Abstract

The biophilia hypothesis, posited by sociobiologist Edward O. Wilson, presents the existence of an innate human-nature connection which is based on societal behavior. This hypothesis is also supported by artists of the environmental movement, starting in the1970s and continuing today. This art historical observation and analysis is the core of this study. Environmentally conscious artists have created land based installation art and design experiments intended to reconnect the public to the natural world, the biophilia in human behavior. Artists such as Hans Haacke created simplified gallery spaces to exemplify their natural relationships and Vaughn Bell facilitates spaces within galleries where human and plant experiences are mutually beneficial, through a shift in the viewer’s perspective. Alan Sonfist installed gardens of indigenous plants that memorialize the identity of New York’s pre-colonial ecosystems, while contemporary artist Mark Dion’s greenhouse installation, “Neukom Vivarium” facilitates educational memorial spaces where that natural world is accessible within urban environments. This mode of making is also mimicked by the Earthship architecture of Mike Reynolds and breathing and living “Pulse Dome” home designs by Don Zanfagna. Likewise, these interests continue into home furniture, with Amy Youngs’ plant and organic waste based furniture designs maintained by human participation, allowing for positive human-to-plant interactions.

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