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in Nine Lives Down: Love, Loss, and Longing in Scottish Wildcat Conservation
> Environmental Humanities
Published: 01 May 2020
Figure 2. The Nadurra Centre wildcat exhibit.
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Published: 01 May 2019
Figure 6. Exhibition documentation, Asbestos, Sasha Litvintseva and Graeme Arnfield, Roaming Projects, London, UK, 2017, courtesy of the artists.
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in Sensory Co-laboring: Mine Detection Dogs and Handlers in Humanitarian Demining in Colombia
> Environmental Humanities
Published: 01 November 2023
Figure 1. Ibrahim and Hamilton during a dog-training exhibition in the village of Santa Helena, Colombia. Photograph by the author, 2016.
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Environmental Humanities (2024) 16 (3): 680–691.
Published: 01 November 2024
...Pandora Syperek; Sarah Wade Abstract Oceans have proliferated in artworks and exhibitions in recent years, coinciding with a surge of scholarship in the blue humanities and critical ocean studies. However, despite the extensive art history of the sea, artistic and curatorial knowledge has been...
Journal Article
Environmental Humanities (2022) 14 (1): 219–232.
Published: 01 March 2022
... and research can accomplish in and outside the classroom, and on how student involvement in the research process can create spaces for new awareness and renewed interest in active engagement with climate change discussions. The article references student projects exhibited at ClimateCon 2020, including one...
Journal Article
Environmental Humanities (2021) 13 (2): 281–300.
Published: 01 November 2021
.... The second argument examines the specificity of ice loss and multiple practices responding to this loss: from art exhibits at United Nations climate change meetings to anticolonial claims for the right to be cold. The third argument consolidates a theme built across the article regarding how Isabelle...
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Environmental Humanities (2023) 15 (3): 104–118.
Published: 01 November 2023
... librarian, artist, and activist Zayaan Khan for the exhibition The Long Term You Cannot Afford: On the Distribution of the Toxic at SAVVY Contemporary in Berlin in 2019. Informed by historical research on the trade of hazardous waste between the two Germanys during the Cold War—with a particular focus...
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Environmental Humanities (2024) 16 (1): 79–99.
Published: 01 March 2024
... histories, this article instead shows that failed commodity crops like Ficus elastica , locally known as Jri Bamon in Meghalaya, India, exhibited recalcitrance to a range of state and scientific regimes. In an argument that disrupts the European-centered narrative about the triumphant expansion of knowledge...
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Environmental Humanities (2014) 5 (1): 35–53.
Published: 01 May 2014
... Seamus Heaney and Ted Hughes. Heaney and Hughes's respective poetics exhibit distinctive differences that illustrate our argument. Their poems are frequently taught in university classes on ecopoetry, as well as, especially in their home countries, to younger students, and we argue that the differences...
Journal Article
Environmental Humanities (2019) 11 (2): 402–426.
Published: 01 November 2019
... collaborations among artists, academics, scientists, and local communities to reverse the impacts of extraction through innovative water reclamation techniques and art exhibits that memorialize the region’s coal heritage. These initiatives complement extractive fictions to envision an inclusive, livable...
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Environmental Humanities (2014) 5 (1): 13–33.
Published: 01 May 2014
... climate—never a reconstruction the past that moves through the present and projects the future. Crucially, it is this disjuncture at the present moment that perhaps leaves a space open for justice—a justice that reveals itself in a series of figures that exhibit an underlying ethical relationship...
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Environmental Humanities (2014) 5 (1): 171–201.
Published: 01 May 2014
...Thomas M. Lekan Abstract This essay offers a postcolonial critique of recent environmentalist literature and exhibitions that frame the Anthropocene using the NASA Apollo mission's Earthrise (1968) and Blue Marble (1972) photographs from space. Building on the work of Dennis Cosgrove and Donna...
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Environmental Humanities (2016) 8 (1): 37–56.
Published: 01 May 2016
..., and ethnography. Like queer enactments of gender, performative experiments exhibit the performativity of conventional science and thereby make scientific modes of knowledge production and claims available for critical inspection. Moving beyond the domain of human self-fashioning and debates about the ethics...
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Environmental Humanities (2020) 12 (1): 132–166.
Published: 01 May 2020
... to the depths, engaging with the Caribbean Sea and contemporary artists who depict a gendered oceanic intimacy and aesthetics of diffraction and submergence. Building upon the 2017 exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago , curated by Tatiana Flores, this article...
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in New Ecological Sympathies: Thinking about Contemporary Art in the Age of Extinction
> Environmental Humanities
Published: 01 November 2017
Figure 3. Ann Lislegaard, Time Machine (2011). Unfolded mirror box, HD video projection, 3-D animation with sound, 5:26 mins. Exhibited Nineteenth Biennale of Sydney (2014) at Carriageworks, Sydney. Reproduced courtesy the artist and Murray Guy Gallery, New York.
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in New Ecological Sympathies: Thinking about Contemporary Art in the Age of Extinction
> Environmental Humanities
Published: 01 November 2017
Figure 4. Ann Lislegaard, Time Machine (2011). Unfolded mirror box, HD video projection, 3-D animation with sound, 5:26 mins. Exhibited Nineteenth Biennale of Sydney (2014) at Carriageworks, Sydney. Reproduced courtesy the artist and Murray Guy Gallery, New York.
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in New Ecological Sympathies: Thinking about Contemporary Art in the Age of Extinction
> Environmental Humanities
Published: 01 November 2017
Figure 5. Ann Lislegaard, Time Machine (2011). Unfolded mirror box, HD video projection, 3-D animation with sound, 5:26 mins. Exhibited Nineteenth Biennale of Sydney (2014) at Carriageworks, Sydney. Reproduced courtesy the artist and Murray Guy Gallery, New York.
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in New Ecological Sympathies: Thinking about Contemporary Art in the Age of Extinction
> Environmental Humanities
Published: 01 November 2017
Figure 6. Hayden Fowler, Anthropocene (2011). Mixed-media installation, 5 × 6.5 × 6.5 m. Exhibited at “Awfully Wonderful: Science Fiction in Contemporary Art,” curated by Lizzie Muller and Bec Dean, Performance Space at Carriageworks, Sydney, Australia, April 15 – May 14, 2011. Photographed
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in New Ecological Sympathies: Thinking about Contemporary Art in the Age of Extinction
> Environmental Humanities
Published: 01 November 2017
Figure 7. Hayden Fowler, Anthropocene (2011). Mixed-media installation, 5 × 6.5 × 6.5 m. Exhibited at “Awfully Wonderful: Science Fiction in Contemporary Art,” curated by Lizzie Muller and Bec Dean, Performance Space at Carriageworks, Sydney, Australia, April 15 – May 14, 2011. Photographed
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in New Ecological Sympathies: Thinking about Contemporary Art in the Age of Extinction
> Environmental Humanities
Published: 01 November 2017
Figure 8. Hayden Fowler, Anthropocene (2011). Mixed-media installation, 5 × 6.5 × 6.5 m. Exhibited at “Awfully Wonderful: Science Fiction in Contemporary Art,” curated by Lizzie Muller and Bec Dean, Performance Space at Carriageworks, Sydney, Australia, April 15 – May 14, 2011. Photographed
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