This film displays ideas and experiments in art and architecture to design and dwell in portable, flexible, environmentally-friendly off-grid and compact homes.
This film follows a team travelling to Alaska to examine how much of our garbage has ended up in the region’s gyre—a rotating ocean current.
Emily Brady puts forward a model of aesthetic appreciation based on disinterestedness, as an alternative to what she calls the hedonistic model..
In ¡Vivan las Antipodas!, award-winning documentary filmmaker Victor Kossakovsky visits four rare inhabited regions of the world that are antipodal to other landmasses and creates unexpected images that turn our view of the world upside-down.
The Mount Rushmore National Memorial in Keystone, South Dakota is a sculpture of the heads of four prominent United States presidents and a protected landscape by the International Union for Conservation of Nature.
Artwork and film projects have the potential to expose trash in a variety of forms and help us visualize, acknowledge, and critique larger systems in which plastic waste circulates and operates.
Waste is never completely or permanently “out of sight.” Once discarded, it undergoes transformations, often reappearing elsewhere in new forms. In this volume of RCC Perspectives, scholars from different disciplines—from history and art history, urban geography, environmental studies, and anthropology—investigate the traces waste leaves behind in the course of its travels.
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In 1879, eight-year-old Maria Justina discovered spectacular paintings in the Altamira cave in northern Spain.
This is a chapter of the virtual exhibition “Welcome to the Anthropocene: The Earth in Our Hands”—written and curated by historian Nina Möllers.
Together with the Rachel Carson Center for Environment and Society, the Deutsches Museum hosted a major special exhibition on the Anthropocene from December 2014 – September 2016, which was curated by Nina Möllers. Coined by the atmospheric chemist and Nobel Prize laureate Paul J. Crutzen, the term “Anthropocene” describes the idea of a new geological era shaped by deep interventions into nature by humans as biological and geological agents.
Nina Möllers
Linda Weintraub introduces eco-art strategies, genres, issues, and, approaches.
