Intentional Landscape 1

Decolonizing the Use of Nature in Landscape through Intention

Natalie Hough

ARE6641, Dr. Hunter-Doniger

4/23/21
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The modern environmental crisis is one of the biggest threats humanity has ever faced. Art

can be a valuable tool in creating solutions. The arts have a long history with activism, specifically

environmental activism (Lambert & Kholsa, 2000; Lewin, 2018), which makes art uniquely suited

to address this issue. An environmental solution begins with reframing the environment and its

relationship to us as humans. Pagano (2011) notes etymological root of the Anglo-Saxon/Roman

term for landscape implies humans have intervened in some way to modify the landscape to suit

their own purposes (p. 402), inferring nature needs a human touch to be noteworthy. It is essential

that we evaluate the way we address and work with the environment in art to increase awareness

and activism in our students, essentially decolonizing the role of the environment in art.

Landscapes are often stereotypically regarded as quaint, unproblematic subjects for

paintings. We do not typically consider landscapes controversial, conceptual or complex (Lewin,

2018; Pagano, 2011). Some of this has to do with our anthropocentric cultural views, which have

trained our brain to focus on human issues (Kiefer-Boyd et al., 2018). This anthropocentrism was

evolutionarily advantageous at the dawn of man as we clawed for survival, but the tables have

turned, and anthropocentric views prevent us from appreciation of and empathy for non-human

organisms (Kiefer-Boyd et al., 2018). Braddock (2009) observes the European custom of

representing natural resources through human embodiments, most commonly women. This can be

interpreted in two ways: humanizing the environment to make an empathetic connection easier for

the viewer, or contrarily implying that the environment cannot incite that empathy on its own

merit, and requires anthropomorphism to be relevant (Braddock, 2009, p.26-27; Lewin, 2018).

Here is where the viewers can become the deciding factor through the power of their own

interpretation, and art education can equip them to do so.

The Third Teacher

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Many educational pedagogies recognize the importance of the environment, and

specifically its direct effect on the student. Reggio philosophy names the environment as the

child’s third teacher (Sienkiewicz, 1985). This view implies the physical surroundings and our

treatment of those items are a fundamental part of the education process, shaping behaviors for

years to come. Nature and environment shape our identities (Pagano, p. 402). Our surroundings, to

a degree, dictate our behavior. Surroundings, it should be noted, does not only refer to the natural

landscape, but also man-made items and practices. Thus, if a child is never exposed to the natural

aspects of their environment, or observes authority figures displaying an indifferent/disapproving

attitude towards those aspects, the child will be disinclined to appreciate or respect their natural

surroundings. Sienkiewicz (1985) points out that prior to the 19th century and Rousseau’s

transformative Emile pamphlet (p.125), the Western world, and specifically philosophic religious

teachings of that time, saw the natural world as inherently sinful. Man’s purpose was to accept

dominion over the world and correct that which was untamed. Pagano reflects that this separation

has wounded the human psyche:

“The paradoxical nature of landscape, a fragment that strives towards wholeness, reflects

the tragedy of modern human consciousness which, after being separated from the

wholeness of nature, is forever trying to recover it” Pagano, 404.

This tragedy is still playing out, with predictions for climate change becoming increasingly dire

(Braddock, 2009, p.27). The concept of unity, from an environmental and educational standpoint,

has become a necessity.

With its contemporary significance, I would argue landscape has ties to the Eco-art genre.

Eco art is under documented and under analyzed, partially due to its “ephemeral” nature (Bower,

2006, p.78). Eco art is often site specific and temporary, designed to avoid a lasting physical
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impression. However, Braddock (2009) believes we can apply we can apply an environmental lens

to past works. As a case study, Braddock (2009) interprets European 19th century environmental

paintings, which revived the Greco-Roman tradition of personifying natural resources, as a respect

for nature where the artist uses animism to create empathy for environmental issues. (Braddock,

2009, p. 24-25). Braddock refers to this method of interpretation as ecocritical (p.24). The

ecocritical lens can be applied to art history, “cast[ing] canonical works and figures in a new light

by revealing previously unnoticed complexity regarding environmental concerns” (p.26).

Ecocritical perspectives in landscape help to radicalize and energize creation of and engagement

with the art.

There has been a shift in many disciplines, education and environmentalism included, from

domination to understanding. Pagano highlights a shift from dominating or correcting nature (p.

405) to preservation and protection (p.405-406). Similarly, Rousseau codified a fundamental shift

in perspective from dominating the child’s spirit to conform to adult expectations to nurturing the

natural abilities of the child (Sienkiewicz, 1985, p.125). Lambert & Kholsa (2000) describe an

emerging attitude of reverence towards nature (p.112). Notably, this shift paralleled the evolution

of the dominant Christian ideology of the time (Sienkiewicz, 1985). This ideological shift can be

seen not only in the treatment of nature, but the treatment of young children, women, minorities,

animals, and even the individual self.

Interdisciplinary Connections

The use of nature in art goes beyond the surface. An environmental art education is rich

with interdisciplinary connections, including science, history, and sociology (Pagano, 2011,

p.402). Taking advantage of these rich connections aligns with John Dewey’s Curriculum
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Integration theory (Tarr, 118). Art educators should not shy away from discussing environmental

issues because they feel it is outside the realm of their own discipline.

The way nature appears in art has also evolved. Pagano (2011) argues that traditionally

nature’s use in art is seen as ambivalent (p. 405), but in 2021 nature itself has a political

component. As previously mentioned our attitude towards the environment has been shifting

dramatically since the 19th century (Pagano, 2011; Sienkiewicz, 1985; Lambert & Kholsa, 2000)

This contemporary view is reflected in modern environmental art practices where the environment

is not a prop or background, but a central focus of the piece (Rosenthal, 2003). This shift is far

from revolutionary. Rather, it is a return to homeostasis, a reunion.

Landscape also helps address the illusion of division amongst curriculum subjects. Science

needs the humanizing and creative passion of the arts (Lambert & Kholsa 2000, p.109) Lambert &

Kholsa argue that the two disciplines are inherently interconnected, and propose that bringing the

two back together would be a “restoration” (p.110). Lambert & Kholsa (2000) speak to the sense

of awareness that both disciplines can bring to the same issue, highlighting the natural harmony

and alliance between them (p.110-111). Additionally, art is an ally to philanthropic and community

perspective (Lambert & Kholsa, 2000, p.113), relating to Bower’s (2006) identification of art as a

“catalyst” which turns the audience into a “forum” (p.79). This interconnected perspective reflects

the interconnectedness of our ecosystems, and echoes the Froebelian emphasis on unity

(Sienkiewicz, 1985).

Is Intention Enough?

Many sources laud intentions of unity and emotion, but in the present circumstances, is

intention enough? The answer is most certainly no. Intention without action is at best half-hearted

and at worst directly counterproductive. York, Harris and Herrington (1993) investigate this
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through multiple landscape paintings, all created with an apparent respect for that natural features

they portray, but some with “secondary goals” (p.26) that conflict with their artistic message. Also

mentioned are the creative, sometimes fantastical liberties artists take with scale, composition, and

color (York, Harris & Herrington, 1993, p.26-28). These liberties have alternately inspired

conservation and exploitation, some intentional on the artist’s behalf, and some serendipitous

(York, Harris & Herrington, 1993, p.26). Nevertheless, the artists mentioned were picked because

action, intentional or not, was inspired by their work.

Natural art is also not necessarily at odds with the digital. Kiefer-Boyd et al. (2018) note

that while the digital may remove us from the physical in some respects, in others, such as

geolocation and signal strength (p.23-24), pin us more securely in place. The posthumanist

movement largely applies to issues of technology (Kiefer-Boyd et al., 2018), but the message of

redefining relationships between humans and non-humans applies seamlessly to environmental

issues. Technology will be an essential component of any environmental solution, through the

development of alternative fuels to the better research and protection of at-risk species. As with

science, these apparent opposites are two sides of the same coin. While art carries intention and

awareness, science and technology carry the possibility of action through innovation.

While the road to hell is paved with good intentions, intentions are necessary precursors to

action. Instead it may be said the road is paved with unfinished business, seeds that never sprouted.

The fact that seeds are not yet trees does not make seeds meaningless. While intention cannot be

said to be equivalent to action, our intention towards representing nature in art is the emotionally

laborious first step. A first step cannot be considered a victory in and of itself, but the expression

of these intentions, however inadequate, is vitally necessary if action is to follow.

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References

Bower, S. (2006). Get Information, Give Information: Facilitating the Production and Teaching of

Environmental Art. Art Journal, 65(1), 78-80. doi:10.2307/20068450

Braddock, A. (2009). Ecocritical art history. American Art, 23(2), 24-28. doi:10.1086/605707

Delacruz, E. M. (2019, December 29). Learner-centered teaching approaches in education and art

education, circa 2020 [Blog Post]. Retrieved

from https://elizabethdelacruz.blogspot.com/2019/12/learner-centered-teaching-approaches-

in.html

Lambert, A., & Khosla, M. (2000). Environmental Art and Restoration. Ecological

Restoration, 18(2), 109-114. Retrieved March 26, 2021, from

http://www.jstor.org/stable/43440855

Lewin, K.D.C., (2018, November 26). Environmental Art Movement Overview and Analysis. In K.

Nichols (Ed.) The Art Story. https://www.theartstory.org/movement/environmental-

art/history-and-concepts/

Pagano, T. (2011). Reclaiming Landscape. Annali D'Italianistica, 29, 401-416. Retrieved March

26, 2021, from http://www.jstor.org.lp.hscl.ufl.edu/stable/24016435

Rosenthal, A. (2003). Teaching Systems Thinking and Practice through Environmental Art. Ethics

and the Environment, 8(1), 152-168. Retrieved March 26, 2021, from

http://www.jstor.org/stable/40339059

Sienkiewicz, C. (1985). The Froebelian kindergarten as an art academy. In B. Wilson & H. Hoffa

(Eds.), The history of art education: Proceedings from the Penn State conference (pp. 125-

137). National Art Education Association

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Tarr, P. (1989). Pestalozzian and Froebelian influences on contemporary elementary school

art. Studies in Art Education, 30(2), 115-121.

York, J., Harris, S., & Herrington, C. (1993). Instructional resources: Art and the environment: A

sense of place. Art Education, 46(1), 25-57. doi:10.2307/3193417