Welcome back for another week in Meg's Cave! I've missed you all a truck load.
Back on topic for this week... Environmental art? What do we think? Love it? Hate it?
Por que no los dos! (Cue Spanish dance music and a taco banquet)
Seriously though, this week I was inspired by my lovely Visual Art teachers, Mrs Lavers and Mr Rutherfoord and their intriguing discussion last Monday on environmental art. Sitting in class, I couldn't help but thinking, 'What a wonderful topic for my blog, aptly titled 'artandtreesandstuff'?'
I couldn't help but smile, and you won't be able to help the massive grin that breaks out on your face when you read this wonderful analysis, written by moi!
Enjoy!
Environmental art, in its broadest sense it art that assist
human nature in understanding the natural world. As with anything in art, there
I no clear line defining what is and what is not classified as environmental
art. Majority of environmental art is ephemeral, meaning it can
be changed or transformed. Sometimes the art has been designed to suit a
certain location or involves collaborations between the artists and other
professionals such as scientists or communities. The location of the art can
make exhibiting and marketing the art difficult, but also may help to make the
work iconic.
I have recently come across three
artists that I believe can be classified as ‘environmental’ artists. Whether
eco-friendly or not, their work features elements of nature or the environment
that can either help or hinder the environment. Environmental artists often
gain national media attention and can cause considerable controversy as
opinions around the area are strong.
Environmental art that I simply cannot tolerate...
Damien Hirst was brought to my attention in late 2012 when
an article appeared in The Telegraph reading, ‘Damien
Hirst condemned for killing 9,000 butterflies in Tate show’. Appropriately
taken aback by the abrupt and unusual nature of the headline, I researched Damien
Hirst and his past and current artworks to try and gain an insight into his art.
Described as a ‘crowd puller’ by
London modern art gallery, Tate Modern,
his exhibition attracted over 3000 visitors per day breaking Tate Modern
records at a grand total of nearly half a million viewers. As an artist of
mixed media, the instillation that has arguably caused the most controversy,
‘In and Out of Love’ was created with Primer on canvas with pupae, steel,
potted flowers, live butterflies, Formica, MDF, bowls, sugar-water solution,
fruit, radiators, heaters, cool misters, air vents, lights, thermometers and
humidistat. The instillation, of which dimensions are variable, was initially
displayed in 1991 but was recreated for Hirst’s Tate Modern exhibition in late 2012.
The instillation, which attracted as much criticism as it did
viewers, was two windowless, stark white rooms in which Hirst hung butterfly
pupae. In the rooms sat bowls of fruit and sugar water for the insects to feed
on after hatching and security guards were employed to sweep up the bodies of
the weakened animals that had not made it through the day. In the
installation, the butterflies not only served at the art themselves but created
art in their stages of life. The pupae that Hirst had pinned around the rooms hatched
and developed into butterflies however in doing so deposited fluids that dripped
down the walls. It was common for visitors to believe that these fluids were
butterfly blood and forced them into considering the ephemeral nature of the
insects and by extension, themselves.
The instillation, devoid of any colour or outstanding
features contains only elements necessary for the butterfly’s short lifespan.
It has been described by tourists as ‘focused’ and ‘distressing’ to experience
and an atrocity that should ‘enrage the humane population of the world’
(Huffington Post, 2012). As an instillation it ineffectively uses space, line
texture and colour with it containing no defining evidence of any of these
elements. However there is an obvious contrast between the organic, natural
butterflies and white, mechanical walls that seems to draw focus to Hirst’s
message and enforce the fundamental stages of the life cycle. Continuity
(movement or progression) is a naturally occurring phenomenon in the
installation created by the butterflies themselves as they flitter weakly
around the room.
Hirst studied Fine Art at Goldsmiths, University of London and was the curator of the 1988
exhibition Freeze which provided a platform for upcoming British artists.
In interviews, Hirst has been recorded
mentioning his major influences to be Kurt
Schwitters, Francis Bacon, Donald Judd, Jeff Koons, and Andy Warhol. Hirst is
known to operate his studio in a similar fashion to Warhol, in which studio
assistants create the actual artworks, while Hirst oversees the production.
Known for exploring topics such as the human existence and the fragility of
life, Hirst (talking in reference to his critics) has been reported saying, ‘I just wanted to find out where the boundaries were. I've
found out there aren't any. I wanted to be stopped but no one will stop me.’
It seems as
though for some critics he already has, with figures obtained from the Tate
Modern revealing that over 9,000 butterflies died during the 23 week exhibition
period. Every week the room was replenished with 400 butterflies which would
either be trampled by gawping tourists, or weakened by the less than
satisfactory environment in which they are forced to exist in. A spokesman for People for the
Ethical Treatment of Animals (PETA) said: ‘Damien Hirst’s quest to be edgy is
as boring as it is callous. It does not matter whether Hirst killed the animals
himself or sat by while thousands of them were massacred for his own
unjustifiable amusement. Butterflies are beautiful parts of nature and should be enjoyed in the
wild instead of destroyed for something predictable and unimaginative.’
From an environmental
perspective, the unnecessary death of thousands of precious species of animal
is atrocious and is difficult to be considered seriously as ‘art’. It seems as
though the same effect could be achieved without going to such extreme and
intentional measures to trap such a ghastly number of creatures. The entire
exhibition and most of Hirst’s artworks leading up to the recreation of ‘In and
Out of Love’ seem to have some form of destructive element to emphasise his
message, a message that could quite effectively be portrayed in a less
ecologically harmful manner.
Environmental art that I really quite enjoy...
Chris Drury is a
British environmental artist who is well known for his ephemeral assemblies of
natural materials much like his main influence, Andy Goldsworthy. He has attracted media attention with his
landscape sculpture located in the main campus building at the University of
Wyoming.
With a diameter
of around 36 feet and made using silvery logs and lumps of black coal, Artist
Chris Drury, didn’t expect his work to evoke such a strong response, expecting
it only to generate civil debate amongst university goers. The sculpture,
titled, ‘Carbon Sink What Goes Around Comes Around’ draws links between climate
change and global warming and the coal industry. Wyoming, however is the
country’s largest mining state and coal is the soul of the economy, some of the
citizens see the symbolism as a declaration of war.
Inspired by a
conversation with a local scientist who was unhappy with the gross
misunderstanding of the matter, Drury set out to cause some healthy debate and
claims he had no intent to start such heated arguments amongst the residents. Constructed
in 2011, Drury has organized the logs into a beautiful whorl in the center of
which is a large clump of rich, black coal.
Drury concentrates on line and movement in the sculpture, which proves
as very effective in creating a radial balance. Space is also an important
factor, as Drury has obviously considered the size of the sculpture and where
he constructed it meaning to cause some talk about problems of current day and
relevant to the specific area. Colour
intensity and contrast are also two elements that work together to make the
sculpture especially eye-popping and powerful. Drury uses the heavy black coal
in contrast with the silvery logs placed in the middle of lush green grass.
Together the colours make for a truly stunning piece.
Environmental art that I absolutely adore...
‘Lynne Hull's most avid fans are the wildlife her art
helps,’ wrote Catherine Walkinshaw, a columnist for ‘Animals’.
Hull's first habitat sculptures, ‘Raptor Roosts’ work as
practical restoration facilities for habitats damaged by human impact for several levels as well as acting as an
educational tool to help humans understand wildlife and shift our attitudes
towards other species. ‘My focus is on trans-species art, sculptures contributing to wildlife habitat. I want to make a
positive gesture toward the earth and express my concerns for nurturance of
other species and endangered lifecycles.’
Using mixed media and extreme
size variations, Lynne Hull refers to herself as a ‘trans-species artist’ after
beginning her career with ‘Raptor Roosts’ in the eighties. The Raptor Roosts,
which are mainly wood and stand 30ft tall on average are inspired by the danger
hawks and eagles faced by expanding civilisation in Lynne’s hometown of
Wyoming. After learning of the need for safe roosting for hawks, owls and
eagles, Lynne researched the issue only to come across a video showing falcons
perching on an electrical box with ‘sizzling, deadly results’ (Art Design Café,
2011).
In terms of aesthetics, Lynne
says she start with the parameters of what science
thinks a species needs, and then designs the aesthetics around it. She utilises
wonderful use of line and plane, with many of the roosts involving strong,
interesting angles contrasted with softer, more organic curves. Inspired by
elements of nature for each of her roosts, the design for Lightening Raptor
Roost was heavily influenced by lightening, found objects and the colours that
were common in the landscape around the location of the roost.
Although she does
not use much artificial colouring, preferring to leave her sculpture bare, her
inspiring use of shape not only proves functional and environmentally rewarding
but also aesthetically pleasing to look at. The quirky designs look beautifully
accidental and her acknowledgment of asymmetrical balance makes her sculptures
appear to blend in with nature.
It is common
knowledge that a lot of thought goes into the creation of one of the roosts
however, it is often underestimated how much background knowledge is actually
required to make the sculptures functional. Hull consulted with raptor
biologists prior to designing the models and received a guideline of the kind
of specifics the birds seems to accept. Lynne mentioned in an interview with
R.J. Preece, 2011, that her background as a potter help immensely with the
scientific element, ‘A teapot
has to hold hot water, have a handle so you don’t burn your hand, and a spout
that pours and doesn’t drip. Similarly, birds have certain needs, like the size
and height of the nesting platform necessary for the specific nest to fit. If
the elements are too big or too small, certain birds won’t use the sculpture.’
Lynne’s
interest in aiding species affected by human disturbances is inspiring to
anyone interested in the conservation of the environment. Hull activist values
and functional sculptures are clearly placing importance on process and
engagement rather than a final marketing product. It is rare to find an artist
whose work can beneficial on so many levels, and I can’t help but wonder what
the world would be like if every art work did the same.
If you
look at the contrast been Damien Hirst (whose artwork actively harms living
animals) and Lynne Hull (who finds assisting the wellbeing of wildlife and the
education of viewers fulfilling) it is clear which piece can have the greater
impact. Lynne Hull’s artwork leaves a lasting, positive, impression on more than one species and she manages to
improve the living condition of the world around her whilst getting her message
across while Damien Hirst has a lasting negative impact on the lives on animals
while he attempts to get his message across.
After
looking into the three artists discussed above, I think I can safely conclude
that art that incorporates environmental elements or uses nature in any part of
the making process is much more effective when the art and the artist had been
respectful towards the world they are manipulating.
