Tim Collins’ essay, Environmental Artworkers, published in FIELD: The Journal of Socially Engaged Art Criticism (Winter Issue 23), provides a compelling exploration of the evolving role of ecological artists. This special issue, curated by Tatiana Sizoenenko and edited by Grant Kester, focuses on the pioneering work of Newton and Helen Mayer Harrison, two leading figures in the Ecological Art Movement.
In his essay, Collins reflects on a transformative decade for the Harrison Studio, from 1970 to 1980, when the boundaries between art, science, and environmental activism became increasingly fluid. He explores how Helen Harrison’s evolving role in the studio added new dimensions to their collaborative projects, emphasizing a dialogical, relational approach to environmental practice. Projects such as Making Dirt and The Lagoon Cycle are highlighted as key examples of their material inquiry and ecological sensitivity.
Collins’ writing invites readers to reconsider the role of art in addressing our global environmental challenges. He introduces the concept of “environmental artworking”—an evolving practice that goes beyond conventional aesthetics and engages deeply with socio-environmental issues. This artworking reflects a sensitivity to both human and more-than-human relations, challenging us to question our ecological identities and responsibilities.
This essay aligns with the Harrisons’ broader mission of re-enchanting our relationship with the planet, as they called for in their iconic text, The Time of the Force Majeure. Collins’ reflection on their legacy offers not only a historical perspective but also a forward-looking vision for how art can continue to shape critical ecological discourse.
Read the full article here:
FIELD: The Journal of Socially Engaged Art Criticism – Issue 23