Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting.
Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet.
An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating.

Landscape into Eco Art: Articulations of Nature Since the ’60s

Arts & Photography

Cheetham, Mark

History & Criticism

Penn State University Press

In this illustrated biography of painter Alex Colville, Mark A. Cheetham charts the prodigious life and career of one of Canada's best-known artists. Both artist and public figure, Colville engages many worlds at once: painting and politics, creativity and business. He has been given some of the highest honours for his art. He has also been charged with misogyny, opportunism, and crowd-pleasing. Where is the truth among all these contradictions? Read this biography and discover Alex Colville for yourself.

Alex Colville: The Observer Observed

Humor & Entertainment

ECW Press

Color field art covers more acreage than you might expect. In this major reappraisal cataloguing an exhibition at the Art Gallery of Ontario in Toronto, the definition is extended to include both contemporaneous works in media other than painting and recent iterations by younger artists. Thus, artists more often deemed Minimalist, such as Dan Flavin, Sol LeWitt, Fred Sandback and Robert Irwin, are seen as responding to ambitions expressed in color field painting, and contemporary works, such as those by Peter Halley and Polly Apfelbaum, resonate from proximity to masterworks from an earlier generation. Apfelbaum's Gun Club from 2002, for example, dances meaningfully with Helen Frankenthaler's Tutti Fruitti, 1966. In addition, you'll see how Morris Louis, Adolph Gottlieb, Barnett Newman, Mark Rothko, Milton Avery and Frank Stella can play on the same field with Odili Donald Odita, Christian Eckert and Charles Long with Stereolab. Curator David Moos and other leading scholars in the field, Sarah K. Rich and Robert Hobbs among them, add insightful commentary.

The Shape Of Color: Excursions In Color Field Art, 1950-2005

Rubinstein, Raphaël

Hobbs, Robert

Moos, David

Rich, Sarah

Eckart, Christian

Art Gallery of Ontario

Exploring cross-cultural scenarios in 20th-century art, this book introduces fresh perspectives on abstraction as a visual signifier of modernity by revealing the multiple directions that abstract art has taken in different international contexts. This groundbreaking collection shows how the heterogeneous qualities of abstraction have been cross-fertilised, from abstract expressionism onwards, by the creative discrepancies that arise when different cultural identities come face to face in the artistic imagination. Discrepant Abstraction is the second volume in the Annotating Art's Histories series. Contributors: Stanley Abe; David Clarke; Mark Cheetham; David Craven; Wilson Harris; Iftikhar Dadi; Kellie Jones; Nathaniel Mackey; Kobena Mercer and Angeline Morrison. Supported by the Getty Foundation.

Discrepant Abstraction. Edited by Kobena Mercer (Annotating Art's Histories)

Clarke, David

Abe, Stanley K.

The 2014 exhibition explored how modernist legacies are being revisited by contemporary, largely female, Canadian artists' the formalist aesthetics of the modernist movement of the 1960s (which included many Saskatchewan artists via the Emma Lake workshops) are now being recognized by female Canadian artists at various stages of their careers' an interesting phenomenon given that women artists were historically largely excluded from the intellectual discourse at the birth of the movement. Fully illustrated with exhibition installation images, the book follows suit in presenting artists from across Canada who utilize formalist aesthetics in ways that take new conceptual, narrative and aesthetic turns. In addition, three critical essays—two commissioned and one from the exhibition curator— contextualize the movement.

Who's Afraid of Purple, Orange, and Green?

Mansoor, Jaleh

Matotek, Jennifer

Black Dog Press

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Books by Cheetham, Mark