It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.
During the summer and fall 2009, a group of New Mexico arts organizations joined together to present LAND/ART, which explored relationships of land, art, and community through exhibitions, site-specific art works, lectures, and a culminating book. The collaboration focused on “environmental” or “land” art, and sought to address our changing relationship to nature, and to offer a new or previously unconsidered understanding of the place in which we live.
Designed by New York-based Nomad Studio, Green Air is the second major, transformational installation in CAM’s courtyard. Green Air comprises two thousand slices of wood suspended from the courtyard’s trellis with Tillandsia air plants attached to each. The sculpture hangs above the heads of visitors, swaying in the breeze and filling the 45-by-50-foot space. Headed by William E. Roberts and Laura Santín, landscape architecture firm Nomad Studio is known for combining contemporary art and design with natural elements
Balancing environmental, ethical, economic, and aesthetic concerns, sustainable design has the potential to transform everyday life and has already dramatically reshaped the practice of architecture. Beyond Green introduces a new generation of international artists who work at the intersection of sustainable design and contemporary art.
Humans have bred plants and animals with an eye to aesthetics for centuries: flowers are selected for colorful blossoms or luxuriant foliage; racehorses are prized for the elegance of their frames. Hybridized plants were first exhibited as fine art in 1936, when the Museum of Modern Art in New York showed Edward Steichen's hybrid delphiniums. Since then, bio art has become a genre; artists work with a variety of living things, including plants, animals, bacteria, slime molds, and fungi. Many commentators have addressed the social and political concerns raised by making art out of living material. In Green Light, however, George Gessert examines the role that aesthetic perception has played in bio art and other interventions in evolution.
During her short career, Ana Mendieta (1948-85) created a body of work that was provocative and radically inventive. Using her own body, together with elemental materials--blood, fire, earth and water--she created visceral tableaux and ephemeral "earth-body" sculptures exploring life, death, rebirth and spiritual transformation.
The Ecofeminist Movement represents the coming together or the environmental, feminist, and Women's spirituality movements out of a share concern for the well-concern for the well-being of the Earth and all forms of life that our Earth supports.
Discusses the work of American artist Linda Stein, commenting on her interest in feminism and fluidity of gender, social and environmental systems of power and noting her lesbian identity, considering her series 'I am the Environment: My Gender My Nature', and its engagement with ecofeminism, and the performative nature of her sculptural work.