' . Most cultural landscapes fit into this category: they are living landscapes, changing as the culture, climate and natural surroundings change within and around them. The character of the landscape thus reflects the values of the people who have shaped it, and who continue to live in it. The culture itself is the shaping force. Landscape is a cultural expression that does not happen by chance but is created informally or by

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

Ecology is defined as: “the branch of biology that deals with the relations of organisms to one another and to their physical surroundings.” (Dictionary.com). My chosen biome was the taiga, a frigid and desolate ecosystem found in higher elevated areas. My partner, Elizabeth, had rivers and streams. Both of these ecosystems are vastly different yet share quite a few similarities as mentioned below.

Ecology is the tool used to better understand the causes, effects, and potential mitigation of environmental problems.

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.

The first stage of ecocriticism is the research about how nature and environment are expressed in the literature text. Next stage of ecocriticism concentrated on the promotion of nature-writing literature that has been neglected for a long time, explore and analyze the history, development, achievement and writing styles of the former nature-writing works. While the third stage of ecocriticism, the scholars try to establish the new concept of ecological poetics in the hope of enhancing the ecological theories construction through the concept of ecological system. Numerous ecological theories have been founded during the three stages, such as Albert Schweitzer’s ethic of reverence for life, Leopold’s ecological holism, Paul W.Taylor’s biocentrism, Holmes Rolston’s the value of nature, Tom Regan’s animal rights, Peter Singer’s animal liberation and so on. This dissertation just attempts to interpret the ecological thoughts in Toms River by using some of the ecocriticism theories to reveal the truth about environmental pollution and the attitude and actions people should take when dealing with environmental