Abstract

This paper analyzes ecological art that emerged in New York’s alternative art scene in the 1970s and 1980s from the perspective of the coexistence of humans, animals, and machines. In the late 1970s, New York City was financially bankrupt, so areas where the city’s resources were under-allocated had very poor environments due to the waste problem. In a broader context, environmental issues were raised urgently with the energy crisis resulting from the oil crisis of the early 1970s. And electronic information technology faced the task of expanding human consciousness to the environment and finding new energy models. In this situation, artists worked with an interest in the urban waste problem, coexistence with living things, and a new ecological environment created by electronic technology and nature. This paper focuses on Christy Rupp and Frank Gillette. Rupp started with her interest in the problem of waste production. Her (1979) dealt with New York's trash crisis and rat problem. She has sought to reveal the human impact on natural habitats through various forms of work. Gillette revealed the relationship between nature and humans by linking media to the natural ecosystem. In 1973, he presented an ecological installation work combined with video. He continued his work on natural landscapes and ecosystems and attempted to shift from human-centered spatial awareness to ecosystem-centered spatial awareness. As can be seen through Rupp and Gillette, the direction of artistic practice shown by the early pioneers of ecological art was the coexistence of humans, animals, and technology.

Presenters

Im Sue Lee
Hongik University, South Korea

Details

Presentation Type

Paper Presentation in a Themed Session

Theme

2024 Special Focus—-Art for Sustenance

KEYWORDS

Coexistence, Art Scene, Ecological Art

Digital Media

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