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Introduction and General Outline The growing awareness of the environmental crisis on both physical and spiritual levels over last forty or so years has gone alongside development in art which have highlighted various aspects of this crisis. From the land art of the 1960s, environmental art has progressed to becoming more aware of the in this vein I hope that these projects can further peoples understanding of, appreciation for, and protection of the natural environment, as well as beginning to see themselves as a part of this very environment. The four ecological art projects that follow encompass differing themes. Indicator Tree raises awareness of the oft-ignored world on the ground, particularly with respect to litter. Trashanimals also focuses on litter, acting at the key site of disposal. Natural Beauty explores, critiques and offers differing representations of natural beauty. Free Daily Screenings questions the creative work of human artists or performances as the only legitimate form of creativity, and ties together the projects as a whole. As presented in final installations all will have concise and informative descriptions of these purposes and how the work fits into a broader framework of sustainability.
See Bois 1999:89-124 for further analytical expositions and reflections on the aspect of horizontality within art.
Requirements and issues Willingness of public to participate this is a vital factor in the work, and if it is not satisfied, would surely make the work fail to communicate its ideas. Therefore it is vital to select the site with public participation in mind, and encourage it whereever possible (perhaps on the sign?) Public liability insurance and safety this will be a prerequisite for all the public art installations, but it is particularly relevant to this, as the public will be interacting with the art and though the risk of injury is still very small, for a liability assement viewpoint special measures would need to be put in place - such as a special attention to the safety of the attachment design, no attachments at small childrens height, and perhaps also warning incorperated into the sign. Council workers to remove attachments if the art work is successful, and people do participate, then as a cycle of the art work the material that will have accumulated in the branches will need to be removed. This would best be done by either council workers or Parks Victoria employees, depending on the actual location of the site and who oversea it. Thus by accepting the installation, the relevant custodians enter into an ongoing relationship with it.2 Extensions to project Context if successful, the trees could be installed in different environons, such as in more artificial environments such as the CBD. There could also be potential in installing them in schools, in which some already have systems where students collect rubbish, and the work could be fitted into an existing regime. Design the design and construction of the actual trees may be done by a local school and trialled there if there is enough interest shown.
This idea came from Felix Gonselaez Torres mounds of lollies installations where the viewing public would be free to take from the pile, and the gallery kept them at an approximately fixed size by replenishing them. Fundamentally am interested in this process orientated part, where not only the work is site-specific, but it participates in the local ecolgical flows.
clean. They will also be made in a very robust fashion, to withstand the elements and repeated usuage. The message being too strong- there could be a possibility that the idea of placing rubbish in a cute animals mouth be too repugnant to many users and may actually dissuage people from using the bins. An argument could be that bin users should be rewarded for their responisiblity (rather than dumping it on the ground), not made to feel guilty for their actions. However, I maintain that the work is attempting to instill a shift in thinking between a polite anthropocentric environmentalism, and a more genuine ecocentric thinking. Such transisitions are seldom comfortable. Extensions to project Interactivity - a potentially more effective (through being more interactive) cover could also be made featuring a hinged mouth that had to be pulled open to gain access to the bin. Design - the design for the bin covers may be sourced from local school as part of a a design competition. Context the covers may be exported to bins in different locations, particularly schools and universities, where there may be more opportunity for attitude-behaviour change.
Budget Requirements and issues Aesthetic reception because of the way we have been socialised to see images, as complete objects in themselves, it may be that an initial viewers reaction is to think of the degraded image as being a mistake, a problem, simply dirty. The beauty of the first image may need to be overstylised to get the message across. Extensions to project Lifecycle of work - the photographs may be rotated or changed after a fixed period (perhaps the same lunar cycle, or a certain time that it takes an artificial object for instance an aluminium can to degrade) to keep the work interesting. The pairs of photographs could later become part of an exhibition. Design because this project is based more on representation, and is necessarily more abstract, it may not be as popular or useful to participate with schools. This being said, there is perhaps some avenue for upper high school art classes to get involved through the taking of the photographs and the subsequent burying and printing of the negatives.
Even as the romantic conception of the artist relied about nature, particularly through the sublime, as a form of nature muse, it was the ultimately the human soul which funneled and perculated inspiration to unleash creativity into the world.
the place of sunset viewing, which will in turn be inside the area where the other projects will be installed. Materials card (150-200gsm) tickets and paper posters, designed on computer and digitally printed. Budget Requirements and issues Aesthetic reception because of the way we have been socialised to see performances, as eluded to above, it may be that an initial viewers reaction is to think to think of the ticker as a joke. An explanation detailing some of the ideas may need to be included on the back of the ticket to provoke questioning. Extensions to project Context the tickets and posters may be handed out anywhere, but are particularly suited to areas where a good vantage point of the sunset can easily be reached. Content the same idea of using tickets/posters may be applied to other regular natural phenomenon full moon (midnight screening?), dawn, high and low tides.
Potential Funding Sources for projects VCA Student Project Fund, Melbourne City Council, Moreland Council, Ian Potter Cultural Trust, Young Australians Opportunity Grant, VCA Student Union, University of Melbourne Student Union. Bibiolography Bois, Y, Krauss, R., Formless:A Users Guide, Zone Books, 1997.