Indie Project: Theoretical Foundations of Environmental Art Education Name: Annette Saldana Date: February 25, 2014 Introduction

For the last three decades, ecological art based practices have expanded and evolved greatly. Significant ideas stem from this type of pedagogy and it has begun to grow in popularity. Environmental Art Education or as some would call it eco -art education is highly valued because it offers educators a way in which to encourage ecological literacy, connections to vast subjects areas, authentic learning experiences, and social transformation. Key Influences Environmental art education came about in response to environmental artists such as Joseph Beuys who worked to raise awareness and concern about sustainability in the 1960s. Rachel Carsons book Silent Spring also made an impact on society, beckoning the U.S. government to change environmental policies. In the 70s, 80s, and 90s, popular artists like Robert Smithson, Christo and Jeanne-Claude, Andy Goldsworthy, and Agnes Denes (just to name a few) allowed viewers to understand natural and social issues in innovative, conceptual ways. Environmental researcher, Patricia Watts (2005) states, Ecoartists can be thought of as midwives for the earth, facilitators of environmental education, consultants for environmental restoration and visionaries for transforming ecological communities (para. 4). Theoretical foundations in eco-art education began to emerge as philosophies on ecoresponsibility have further developed. In 1987, art educator Jan Jagodzinkski, wrote about the beneficial outcomes of green aesthetics. He encouraged teachers to consider how nature and culture can become interwoven through play and creativity. As urbanization and consumerism threaten sustainability, he saw the need to have students develop more symbiotic relationships with the environment. He goes on to question, How can we change not only our dominance over things but develop a sense of self that goes beyond the possessive individualism of Enlightenment-the individual bent on having and experiencing it all (Jagodzinksi, 1992, p.33)? In 1990, Terry Graff, wrote about the importance of interdisciplinary studies in regards to ecology and art. He felt that through art we could better understand our natural world and learn to appreciate it. Through eco-art studies he and others believed that the concepts of science, ecology, social studies, and art could be taught in which students could form real world

connections. Professor David Orr (1992) had a similar belief as he once argued that ecological literacy will not be instilled in children unless it is integrated into a wider variety of subject areas, including the arts (Inwood, 2008, p.30). Many environmental educators have seen wonderful results as students begin to work within their own local communities. Place-based education can be incorporated into eco-art lessons in which participatory acts help students learn the importance of teamwork. In the late nineties, authors such as Matthew Sanger and David Sobel wrote influential texts that explained how being outside might allow students to gain a deeper appreciation and sense of stewardship for the places we live. Place-based pedagogy allows for cross-curricular intermeshing to occur within environmental art studies. Strategies are created in which connections can be tied to culture, environment, and specific locations. In 1995, Gablik wrote a book called Connective Aesthetics that was based on her theories of eco-art making. Her writings allowed art educators to follow a framework in which they could invite themes tied to environmental concerns into their curriculum. Connective aesthetics provide a way for learners to look beyond what they do on an individual level in search of how they might create communal action. Through the study of contemporary eco-art many are observing how creativity can be centered on collaboration, activism, and dialogue. Gablik (1991) states that Our present models [of art], which until recently have been focused on notions of autonomy and mastery, have been notably uncongenial to any respect of the psyche that is receptive or connective, that emphasizes the importance of relationship and harmonious social interaction (Gablik, 1991, p. 128). The Future of Eco-Art Education Today, art educators have a wide array of internet resources in which to find fragmented information pertaining to eco-art. Countless teachers search and seek using the following: Green Museum, ArtsEdNet, Inhabitat online magazine, and Pinterest. Individual modern educators such as Don Krug and Doug Blandy are still publishing information pertaining to philosophies and ideas based on eco art education. That being said, educators still have a need for additional theoretical framework pertaining to this pedagogy as it is limited. Perhaps more Praxis research and methodology groundwork could help teachers implement more successful curriculum development in the future. The importance of my study goes beyond the here and now. Sustainability practices help

us to hold on to past traditions and those things we wish to share with future generations. I feel many art educators are interested in ecology themed art projects within their curriculum, though most only skim the surface of what might be potentially explored. My passion for environmental art education extends past the four walls of the everyday classroom and beckons me to investigate the power that resides outdoors, within nature. I feel it is the duty of educators to share with students the knowledge and importance of conservation. Within art education, the sensory experience becomes one of the greatest motivators to encourage environmental stewardship. Preservation is essential to life. Finn (2013) quotes Edward Burtynsky who said: [we] come from natureThere is an importance to [having] a certain reverence for what nature is because we are connected to it... If we destroy nature, we destroy ourselves. (Finn, para 11).

References: Blandy, D. & Hoffman, E. (1993). Toward an art education of place. Studies in Art Education. 35(1), 22-33. Retrieved from http://www.jstor.org/stable/1320835 Finn, C. (2013). Connections: Ansel Adams, Edward Burtynsky and the Group of Seven (McMichael). Retrieved from http://www.mcmichael.com/adams-burtynsky/group-ofseven.html Gablik, S. (1991). The re-enchantment of art. New York: Thames and Hudson. Gradle, S. (2008). Ecology of place: Art education in a relational world. Studies in Art Education. 48(4), 392-411. Graham, M.A. (2007). Art, ecology, and art education: Locating art education in a critical placebased pedagogy. Studies in Art Education, 48(4), 375-391. Inwood, J. (2008). At the crossroads: situating place-based art education. Canadian Journal of Environmental Education, 13(1): 86-97. Jagodzinski, J. (1992). The poetics of green esthetics: Situating 'green criticism' in the postmodern condition. Pluralistic Approaches to Art Criticism. p. 49-71. Bowling Green: Bowling Green University Press Krug, D. Art & ecology: Curriculum integration. Retrieved from http://www.greenmuseum.org/c/aen/Curric/charac.php Orr, D. (1992). Ecological literacy: Education and the transition to a postmodern world. Albany: State University of New York Press. Watts, P. (2005). Ecoartists: Engaging communities in a new metaphor. Community Arts Network: arts and the environment. Retrieved from: http://www.landviews.org/articles/metaphor-pw.html