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Art Section 4 > S4 Shrimp Farm > Flashcards

S4 Shrimp Farm Flashcards

1
Q

Where were Helen and Newton Harrison born

A

Helen Harrison was born in Queens, New York, and Newton Harrison was born in Brooklyn, New York

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2
Q

What did Helen Harrison study before pursuing her teaching career in the 1940s

A

English and education

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3
Q

Where did Newton Harrison study art

A

Pennsylvania Academy of the Fine Arts

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4
Q

what year were Helen and Newton Harrison married

A

1953

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5
Q

Where did the Harrisons live from 1957-60

A

lived abroad in Florence, Italy

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6
Q

When did Helen and Newton Harrison begin their collaborative art practice

A

Late 1960s

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7
Q

which period of their marriage did Newton Harrison work as a solo artist

A

The first 2 decades of their marriage

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8
Q

what area were Helen and Newton Harrison pioneers

A

pioneers in establishing the activist engagement and informed interdisciplinarity of contemporary eco art

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9
Q

how long did the Harrisons collaborative art practice last

A

throughout the remainder of their careers

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10
Q

Made “Shrimp Farm, Survival Piece #2”

A

Helen & Newton Harrison

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11
Q

Made “Making Earth”

A

Helen & Newton Harrison

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12
Q

an early example of the Harrisons’ environmentally impactful work

A

Making Earth

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13
Q

When was “Making Earth” first performed

A

1970

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14
Q

How many times did the Harrisons recreate “Making Earth”

A

Many times

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15
Q

What did “Making Earth” consist of

A

The production of rich soil

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16
Q

Why did the Harrisons feel the need to create the work “Making Earth”

A

They created it after understanding that topsoil was endangered worldwide

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17
Q

What materials did the Harrisons use to create the rich soil in “Making Earth”

A

sand, clay, sewage sludge, leaf material, and chicken, cow, and horse manure

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18
Q

Describe the process the Harrisons followed to create the soil in “Making Earth”

A

gathered the materials, mixed them, watered the mixture, and repeated the process over a 4-month period until the soil had a rich, forest-floor smell and could be tasted

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19
Q

What did the Harrisons consider as indicators of the soil’s richness after completing the process in “Making Earth”

A

richness of the soil was indicated by its rich, forest-floor smell and its ability to be tasted

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20
Q

Made the series “Survival Pieces”

A

Helen & Newton Harrison

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21
Q

How did the Harrisons transition from private projects to engaging large audiences with their art

A

introduced their practice to larger audiences with a series of works titled the “Survival Pieces”

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22
Q

Series produced for museums between 1970 and 1972

A

“Survival Pieces”

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23
Q

the main concept behind the Harrisons’ “Survival Pieces”

A

a living ecosystem for a predetermined period of time

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24
Q

Where was “Shrimp Farm, Survival Piece #2” exhibited

A

“Art and Technology” exhibition at the Los Angeles County Museum of Art (LACMA), from May 10 to August 29, 1971

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25
Q

What was the context for the “Art and Technology” exhibition

A

To pair artists with the research and development departments of corporations in order to create collaborative work

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26
Q

How was the “Art and Technology” program received

A

The program was notoriously expensive and generally unsuccessful

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27
Q

how did the Harrisons’ contribution differ from the rest of the “Art and Technology” exhibition

A

the Harrisons’ contribution was created without corporate expertise and became notable for its success

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28
Q

Why is “Shrimp Farm, Survival Piece #2” considered a significant point in art history, according to scholars

A

It is considered a point of transition from Land art to more ecologically conscientious practices

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29
Q

What did “Shrimp Farm, Survival Piece #2” consist of

A

4 ponds of salt water and brine shrimp

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30
Q

Where was “Shrimp Farm, Survival Piece #2” located

A

outdoors on LACMA’s campus

31
Q

What was the alternate title of Shrimp Farm, Survival Piece #2

A

Notations of the Ecosystem of the Western Salt Works with the Inclusion of Brine Shrimp

32
Q

How did the Harrisons’ approach to ecological art differ from earlier Earthworks of the Land art movement

A

rather than using earth as material and expending large amounts of energy in altering the landscape with industrial materials

33
Q

“Shrimp Farm” was made as a direct response to

A

Robert Smithson’s “Spiral Jetty”

34
Q

Made “Spiral Jetty”

A

Robert Smithson

35
Q

How was the Harrisons’ “Shrimp Farm” conceived as a response to Robert Smithson’s “Spiral Jetty”

A

Newton Harrison proposing the idea of introducing brine shrimp at the Spiral Jetty site to feed on the algae that caused the water to turn red

36
Q

What natural phenomenon at the “Spiral Jetty” inspired Harrison’s suggestion involving brine shrimp

A

The reddish hue of the water, caused by the carotene produced by algae in the high-salinity water of the Great Salt Lake

37
Q

What balance did Newton Harrison propose to create at “Spiral Jetty” with the introduction of brine shrimp

A

the brine shrimp would feed on the algae, potentially reducing the red hue, and could also be harvested at the site

38
Q

Higher salt levels in the water leads to

A

greater red hue produced by the algae

39
Q

motivated the Harrisons to create their own shrimp farm in LA

A

They tried to create a living ecosystem for brine shrimp since they could not convert the “Spiral Jetty” into a shrimp farm

40
Q

Describe the design elements of the “Shrimp Farm” work they created for the “Art and Technology” exhibition at LACMA

A

The work consisted of four ponds with varying levels of salt, resulting in subtle color shifts between the ponds

41
Q

What was an outcome of the Shrimp Farm project at the end of the exhibition

A

an actual harvest of shrimp from the ponds

42
Q

Organisms that the Harrisons tried to create living ecosystems for in their “Survival” series

A

fish, trees, potatoes, salad greens, and worms

43
Q

How did the Harrisons’ “Survival” works emphasize the interrelations among organisms and climate conditions

A

By creating highly specific and localized living conditions

44
Q

Why did the Harrisons believe that the concept of a truly closed ecosystem was a fallacy

A

their “Survival” pieces were created for short-term durations (two or three months), which did not account for the complexities and interactions inherent in ecosystems

45
Q

Made “The Lagoon Cycle”

A

Helen & Newton Harrison

46
Q

What significant change in the Harrisons’ approach is noted with “The Lagoon Cycle”

A

The change involved shifting from short-term “Survival” pieces to a more ambitious exploration of ecosystems across the entire Pacific Rim

47
Q

What crab species was used in “The Lagoon Cycle”

A

Crap species native to Sri Lanka

48
Q

How long did “The Lagoon Cycle” project occupy the Harrisons

A

1972-1984

49
Q

What kind of environment did “The Lagoon Cycle” simulate

A

It simulated an indoor estuary

50
Q

How did “The Lagoon Cycle” transform from its original concept

A

It evolved into a larger exploration of ecosystems across the Pacific Rim

51
Q

WHat was the original plan for “The Lagoon Cycle”

A

To cultivate the Scylla serrata, or mud crab, in a closed laboratory environment

52
Q

Scylla serrata is

A

mud crab

53
Q

What were the similar goals of “The Lagoon Cycle” compared to previous “Survival” works

A

To produce an edible food source in controlled, replicable conditions and to study the behavior of the resulting ecosystem

54
Q

How does the ecosystem in “The Lagoon Cycle” differ from previous ones regarding duration

A

It would not be limited to a predetermined period of time

55
Q

Where were the mud crab tanks set up for “The Lagoon Cycle”

A

In the Harrisons’ Southern California studio

56
Q

What were implemented in the mud crab tanks for “The Lagoon Cycle”

A

Timed lights, limited temperature fluctuation, and controlled salinity

57
Q

What conditions were mimicked in the aquatic environment for “The Lagoon Cycle”

A

Conditions of a tropical, estuarial lagoon

58
Q

Why was the duration of “The Lagoon Cycle” critical

A

It coincided with the monsoon season in Sri Lanka

59
Q

(The Lagoon Cycle) What unexpected change did the Harrisons notice in the crabs

A

A change in the crabs’ behavior

60
Q

How did the Harrisons attempt to simulate monsoon conditions

A

By decreasing salinity and increasing available food

61
Q

(The Lagoon Cycle) What behavior was triggered among the crabs as a result of the changes

A

Mating behavior, the first known instance for this species in an artificial environment

62
Q

(The Lagoon Cycle) What did the Harrisons reconsider as a result of their discovery

A

The type of enclosed, artificial ecosystems they had simulated to date

63
Q

What new title did the Harrisons give to their work after moving out of the laboratory

A

The Lagoon Cycle

64
Q

How many cycles are included in “The Lagoon Cycle”

A

7

65
Q

What new methods did the Harrisons introduce for presenting their work

A

Narrative voices, performance, and printed matter

66
Q

How is “The Lagoon Cycle” exhibited

A

as a series of 7 large panels incorporating text, maps, and cut photo-collage

67
Q

(The Lagoon Cycle) Who are the two characters in the dialogue on the panels

A

A Lagoonmaker and a Witness

68
Q

(The Lagoon Cycle) What do the first three panels examine

A

The move from indoor tanks to outdoor environments

69
Q

(The Lagoon Cycle) What does the fourth panel describe

A

Moving the crabs to ponds cultivated in California’s Salton Sea

70
Q

(The Lagoon Cycle) What proposal is introduced and reflected upon in the fifth and sixth panels

A

To regulate salinity, herbicide, and pesticide levels in the Salton Sea by connecting it to the Gulf of California and the Pacific Ocean

71
Q

(The Lagoon Cycle) What does the seventh panel meditate upon

A

The Pacific Ring of Fire, connecting Sri Lanka to the American West Coast

72
Q

2 global issue the Harrisons addressed in their work

A

Glacier depletion & international deforestation

73
Q

What specific area in the Netherlands did the Harrisons focus on

A

The central ring of agricultural land

Art Section 4 (11 decks)

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