Rationale

Rationale

Environmental sustainability in art brings awareness of around the production of art works. I have used sustainable production methods where I could when producing this work - doing my workbook on the internet, to reduce paper use, using recycled paper for the Anthotypes, using organic berries etc for the emulsions, using recycled frames and using the sun to expose my images, as opposed to using an electricity source. As environmental sustainability is more important now than ever in this world, I am interested in how this value can be brought into all areas in life, including art. As there is always more than one way to do something.

Nature is unpredictable. The way that some of the Anthotypes are blurrier than others, and different colours etc reflects this, especially as it is the nature of the raspberry juice and sun, that causes it to be like that. It would be very hard to have complete control over the output, with this process.

Anthotypes will not last for long (they fade eventually depending on how much sun light they are exposed to). The picture often comes out blurry and uneven. The image captured on the paper therefore is limited and fragile. These are important aspects of my work, as they reflect many things in nature today, like ecosystems that are threatened by global warming. If one slight thing is changed, like temperature, it can mean death for a species, making them very fragile. As we use more oil and cut down more trees, life on earth will slowly fade away, in till there is nothing, as will the Anthotypes as the sun and time fades them.

Change is inevitable. The world will change without our help. Humans can't help that, but we do have choices. We have a responsibility to this planet, the other species we share it with and future generations to make choices to be environmentally sustainable. 

“Sustainability presents a far reaching challenge to society and raises important issues for contemporary art. Responding to the broad dilemma of ‘how to meet the needs of the present without compromising the ability of future generations to meet their own needs’” (Fowkes & Fowkes, 2006).

Finals

Here is my final series

Overall I am happy with my final work! The cream matte boards and frames go really well and create a more natural feel. and the different frames go well together. and I like how I have an even amount of yellowy ones and whiter ones. Some still arent flat, but its not to bad and kinda adds to it. sweet!

Eco prints!

I almost for got! I made some eco-prints! lets see if they worked... made up on the 29th unraveled on the 29th - one month.

Well that didn't work particularly well...

Hydrangea 

Deliha 

Pink Sliverbeet

Rose

 Berries

Eucalyptus 

I have a feeling I was meant keep them wetter..

Getting the Frames

After looking at heaps of op shop this week I finally got to David Whyte Gallery on abel smith st and he had heaps!! So I chose a few and ended up getting 6 for $30. Sweet deal.

We also had class tutorials and Caroline seemed to like my idea/well she didn't not like it, and cause of the nature of my Anthotypes and not being able to re-do them....anyway. 

She suggested to displayed them randomly, instead of all grid like too. sweeeeet.

I forgot to take a photo before I spray painted them... but here they are.

I chose a mixture of thick and thin, as I figured that they're not going to match, so I will make it part of the aesthetic. and it also ties in with ideas about nature and the randomess of it etc... I did try and get them all relatively the same size though. 

And heres my Anthotype finals getting flattened under heaps of books. I ironed a piece of scrap paper (with emulsion on it) and the iron made it fade.

Taking down the Anthotypes

I took down the Anthotypes today and about 20 worked! surprisingly the raspberry ones were the only ones that worked.

Bibliography

Bibliography

Reis, M. (2010). The anthotype process. Retrieved on the 5^th March from http://www.alternativephotography.com/wp/processes/anthotypes/anthotype-process

This was a very helpful website as it has a whole database of alternative process, that are easy to find. So when I started out, it was very helpful to quickly search and look at what kind of process are out there and how they are done. This is also where I first saw the Anthotype process.

Minney, S. (2011). Naked fashion. Italy: Graphicom

This book is about a fair-trade, eco-friendly fashion brand called ‘People-tree’ and about fair-trade and eco-friendly fashion in general. As well as being an interesting read, this book made me think about incorporating these fair-trade and eco-friendly values into my project.

Green Peace. (2010). Green peace. Retrieved on the 28^th March from http://www.greenpeace.org/new-zealand/en/

When I came up with the idea about taking photos of Green Peace people (after talking to a Green Peace volunteer on the street) I naturally found it interesting to have a look at the website and find out a bit more about this organization, such as their core values and history and Success. As a Green Peace donor myself, I had never taken the time to read through all this, so it was helpful and a good motivation and inspiration for my project.

Snyder, L. (2011). The Philosophical Breakfast club. America: Broadway Books.

This book was about four scientist in the 19^th century, one of them being Sir John Herschel, who discovered the anthotype. This book provided me with a little more information about Herschel and what he did, but it wasn’t particularly helpful, as it didn’t mention anthotype’s.

Gonzalez, S.  (2010). Anthotype’s update. Retrieved on the 20^th March from http://bipolaryourmung.wordpress.com/2010/12/16/anthotypes-update/

This was helpful because it allowed me to see another artists anthotype’s. But he didn’t mention anywhere about what he used and specifically how long he left his images out for.

R, J. (2011). JR’s TED Prize wish: Use art to turn the world inside out. Retrieved on the 20^th March from http://www.youtube.com/watch?v=0PAy1zBtTbw

http://www.youtube.com/watch?v=tiYaz6xg4mM&feature=share

This TED talk was helpful as the artist JR (that seems to be the only name he goes by) talked about using art to change things and make a difference, which is something I am interested in. Also the aesthetic of his or the inside-out project’s work is something I will take inspiration from as I make mine. I like how the photos are big and are head shots, so it is just their face. I like the impact of having big prints, especially of people faces.

R, J. (2012). About the inside out project. Retrieved on the 20^th March from http://www.insideoutproject.net/#@section=about

After watching the TED video I naturally visited the inside-out project’s website. It provided me with more information about what they do and why and more examples of work that they have done.

R, J. (2012). JR. Retrieved on the 20^th March from http://jr-art.net/

 

This website provided me with more information about the artist JR and more of his work.

Daly, J. (2009). The temporal nature of things. Retrieved on the 1^st April from http://csuchico-dspace.calstate.edu/bitstream/handle/10211.4/80/Jennifer%20Daly%20-%208%203%202009.pdf?sequence=1

This was a very helpful piece of writing. This was Jennifer Daly’s research paper that went with her Master’s Exhibition in 2009, while studying a Master of Fine Arts at California State University, Chico.  She used the anthotype method for this work, so it was very useful ad interesting to me to see her research into this topic, her work, and her method.

Humphrey, S. (1849). A system of photography (2^nd ed.). Albany: C. Van Benthuysen printers.

This was interesting because it was a very scientific discussion of anthotype’s. Also it was written around the time Herschel discovered them. It discussed a slightly different method than the one used by Daly. It was one from Herschel himself, so it is interesting to compare the two and try them out.

Paille, B. (2012). Benoit Paille. Retrieved on the 20^th March from http://benoitpaille.deviantart.com/

This was helpful because Paille takes a lot of portraits of stranger, and that is what I plan to do. The way he takes his Portraits make the viewer keep going back to visit them. There is something intimate and intrusive about them, and I hope to create work that is able to create these feelings.

Brewster, D & Taylor, R & Phillips, R & Kane, R. Action of the Rays of the Solar Spectrum on Vegetable Colours. (1842, January –June). Philosophical magazine and journal of science. Retrieved on the 26^th March from http://books.google.co.nz/books/reader?id=7XiUObxbsYQC&printsec=frontcover&output=reader

Again, this was interesting because it was a very scientific discussion of anthotype’s. Also it was written around the time Herschel discovered them. It discussed in depth about what the sun’s ray do to the colour of the emulsion. A little hard to follow but interesting.

Snelling, H. (1849). The History and practice of the art of photography: or the production of pictures through the agency of light. Retrieved on the 26^th March from http://www.gutenberg.org/files/168/168-h/168-h.htm#chap10

This was a very helpful article. It discussed the scientific side of Anthotype’s, but in an easier way to understand than other ones above that I read. It also suggested flower petals that have previously created successful images.

Fisher, G & Peabody, F. (1843). Photogenic Manipulation. Retrieved on the 26^th March from http://books.google.co.nz/books/reader?id=-J0CAAAAYAAJ&printsec=frontcover&output=reader&pg=GBS.PA3

Again, this was interesting because it was a very scientific discussion of anthotype’s. Also it was written around the time Herschel discovered them. It was more of a brief description on anthotype’s, but still helpful to read.

Felicie, C. (2012). Here are the young men; Marked. Retrieved on the 2^nd April from http://clairefelicie.com/category/marked

The photographer Claire Felicie’s website was helpful as it allowed me to see her portraits of young army men. She took them in a very straight up, close style. It is always interesting to see other artists work, similar to what you are thinking of doing, as she is.

Fowkes, M & Fowkes, R. (2006). The Art of Making Do with Enough. Retrieved on the 2^nd April from http://translocal.org/writings/makingdo.htm

This was a very interesting article about making sustainable art. Which is what I am interested in for this project.

Fabbri, M. (2012). Anthotypes; explore the darkroom in your garden and make photographs using plants. Sweden. Malin Fabbri publishing. 

Mann, S. (2005). Deep south. New York, America. Bulfinch. 

Eastbrook, D. (2012). Dan Eastbrook. Retrieved from:http://danestabrook.com/


Flint, I. (2008). Eco Colour. Sydney, Australia. Murdoch Books.


Flint, I. (2012). India Flint - the workroom. Retrieved from: http://www.indiaflint.com/

Teiji, I,  Ikko, T & Tsune, S. (1993). Wabi Sabi Suki; the essence of japanese beauty. Japan. Mazda Motor corporation.

Koren, L. (1994). Wabi-Sabi for artists, designers, poets & philosophers. California. Stone bridge press.

Crowley, J & Crowley S. (2001). Wabi Sabi style. Utah. Gibbs Smith publisher. 

Kane, A & Neubert, C. (2008). Living Green; The New Zealand handbook for an eco-friendly, toxin-free, sustainable life. China. New Holland publishers.

Guggenheim, D. (Director). (2006). An inconvenient truth [Motion picture]. United States: Lawrence Bender Productions / Participant Productions.

Fothergill, A & Linfield M. (Director). (2008). Earth [motion picture]. England: BBC worldwide Ltd & Green Media AG.  

Think quest, (2012). Global warming. Retrived form: http://library.thinkquest.org/CR0215471/global_warming.htm 9th May

Houghton, J. (2007). Global Warming: The Complete Briefing third edition. Cambridge, United Kingdom: Cambridge university press.

Energy consumers. (2007). Pros and Cons of tidal energy use. Retrieved form:

http://www.energy-consumers-edge.com/tidal_energy_use.html


Bioenergy association of New Zealand. (2007). Bioenergy Information. Retrieved from: http://www.bioenergy.org.nz/bioenergyinfo.asp


Centre for energy. (2012). How is solar engery used. Retrieved from: http://www.centreforenergy.com/AboutEnergy/Solar/Overview.asp?page=2

Longino, K. (2012). Carol Golemboski, Anthotypes. Retrieved from: http://www.kevinlongino.com/portfolio.cfm?a=39&p=131&t=collec..

Gonzalez, S. (2012). Anthotypes, Green and sun power. http://www.behance.net/gallery/Anthotypes-Green-and-sun-power/1051627

Fowkes, M & Fowkes, R. (2010). The Principles of Sustainability in Contemporary Art. Retrieved from: 

http://greenmuseum.org/generic_content.php?ct_id=265


Moss, D. (2009). On the arts and sustainability. Retrieved from: http://createquity.com/2009/06/on-arts-and-sustainability.html

Art and sustainibilty

http://www.lovelyasatree.com/index.htm

http://greenmuseum.org/generic_content.php?ct_id=265

The Principles of Sustainability in Contemporary Art

by Maja and Reuben Fowkes

"'existing humans must assume responsibility for future humans and other species' and grant to animals and plants the right to thrive and exist without damage." 

"a renewed sense of social responsibility is also a vital element of sustainability." 

"The use of internet as a device for communication, networking, archiving, and a creative tool is also seen as a more sustainable alternative to traditional artistic techniques. Lens-based media have been used to document ephemeral performances or actions and appear to be the favourite means for environmentally-aware artists to communicate new ideas." 

"There is another issue of art and sustainability to be addressed, and that is the question of the sustainability of art structures. It involves facing the ecological deficit of large museums and confronting the suspect relationship of many art institutions to polluters in the corporate world through unethical sponsorship. Galeta points to an even deeper problem: 'Only art today does not think about recycling.' This refers both to the practical issue of what to do with an ever increasing stockpile of art works, and to the discord between the belief in art as the highest civilisational value conceived for eternity, with the do-not-touch approach attached to it, and the idea of sustainability." 

"Sustainable art is arguably a wider concept than environmental art, which is primarily focussed on remedying ecological problems, recycling, and the healing of nature. While in contemporary living we have a greater understanding of sustainability in our everyday choices (or the lack of them), contemporary artists increasingly take on the role of alternative knowledge producer, involved in 'producing, mediating, and exchanging alternative models and dealing with issues that are marginalised in mainstream culture and politics.' [10] The artistic engagement with sustainability entails an understanding of ecological equality, a shift from the anthropocentric model to include the non-human world in our moral universe, a renewed sense of social responsibility, as well as a concern for grassroots democracy, and draws on radical critiques of art and society and the dematerialised practices of conceptual art to offer sustainable alternatives in art and life."

“The Art of Making Do with Enough,” Maja and Reuben

Fowkes

http://www.translocal.org/writings/makingdo.htm

"According to environmental thought, the key problems to be addressed on the path to sustainable living are a capitalist model of growth, consumerism, hierarchies in society, social injustice, and the human impact on the environment and natural world. The transformation of society into a more sustainable one entails putting into practice the principles of ecology, grassroots democracy, social justice and non-violence."

"Sustainability in art brings awareness of a wider ecological context around the production and reception of art works. It questions the sacrosanct status of the art object as the highest civilisational value and problematises the belief that artworks are created, and should be preserved, for eternity. Just as in society there is a tendency to stop seeing nature as an endless resource, attuned artists problematise the understanding of art as commodity, and are reluctant to add to the stockpile of art objects, choosing instead to explore alternative means of expression."

"Engaged artists are involved in creating something like a wave effect to shift society in the direction of sustainability; by exploring and demonstrating alternatives."

"Artist Nils Norman draws on practices of alternative culture, his work seems particularly close to ideals of social ecology and eco-communalism. Social ecology sees the primary struggle as against hierarchy and domination, is grounded in an ecological sensibility, and opposes instrumentalist attitudes towards the natural world. It seeks to re-embed humans in nature, and espouses bio-regionalism, small communities, diversity, and appropriate technology. Eco-communalism favours ‘disengagement from corrupt social and political institutions, and the establishment of exemplary institutions or the pursuit of exemplary personal action.’"

"The Edible playscape", Bristol 2001

Nils Norman - "I have come to see adventure playgrounds as radical models of alternative public space—playful spaces of disruption, disorder, and undevelopment, in direct opposition to the relentless privatisation and dismal redevelopment of every sad scrap of urban space.”

"Though well-known as a net artist, Heath Bunting’s recent projects take place in real time situations, with internet used as a tool for publicising, communicating and archiving artists’ projects. The medium of the internet is widely encountered in contemporary art as an environmentally-friendly alternative, although Heath Bunting’s background in net art activism gives him a strong insight into the web as “intellectual battlefield populated by governments, corporations, activists and artists”—hardly a control free zone. His practice of storing material on a remote server is a liberation from dependence on the possession of the material object of the computer, and resists the consumerist imperative to new technology. The website Bunting runs with other members of the irational.org collective hosts subversive art projects and is exemplary in its minimal style and appropriate technology aesthetic, clearly opposed to the flashy corporate branded web presence."

I clicked on a few of the links and they all came up with things like this;

Seems like a dairy of his past work. you can clearly see " its minimal style and appropriate technology aesthetic, clearly opposed to the flashy corporate branded web presence"

Heres Heath Bunting

"International Tree Climbing Day, initiated by Heath Bunting and Kayle Brandon, is an example of the use of the internet to spread certain freedom-enhancing ideas and behaviours. The project involved setting in motion a new tradition of ‘international tree climbing day’, with the expectation that this innocently subversive celebration would spread across the world. By 2006, the day was actively celebrated in Australia, Hungary, and locations in the UK. The invitation to spend the day climbing trees is an opportunity to reconnect with the natural environment, and experience ourselves as part of it, as well as to break free of the social conditioning that inhibits us from climbing trees every other day of the year." 

Heres the page for this day - 

And a dairy/log of it...

"Sustainable art practice is an opportunity as well as a challenge for contemporary artists. Giorgo Agamben observes that the situation becomes productive “exactly there where the zones of the indistinguishability of artistic practice and political activism are at stake, always then when a temporary moment of the indifference of life and art arises, through which both undergo a crucial metamorphosis at the same time” , and that seems to be the case here."

Photography and the Environment - Jennifer Daly

"Since its inception, photography has been a toxic endeavor. To create a

Daguerreotype, one of the earliest photographic processes, the artist would polish a

copper plate, coat it with silver, and sensitize it with iodine fumes. Once the plate was

exposed, the image was developed with heated mercury vapors in a small-enclosed

darkroom. By the end of the 19th century, photography had become more standardized,

and subsequently less perilous, but the chemistry involved was still hazardous. Until the

introduction of digital photography at the mass-market level in the 1990s, the process to

develop film and to make black and white prints stayed relatively unchanged. At the end

of the day, there are still toxic solutions left over."