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Saturday, November 12, 2022

Restoration ecology

From Wikipedia, the free encyclopedia
 
Recently constructed wetland regeneration in Australia, on a site previously used for agriculture
 
Rehabilitation of a portion of Johnson Creek, to restore bioswale and flood control functions of the land which had long been converted to pasture for cow grazing. The horizontal logs can float, but are anchored by the posts. Just-planted trees will eventually stabilize the soil. The fallen trees with roots jutting into the stream are intended to enhance wildlife habitat. The meandering of the stream is enhanced here by a factor of about three times, perhaps to its original course.

Restoration ecology is the scientific study supporting the practice of ecological restoration, which is the practice of renewing and restoring degraded, damaged, or destroyed ecosystems and habitats in the environment by active human interruption and action. Effective restoration requires an explicit goal or policy, preferably an unambiguous one that is articulated, accepted, and codified. Restoration goals reflect societal choices from among competing policy priorities, but extracting such goals is typically contentious and politically challenging.

Natural ecosystems provide ecosystem services in the form of resources such as food, fuel, and timber; the purification of air and water; the detoxification and decomposition of wastes; the regulation of climate; the regeneration of soil fertility; and the pollination of crops. These ecosystem processes have been estimated to be worth trillions of dollars annually. There is consensus in the scientific community that the current environmental degradation and destruction of many of Earth's biota are taking place on a "catastrophically short timescale". Scientists estimate that the current species extinction rate, or the rate of the Holocene extinction, is 1,000 to 10,000 times higher than the normal, background rate. Habitat loss is the leading cause of both species extinctions and ecosystem service decline. Two methods have been identified to slow the rate of species extinction and ecosystem service decline, they are the conservation of currently viable habitat and the restoration of degraded habitat. The commercial applications of ecological restoration have increased exponentially in recent years. In 2019, the United Nations General Assembly declared 2021–2030 the UN Decade on Ecosystem Restoration.

Definition

Restoration ecology is the academic study of the process, whereas ecological restoration is the actual project or process by restoration practitioners. The Society for Ecological Restoration defines "ecological restoration" as an "intentional activity that initiates or accelerates the recovery of an ecosystem with respect to its health, integrity and sustainability". Ecological restoration includes a wide scope of projects including erosion control, reforestation, removal of non-native species and weeds, revegetation of disturbed areas, daylighting streams, the reintroduction of native species (preferably native species that have local adaptation), and habitat and range improvement for targeted species. For many researchers, the ecological restoration must include the local communities: they call this process the "social-ecological restoration".

E. O. Wilson, a biologist, stated, "Here is the means to end the great extinction spasm. The next century will, I believe, be the era of restoration in ecology."

History

Restoration ecology emerged as a separate field in ecology in the late twentieth century. The term was coined by John Aber and William Jordan III when they were at the University of Wisconsin–Madison. However, indigenous peoples, land managers, stewards, and laypeople have been practicing ecological restoration or ecological management for thousands of years.

US

Considered the birthplace of modern ecological restoration, the first tallgrass prairie restoration was the 1936 Curtis Prairie at the University of Wisconsin–Madison Arboretum. Civilian Conservation Corps workers replanted nearby prairie species onto a former horse pasture, overseen by university faculty including renowned ecologist Aldo Leopold, botanist Theodore Sperry, mycologist Henry C. Greene, and plant ecologist John T. Curtis. Curtis and his graduate students surveyed the whole of Wisconsin, documenting native species communities and creating the first species lists for tallgrass restorations. Existing prairie remnants, such as locations within pioneer cemeteries and railroad rights-of-way, were located and inventoried by Curtis and his team. The UW Arboretum was the center of tallgrass prairie research through the first half of the 20th century, with the development of the nearby Greene Prairie, Aldo Leopold Shack and Farm, and pioneering techniques like prescribed burning.

The latter half of the 20th century saw the growth of ecological restoration beyond Wisconsin borders. The 285-hectare Green Oaks Biological Field Station at Knox College began in 1955 under the guidance of zoologist Paul Shepard. It was followed by the 40-hectare Schulenberg Prairie at the Morton Arboretum, which started in 1962 by Ray Schulenberg and Bob Betz. Betz then worked with The Nature Conservancy to establish the 260-hectare Fermi National Laboratory tallgrass prairie in 1974. These major tallgrass restoration projects marked the growth of ecological restoration from isolated studies to widespread practice.

Australia

Australia has also been the site of historically significant ecological restoration projects. They commenced in the 1930s. These projects were responses to the extensive environmental damage inflicted by colonising settlers, following the forced dispossession of the First Nations communities of Australia. The substantial Traditional Ecological Knowledge of First Nations communities was not utilised in the historical restoration projects.

Interestingly, many of the first Australian settler restoration projects were initiated by volunteers, often in the form of community groups. Many of these volunteers appreciated and utilised science resources, such as botanical and ecological knowledge. Local and state government agencies participated, and also industry. Australian scientists came to play an increasingly important role. A prominent scientist who took an interest in the reversal of vegetation degradation was botanist and plant ecologist Professor T G Osborn, University of Adelaide, who, in the 1920s, conducted pioneering research into the causes of arid-zone indigenous vegetation degradation. From this time, Australian botanists, plant ecologists and soil erosion researchers have increasingly developed interests in the recovery of ecological functioning on degraded sites.

The earliest known attempt by Australian settlers to restore a degraded natural ecosystem commenced in 1896, at Nairm (as it is known to people of the Kulin nation), or Port Phillip Bay, Melbourne. Local government and community groups replanted degraded areas of the foreshore reserves with the indigenous plant species, Coastal Teatree (Leptospermum laevigatum). Possibly the ecological aspirations were limited, as essentially, the projects were motivated by utilitarian considerations: to conserve recreation sites, and promote tourism. However, some local residents, such as distinguished Australian journalist, nature writer and amateur ornithologist Donald Macdonald, were distressed at the loss of valued biological qualities, and campaigned to fully restore the Teatree ecosystems and conserve them and their indigenous fauna. Indeed, Macdonald espoused many of the principles and practices of ecological restoration, but he lacked opportunities to actually implement such a project.

The degraded arid-zone regions of Australia attracted historical ecological restoration projects. Following the forced dispossession of First Nations communities between ca.1830 and ca.1880, a pastoral industry was established in the arid-zone regions of South Australia and New South Wales. By ca.1900 these regions had become substantially degraded, due to a combination of overstocking, the ravages of rabbits and other feral animals, and the harsh arid conditions that inhibited recovery of the indigenous vegetation. Severe wind erosion resulted. From approximately 1930 Australian pastoralists implemented revegetation projects that had as their aim the substantial to full restoration of indigenous flora to degraded, wind eroded areas.

At his arid-zone Koonamore research station in South Australia, established in 1925, Professor T G Osborn studied the loss of indigenous vegetation caused by overstocking and the resultant wind erosion and degradation, concluding that restoration of the indigenous saltbushes (Atriplex spp. ), bluebushes (Maireana spp.) and Mulga (Acacia aneura) vegetation communities was possible, if a stock exclosure and natural regeneration revegetation technique was applied to degraded paddocks (or fields). Most likely influenced by Osborn's research, throughout the 1930s South Australian pastoralists adopted this revegetation technique. At Wirraminna station (or property, ranch), for example, following fencing to exclude stock, severe soil-drifts were fully revegetated and stabilised by means of natural regeneration of the indigenous vegetation. Also, it was found that furrowing (or ploughing) of eroded areas resulted in the natural regeneration of indigenous vegetation. So successful were these programs that the South Australian government adopted them as approved state soil conservation policies in 1936. Legislation introduced in 1939 codified these policies.

In 1936 mining assayer Albert Morris and his restoration colleagues initiated the Broken Hill regeneration area project. This project involved the natural regeneration of indigenous flora on a severely wind eroded site of hundreds of hectares, located in arid western New South Wales. Morris was responding to the widespread wind erosion that had arisen from pastoral industry overstocking practices. It is quite likely that he was influenced by the South Australian research work of Professor Osborn. Completed in 1958, the successful project still maintains substantial ecological functioning today as the Broken Hill Regeneration Area (1700 hectares). Morris was a pioneering and highly skilled arid-zone botanist, and was also familiar with some basic principles of ecology. Local and state governments, and the Broken Hill mining industry, supported and funded the project.

The Broken Hill regeneration area project has been described as an irrigation and tree planting project, and as a USA "dust bowl" shelterbelt planting project. However, to revegetate 1700 hectares by planting, hundreds of thousands of plants would have been required, but there is no historical documentation that reveals planting programs of this scale, or near it. Furthermore, although Morris did design some small tree planting and irrigation projects for the local community and a mining company, it is well documented that his main revegetation interest was in a stock exclosure and natural regeneration technique. As the historical documentation reveals, the regeneration area project relied almost entirely on the germination of the naturally distributed seed of the local indigenous flora species (natural regeneration), and the exclusion of damaging grazing animals (stock exclosure). In fact, as the regeneration area project was so well adapted to the harsh arid-zone conditions, the New South Wales state government adopted it as a model for the proposed restoration of the twenty million hectares of the arid western portion of the state that had been reduced to a severely eroded condition. Legislation to this effect was passed in 1949.

Another very significant, early Australian settler ecological restoration project occurred on the north coast of New South Wales. From approximately 1840 settlers forcibly occupied the coastal hinterlands, dispossessed First Nations communities, destroyed extensive areas of biologically diverse rainforest and converted the land to farms. Only smalll patches of rainforest survived. In 1935 dairy farmer Ambrose Crawford, alarmed by the possible loss of all of the rainforest, commenced restoring a degraded four acres (1.7 hectares) patch of local rainforest, or "Big Scrub" (Lowland Tropical Rainforest), as it was referred to, at Lumley Park reserve, Alstonville. Clearing of the weeds that were smothering the rainforest plants, and planting of suitable indigenous rainforest species, were his two main restoration techniques. Crawford utilised professional government botanists as advisors, and received support from his local government council. The restored rainforest reserve still exists today, a vital home to threatened plant and animal species.

Two attempted but ultimately unsuccessful projects that displayed many of the hallmarks of ecological restoration commenced in New South Wales in the early 1930s. Entomologist Walter Froggatt set out to restore Sydney Hawkesbury Sandstone flora to degraded Balls Head Reserve, Sydney Harbour, Sydney. Unfortunately, following Froggatt's death in 1937, the project lapsed into landscaping. About the same time, marine biologist David Stead commenced a project to restore the Australian Koala (Phascolarctos cinereus) to New South Wales, where it had been much slaughtered by hunters engaged in fur trading. Unfortunately, Stead's project ran into financial difficulties.

Traditional ecological knowledge and restoration ecology

Traditional ecological knowledge (TEK) from Indigenous Peoples demonstrates how restoration ecology is a historical field, lived out by humans for thousands of years. Indigenous people have acquired ecological knowledge through observation, experience, and management of the natural resources and the environment around them. In the past, they used to manage their environment and changed the structure of the vegetation in a way not only to meet their basic needs (food, water, shelter, medicines) but also to improve desired characteristics and even increasing the populations and biodiversity. In that way, they were able to achieve a close relationship with the environment and learned lessons that indigenous people keep in their culture.

This means there are many things that could be learned from people locally indigenous to the ecosystem being restored because of the deep connection and biocultural and linguistic diversity of place. The dynamic of the use of natural resources by indigenous people contemplate many cultural, social, and environmental aspects, since they have always had an intimate connection with the animals and plants around them over centuries since they obtained their livelihood from the environment around them.

However, restoration ecologists must consider that TEK is place dependent due to intimate connection and thus when engaging Indigenous Peoples to include knowledge for restoration purposes, respect and care must be taken to avoid appropriation of the TEK. Successful ecological restoration which includes Indigenous Peoples must be led by Indigenous Peoples to ensure non-indigenous people acknowledge the unequal relationship of power.

Traditional Ecological Knowledge and Restoration Ecology in Practice

Kat Anderson wrote a descriptive, historically based background book, A Tended Wilderness, about the indigenous peoples of the California coast and their intimate interactions with the environment. California Indians have a rigid and complex harvesting, management and production practice. The practices observed leaned heavily into typical horticultural techniques as well as concentrated forest burning. The applications of preservation and conservation based on the California Indians' practices, she hopes will assist in shattering the hunter-gatherer stereotype so long perpetuated in western literature. In "A Tended Wilderness", Anderson breaks down the concept that California was an untouched civilization that was built into a fertile environment by European explorers. However this is not an accurate depiction; though to Westerners it may not seem modernized, the native peoples have since defined what the population ecology was in that land. For them, Wilderness was land not tended to by humans at all. In "Indigenous Resource Management" Anderson sheds light on the diverse ways native peoples of California purposely harvested and managed the wild. The California Indians had a rich knowledge of ecology and natural techniques to understand burn patterns, plant material, cultivation, pruning, digging; what was edible vs. what was not. This did not just extend to plants but also into wildlife management – how abundant, where the distribution was, and how diverse the large mammal population was. "Restoration" covers how contemporary land uses caused degradation, fragmentation and loss of habitat. The way the United States has counteracted that is through land set aside from all human influence. As for the future, Anderson highly suggests looking to indigenous practices for ecosystem restoration and wildlife management.

Theoretical foundations

Restoration ecology draws on a wide range of ecological concepts.

Disturbance

Disturbance is a change in environmental conditions that disrupt the functioning of an ecosystem. Disturbance can occur at a variety of spatial and temporal scales, and is a natural component of many communities. For example, many forest and grassland restorations implement fire as a natural disturbance regime. However the severity and scope of anthropogenic impact has grown in the last few centuries. Differentiating between human-caused and naturally occurring disturbances is important if we are to understand how to restore natural processes and minimize anthropogenic impacts on the ecosystems.

Succession

Ecological succession is the process by which a community changes over time, especially following a disturbance. In many instances, an ecosystem will change from a simple level of organization with a few dominant pioneer species to an increasingly complex community with many interdependent species. Restoration often consists of initiating, assisting, or accelerating ecological successional processes, depending on the severity of the disturbance. Following mild to moderate natural and anthropogenic disturbances, restoration in these systems involves hastening natural successional trajectories through careful management. However, in a system that has experienced a more severe disturbance (such as in urban ecosystems), restoration may require intensive efforts to recreate environmental conditions that favor natural successional processes.

Fragmentation

Habitat fragmentation describes spatial discontinuities in a biological system, where ecosystems are broken up into smaller parts through land-use changes (e.g. agriculture) and natural disturbance. This both reduces the size of the population and increases the degree of isolation. These smaller and isolated populations are more vulnerable to extinction. Fragmenting ecosystems decreases the quality of the habitat. The edge of a fragment has a different range of environmental conditions and therefore supports different species than the interior. Restorative projects can increase the effective size of a population by adding suitable habitat and decrease isolation by creating habitat corridors that link isolated fragments. Reversing the effects of fragmentation is an important component of restoration ecology.

Ecosystem function

Ecosystem function describes the most basic and essential foundational processes of any natural systems, including nutrient cycles and energy fluxes. An understanding of the complexity of these ecosystem functions is necessary to address any ecological processes that may be degraded. Ecosystem functions are emergent properties of the system as a whole, thus monitoring and management are crucial for the long-term stability of ecosystems. A completely self-perpetuating and fully functional ecosystem is the ultimate goal of restorative efforts. We must understand what ecosystem properties influence others to restore desired functions and reach this goal.

Community assembly

Community assembly "is a framework that can unify virtually all of (community) ecology under a single conceptual umbrella". Community assembly theory attempts to explain the existence of environmentally similar sites with differing assemblages of species. It assumes that species have similar niche requirements, so that community formation is a product of random fluctuations from a common species pool. Essentially, if all species are fairly ecologically equivalent, then random variation in colonization, and migration and extinction rates between species, drive differences in species composition between sites with comparable environmental conditions.

Population genetics

Genetic diversity has shown to be as important as species diversity for restoring ecosystem processes. Hence ecological restorations are increasingly factoring genetic processes into management practices. Population genetic processes that are important to consider in restored populations include founder effects, inbreeding depression, outbreeding depression, genetic drift, and gene flow. Such processes can predict whether or not a species successfully establishes at a restoration site.

Applications

Leaf litter accumulation

Leaf litter accumulation plays an important role in the restoration process. Higher quantities of leaf litter hold higher humidity levels, a key factor for the establishment of plants. The process of accumulation depends on factors like wind and species composition of the forest. The leaf litter found in primary forests is more abundant, deeper, and holds more humidity than in secondary forests. These technical considerations are important to take into account when planning a restoration project.

Soil heterogeneity effects on community heterogeneity

Spatial heterogeneity of resources can influence plant community composition, diversity, and assembly trajectory. Baer et al. (2005) manipulated soil resource heterogeneity in a tallgrass prairie restoration project. They found increasing resource heterogeneity, which on its own was insufficient to ensure species diversity in situations where one species may dominate across the range of resource levels. Their findings were consistent with the theory regarding the role of ecological filters on community assembly. The establishment of a single species, best adapted to the physical and biological conditions can play an inordinately important role in determining the community structure.

Invasion and restoration

Restoration is used as a tool for reducing the spread of invasive plant species many ways. The first method views restoration primarily as a means to reduce the presence of invasive species and limit their spread. As this approach emphasizes the control of invaders, the restoration techniques can differ from typical restoration projects. The goal of such projects is not necessarily to restore an entire ecosystem or habitat. These projects frequently use lower diversity mixes of aggressive native species seeded at high density. They are not always actively managed following seeding. The target areas for this type of restoration are those which are heavily dominated by invasive species. The goals are to first remove the species and then in so doing, reduce the number of invasive seeds being spread to surrounding areas. An example of this is through the use of biological control agents (such as herbivorous insects) which suppress invasive weed species while restoration practitioners concurrently seed in native plant species that take advantage of the freed resources. These approaches have been shown to be effective in reducing weeds, although it is not always a sustainable solution long term without additional weed control, such as mowing, or re-seeding.

Restoration projects are also used as a way to better understand what makes an ecological community resistant to invasion. As restoration projects have a broad range of implementation strategies and methods used to control invasive species, they can be used by ecologists to test theories about invasion. Restoration projects have been used to understand how the diversity of the species introduced in the restoration affects invasion. We know that generally higher diversity prairies have lower levels of invasion. The incorporation of functional ecology has shown that more functionally diverse restorations have lower levels of invasion. Furthermore, studies have shown that using native species functionally similar to invasive species are better able to compete with invasive species. Restoration ecologists have also used a variety of strategies employed at different restoration sites to better understand the most successful management techniques to control invasion.

Successional trajectories

Progress along a desired successional pathway may be difficult if multiple stable states exist. Looking over 40 years of wetland restoration data, Klötzli and Gootjans (2001) argue that unexpected and undesired vegetation assemblies "may indicate that environmental conditions are not suitable for target communities". Succession may move in unpredicted directions, but constricting environmental conditions within a narrow range may rein in the possible successional trajectories and increase the likelihood of the desired outcome.

Sourcing land for restoration

A study quantified climate change mitigation potentials of 'high-income' nations shifting diets – away from meat-consumption – and restoration of the spared land. They find that the hypothetical dietary change "could reduce annual agricultural production emissions of high-income nations' diets by 61% while sequestering as much as 98.3 (55.6–143.7) GtCO2 equivalent, equal to approximately 14 years of current global agricultural emissions until natural vegetation matures", outcomes they call 'double climate dividend'.

Sourcing material for restoration

For most restoration projects it is generally recommended to source material from local populations, to increase the chance of restoration success and minimize the effects of maladaptation. However the definition of local can vary based on species. habitat and region. US Forest Service recently developed provisional seed zones based on a combination of minimum winter temperature zones, aridity, and the Level III ecoregions. Rather than putting strict distance recommendations, other guidelines recommend sourcing seeds to match similar environmental conditions that the species is exposed to, either now, or under projected climate change. For example, sourcing for Castilleja levisecta found that farther source populations that matched similar environmental variables were better suited for the restoration project than closer source populations. Similarly, a suite of new methods are surveying gene-environment interactions in order to identify the optimum source populations based on genetic adaptation to environmental conditions.

Principles

Ecosystem restoration for the superb parrot on an abandoned railway line in Australia

Rationale

There are many reasons to restore ecosystems. Some include:

  • Restoring natural capital such as drinkable water or wildlife populations
  • Helping human communities and the ecosystems upon which they depend adapt to the impacts of climate change (through ecosystem-based adaptation)
  • Mitigating climate change (e.g. through carbon sequestration)
  • Helping threatened or endangered species
  • Aesthetic reasons 
  • Moral reasons: human intervention has unnaturally destroyed many habitats, and there exists an innate obligation to restore these destroyed habitats
  • Regulated use/harvest, particularly for subsistence
  • Cultural relevance of native ecosystems to Native people
  • The environmental health of nearby populations 
Buffelsdraai Community Reforestation Project.
Forest restoration in action at the Buffelsdraai Landfill Site Community Reforestation Project in South Africa

There exist considerable differences of opinion on how to set restoration goals and how to define their success. Ultimately specifying the restoration target or desired state of an ecosystem is a societal choice, informed by scientists and technocrats, but ultimately it is a policy choice. Selecting the desired goal can be politically contentious. Some urge active restoration (e.g. eradicating invasive animals to allow the native ones to survive) and others who believe that protected areas should have the bare minimum of human interference, such as rewilding. Ecosystem restoration has generated controversy. Skeptics doubt that the benefits justify the economic investment or who point to failed restoration projects and question the feasibility of restoration altogether. It can be difficult to set restoration goals, in part because, as Anthony Bradshaw claims, "ecosystems are not static, but in a state of dynamic equilibrium…. [with restoration] we aim [for a] moving target."

Some conservationists argue that, though an ecosystem may not be returned to its original state, the functions of the ecosystem (especially ones that provide services to us) may be more valuable in its current configuration (Bradshaw 1987). This is especially true in cases where the ecosystem services are central to the physical and cultural survival of human populations, as is the case with many Native groups in the United States and other communities around the world who subsist using ecological services and environmental resources. One reason to consider ecosystem restoration is to mitigate climate change through activities such as afforestation. Afforestation involves replanting forests, which remove carbon dioxide from the air. Carbon dioxide is a leading cause of global warming (Speth, 2005) and capturing it would help alleviate climate change. Another example of a common driver of restoration projects in the United States is the legal framework of the Clean Water Act, which often requires mitigation for damage inflicted on aquatic systems by development or other activities.

Restored prairie at the West Eugene Wetlands in Eugene, Oregon

Challenges

Some view ecosystem restoration as impractical, partially because restorations often fall short of their goals. Hilderbrand et al. point out that many times uncertainty (about ecosystem functions, species relationships, and such) is not addressed, and that the time-scales set out for 'complete' restoration are unreasonably short, while other critical markers for full-scale restoration are either ignored or abridged due to feasibility concerns. In other instances an ecosystem may be so degraded that abandonment (allowing a severely degraded ecosystem to recover on its own) may be the wisest option. Local communities sometimes object to restorations that include the introduction of large predators or plants that require disturbance regimes such as regular fires, citing threat to human habitation in the area. High economic costs can also be perceived as a negative impact of the restoration process.

Public opinion is very important in the feasibility of a restoration; if the public believes that the costs of restoration outweigh the benefits they will not support it.

Many failures have occurred in past restoration projects, many times because clear goals were not set out as the aim of the restoration, or an incomplete understanding of the underlying ecological framework lead to insufficient measures. This may be because, as Peter Alpert says, "people may not [always] know how to manage natural systems effectively". Furthermore, many assumptions are made about myths of restoration such as carbon copy, where a restoration plan, which worked in one area, is applied to another with the same results expected, but not realized.

Science–practice gap

One of the struggles for both fields is a divide between restoration ecology and ecological restoration in practice. Many restoration practitioners as well as scientists feel that science is not being adequately incorporated into ecological restoration projects. In a 2009 survey of practitioners and scientists, the "science-practice gap" was listed as the second most commonly cited reason limiting the growth of both science and practice of restoration.

There are a variety of theories about the cause of this gap. However, it has been well established that one of the main issues is that the questions studied by restoration ecologists are frequently not found useful or easily applicable by land managers. For instance, many publications in restoration ecology characterize the scope of a problem in-depth, without providing concrete solutions. Additionally many restoration ecology studies are carried out under controlled conditions and frequently at scales much smaller than actual restorations. Whether or not these patterns hold true in an applied context is often unknown. There is evidence that these small-scale experiments inflate type II error rates and differ from ecological patterns in actual restorations. One approach to addressing this gap has been the development of International Principles & Standards for the Practice of Ecological Restoration by the Society for Ecological restoration (see below) – however this approach is contended, with scientists active in the field suggesting that this is restrictive, and instead principles and guidelines offer flexibility. 

There is further complication in that restoration ecologists who want to collect large-scale data on restoration projects can face enormous hurdles in obtaining the data. Managers vary in how much data they collect, and how many records they keep. Some agencies keep only a handful of physical copies of data that make it difficult for the researcher to access. Many restoration projects are limited by time and money, so data collection and record-keeping are not always feasible. However, this limits the ability of scientists to analyze restoration projects and give recommendations based on empirical data.

Food security and nature degradation

A range of activities in the name of "nature restoration", such as monoculture tree plantations, "degrade nature—destroying biodiversity, increasing pollution, and removing land from food production".

Consideration as a substitute for steep emission reductions

Climate benefits from nature restoration are "dwarfed by the scale of ongoing fossil fuel emissions". It risks "over-relying on land for mitigation at the expense of phasing out fossil fuels". Despite of these issues, nature restoration is receiving increasing attention, with a study concluding that "Land restoration is an important option for tackling climate change but cannot compensate for delays in reducing fossil fuel emissions" as it's "unlikely to be done quickly enough to notably reduce the global peak temperatures expected in the next few decades".

For instance, researchers have compared reforestation and prevention of (mainly tropical) deforestation in specific:

Timelapse of recent deforestation of the Amazon rainforest
 
Researchers, including from the European Commission, found that, in terms of environmental services, it is better to avoid deforestation than to allow for deforestation to subsequently reforest, as the former leads to i.a. irreversible effects in terms of biodiversity loss and soil degradation. Furthermore, the probability that legacy carbon will be released from soil is higher in younger boreal forest. Global greenhouse gas emissions caused by damage to tropical rainforests may be have been substantially underestimated until around 2019. Additionally, the effects of af- or reforestation will be farther in the future than keeping existing forests intact. It takes much longer − several decades − for the benefits for global warming to manifest to the same carbon sequestration benefits from mature trees in tropical forests and hence from limiting deforestation. Mackey and Dooley consider "the protection and recovery of carbon-rich and long-lived ecosystems, especially natural forests" "the major climate solution".

Contrasting restoration ecology and conservation biology

Restoration ecology may be viewed as a sub-discipline of conservation biology, the scientific study of how to protect and restore biodiversity. Ecological restoration is then a part of the resulting conservation movement.

Both restoration ecologists and conservation biologists agree that protecting and restoring habitat is important for protecting biodiversity. However, conservation biology is primarily rooted in population biology. Because of that, it is generally organized at the population genetic level and assesses specific species populations (i.e. endangered species). Restoration ecology is organized at the community level, which focuses on broader groups within ecosystems.

In addition, conservation biology often concentrates on vertebrate animals because of their salience and popularity, whereas restoration ecology concentrates on plants. Restoration ecology focuses on plants because restoration projects typically begin by establishing plant communities. Ecological restoration, despite being focused on plants, may also have "poster species" for individual ecosystems and restoration projects. For example, the Monarch butterfly is a poster species for conserving and restoring milkweed plant habitat, because Monarch butterflies require milkweed plants to reproduce. Finally, restoration ecology has a stronger focus on soils, soil structure, fungi, and microorganisms because soils provide the foundation of functional terrestrial ecosystems.

Natural Capital Committee's recommendation for a 25-year plan

The UK Natural Capital Committee (NCC) made a recommendation in its second State of Natural Capital report published in March 2014 that in order to meet the Government's goal of being the first generation to leave the environment in a better state than it was inherited, a long-term 25-year plan was needed to maintain and improve England's natural capital. The UK Government has not yet responded to this recommendation.

The Secretary of State for the UK's Department for Environment, Food and Rural Affairs, Owen Paterson, described his ambition for the natural environment and how the work of the Committee fits into this at an NCC event in November 2012: "I do not, however, just want to maintain our natural assets; I want to improve them. I want us to derive the greatest possible benefit from them, while ensuring that they are available for generations to come. This is what the NCC's innovative work is geared towards".

International Principles & Standards for the Practice of Ecological Restoration

The Society for Ecological Restoration (SER) released the second edition of the International Standards for the Practice of Ecological Restoration on September 27, 2019, in Cape Town, South Africa, at SER's 8th World Conference on Ecological Restoration.  This groundbreaking publication provides updated and expanded guidance on the practice of ecological restoration, clarifies the breadth of ecological restoration and allied environmental repair activities, and includes ideas and input from a diverse international group of restoration scientists and practitioners.

The second edition builds on the first edition of the Standards, which was released December 12, 2016, at the Convention on Biological Diversity's 13th Conference of the Parties in Cancun, Mexico. The development of these Standards has been broadly consultative. The first edition was circulated to dozens of practitioners and experts for feedback and review. After release of the first edition, SER held workshops and listening sessions, sought feedback from key international partners and stakeholders, opened a survey to members, affiliates and supporters, and considered and responded to published critiques.

The International Principles and Standards for the Practice of Ecological Restoration:

  • Present a robust framework to guide restoration projects toward achieving intended goals
  • Address restoration challenges including: effective design and implementation, accounting for complex ecosystem dynamics (especially in the context of climate change), and navigating trade-offs associated with land management priorities and decisions
  • Highlight the role of ecological restoration in connecting social, community, productivity, and sustainability goals
  • Recommend performance measures for restorative activities for industries, communities, and governments to consider
  • Enhance the list of practices and actions that guide practitioners in planning, implementation, and monitoring activities, including: appropriate approaches to site assessment and identification of reference ecosystems, different restoration approaches including natural regeneration, and the role of ecological restoration in global restoration initiatives
  • Include an expanded glossary of restoration terminology
  • Provide a technical appendix on sourcing of seeds and other propagules for restoration.

The Standards are available for free at www.ser.org/standards.

Related journals

Environmental art

From Wikipedia, the free encyclopedia
 
Marco Casagrande, Sandworm, Beaufort04 Triennial of Contemporary Art, Wenduine, Belgium, 2012

Environmental art is a range of artistic practices encompassing both historical approaches to nature in art and more recent ecological and politically motivated types of works. Environmental art has evolved away from formal concerns, for example monumental earthworks using earth as a sculptural material, towards a deeper relationship to systems, processes and phenomena in relationship to social concerns. Integrated social and ecological approaches developed as an ethical, restorative stance emerged in the 1990s. Over the past ten years environmental art has become a focal point of exhibitions around the world as the social and cultural aspects of climate change come to the forefront.

The term "environmental art" often encompasses "ecological" concerns but is not specific to them. It primarily celebrates an artist's connection with nature using natural materials. The concept is best understood in relationship to historic earth/Land art and the evolving field of ecological art. The field is interdisciplinary in the fact that environmental artists embrace ideas from science and philosophy. The practice encompasses traditional media, new media and critical social forms of production. The work embraces a full range of landscape/environmental conditions from the rural, to the suburban and urban as well as urban/rural industrial.

History: landscape painting and representation

Claude Monet, Waterloo Bridge, London

It can be argued that environmental art began with the Paleolithic cave paintings of our ancestors. While no landscapes have (yet) been found, the cave paintings represented other aspects of nature important to early humans such as animals and human figures. "They are prehistoric observations of nature. In one-way or another, nature for centuries remained the preferential theme of creative art." More modern examples of environmental art stem from landscape painting and representation. When artists painted onsite they developed a deep connection with the surrounding environment and its weather and brought these close observations into their canvases. John Constable's sky paintings "most closely represent the sky in nature". Monet's London Series also exemplifies the artist's connection with the environment. "For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life, the air and the light, which vary continually for me, it is only the surrounding atmosphere that gives subjects their true value."

Diane Burko, Waters Glacier and Bucks, 2013

Contemporary painters, such as Diane Burko represent natural phenomena—and its change over time—to convey ecological issues, drawing attention to climate change. Alexis Rockman's landscapes depict a sardonic view of climate change and humankind's interventions with other species by way of genetic engineering.

Challenging traditional sculptural forms

Robert Morris, Observatorium, Netherlands

The growth of environmental art as a "movement" began in the late 1960s and early 1970s. In its early phases it was most associated with sculpture—especially Site-specific art, Land art and Arte povera—having arisen out of mounting criticism of traditional sculptural forms and practices that were increasingly seen as outmoded and potentially out of harmony with the natural environment.

In October 1968, Robert Smithson organized an exhibition at Dwan Gallery in New York titled “Earthworks.” The works in the show posed an explicit challenge to conventional notions of exhibition and sales, in that they were either too large or too unwieldy to be collected; most were represented only by photographs, further emphasizing their resistance to acquisition. For these artists escaping the confines of the gallery and modernist theory was achieved by leaving the cities and going out into the desert.

”They were not depicting the landscape, but engaging it; their art was not simply of the landscape, but in it as well.” This shift in the late 1960s and 1970s represents an avant garde notion of sculpture, the landscape and our relationship with it. The work challenged the conventional means to create sculpture, but also defied more elite modes of art dissemination and exhibition, such as the Dwan Gallery show mentioned earlier. This shift opened up a new space and in doing so expanded the ways in which work was documented and conceptualized.

Entering public and urban spaces

Andrea Polli, Particle Falls, 2013
 
John Fekner, Toxic, Long Island Expressway, Maspeth, Queens, NY 1982

Just as the earthworks in the deserts of the west grew out of notions of landscape painting, the growth of public art stimulated artists to engage the urban landscape as another environment and also as a platform to engage ideas and concepts about the environment to a larger audience. While this earlier work was mostly created in the deserts of the American west, the end of the 1970s and the beginning of the 1980s saw works moving into the public landscape. Artists like Robert Morris began engaging county departments and public arts commissions to create works in public spaces such as an abandoned gravel pit. Herbert Bayer used a similar approach and was selected to create his Mill Creek Canyon Earthworks in 1982. The project served functions such as erosion control, a place to serve as a reservoir during high rain periods, and a 2.5 acre park during dry seasons. Lucy Lippard's groundbreaking book, on the parallel between contemporary land art and prehistoric sites, examined the ways in which these prehistoric cultures, forms and images have "overlaid" onto the work of contemporary artists working with the land and natural systems.

In 1965, Alan Sonfist introduced a key environmentalist idea of bringing nature back into the urban environment with his first historical Time Landscape sculpture, proposed to New York City in 1965 and revealed to the public in 1978 in a mature, grown state. Time Landscape remains visible to this day at the corner of Houston and LaGuardia in New York City's Greenwich Village. The work resulted in a "slowly developing forest that represents the Manhattan landscape inhabited by Native Americans and encountered by Dutch settlers in the early 17th century."

Environmental art also encompasses the scope of the urban landscape. Pioneering environmental artist, Mary Miss began creating art in the urban environment with her 1969 installation, Ropes/Shore, and continues to develop projects involving extended communities through City as a Living Laboratory. Agnes Denes created a work in downtown Manhattan Wheatfield - A Confrontation (1982) in which she planted a field of wheat on the two-acre site of a landfill covered with urban detritus and rubble. The site is now Battery Park City and the World Financial Center, a transformation from ecologic power to economic power.

In 1974, Bonnie Sherk created The Farm in San Francisco, a 7-acre urban garden in underused spaces below freeway overpasses. The farm, until 1980, also served as a community center and art space the provided internships, childhood ecoart education for children, and served as a public park during its six-year existence.

Andrea Polli's installation Particle Falls made particulate matter in the air visible in a way that passersby could see. For HighWaterLine Eve Mosher and others walked through neighborhoods in at-risk cities such as New York City and Miami, marking the projected flood damage which could occur as a result of climate change and talking with residents about what they were doing.

Starting in the 2010's "guerilla gardener" Ron Finley began planting edible gardens in the urban neighborhood of South Central Los Angeles along narrow strips of dirt between the curb and sidewalk. His motivation was to address the effects of the food apartheid in certain neighborhoods including his own, and to encourage healthy eating habits, especially among children.

Ecoart

Ecological art, also known as ecoart, is an artistic practice or discipline proposing paradigms sustainable with the life forms and resources of our planet. It is composed of artists, scientists, philosophers and activists who are devoted to the practices of ecological art. Historical precedents include Earthworks, Land Art, and landscape painting/photography. Ecoart is distinguished by a focus on systems and interrelationships within our environment: the ecological, geographic, political, biological and cultural. Ecoart creates awareness, stimulates dialogue, changes human behavior towards other species, and encourages the long-term respect for the natural systems we coexist with. It manifests as socially engaged, activist, community-based restorative or interventionist art. Ecological artist, Aviva Rahmani believes that "Ecological art is an art practice, often in collaboration with scientists, city planners, architects and others, that results in direct intervention in environmental degradation. Often, the artist is the lead agent in that practice."

There are numerous approaches to ecoart including but not limited to: representational artworks that address the environment through images and objects; remediation projects that restore polluted environments; activist projects that engage others and activate change of behaviors and/or public policy; time-based social sculptures that involves communities in monitoring their landscapes and taking a participatory role in sustainable practices; ecopoetic projects that initiate a re-envisioning and re-enchantment with the natural world, inspiring healing and co-existence with other species; direct-encounter artworks that involve natural phenomena such as water, weather, sunlight, or plants; pedagogical artworks that share information about environmental injustice and ecological problems such as water and soil pollution and health hazards; relational aesthetics that involve sustainable, off-the-grid, permaculture existences. 

There is discussion and debate among ecoartists regarding whether ecological art should be considered a discrete discipline within the arts, distinct from environmental art. A current definition of ecological art, drafted collectively by the EcoArtNetwork is "Ecological art is an art practice that embraces an ethic of social justice in both its content and form/materials. Ecoart is created to inspire caring and respect, stimulate dialogue, and encourage the long-term flourishing of the social and natural environments in which we live. It commonly manifests as socially engaged, activist, community-based restorative or interventionist art." The global community ArtTech NatureCulture, which convenes over 400 creative practitioners engaged in ecological art forms across disciplines, states: "In precarious times, how can we build new ways forward that challenge and transform the many inequalities of the status quo? Our ways of addressing this are as diverse as our backgrounds, but we are united by a shared interest in using creative practices across disciplines (from arts, design, culture and hacking to science, technology and activism) to explore alternative futures that rethink, rebuild and heal." Co-founder Kit Braybrooke has described the reason for ArtTech NatureCulture as "alone, we face climate grief and instability, but together, we rebuild."

Artists who work in this field generally subscribe to one or more of the following principles: focus on the web of interrelationships in our environment—on the physical, biological, cultural, political, and historical aspects of ecological systems; create works that employ natural materials or engage with environmental forces such as wind, water, or sunlight; reclaim, restore, and remediate damaged environments; inform the public about ecological dynamics and the environmental problems we face; revise ecological relationships, creatively proposing new possibilities for coexistence, sustainability, and healing.

Contributions by women in the area of EcoArt are significant. Many are cataloged in WEAD, Women Environmental Artists Directory founded in 1995 by Jo Hanson, Susan Leibovitz Steinman and Estelle Akamine. The work of ecofeminist writers inspired early male and female practitioners to address their concerns about a more horizontal relationship to environmental issues in their own practices. The feminist art writer Lucy Lippard, writing for the Weather Report Show she curated in 2007 at the Boulder Museum of Contemporary Art, which included many environmental, ecological and ecofeminist artists, commented on how many of those artists were women.

Considering environmental impact

Robert Smithson, Spiral Jetty, 2005
 
herman de vries, Sanctuarium, Leibfriedschen Garten, Stuttgart, 2013

Within environmental art, a crucial distinction can be made between environmental artists who do not consider the possible damage to the environment that their artwork may incur, and those whose intent is to cause no harm to nature. For example, despite its aesthetic merits, the American artist Robert Smithson's celebrated sculpture Spiral Jetty (1969) inflicted permanent damage upon the landscape he worked with, using a bulldozer to scrape and cut the land, with the spiral itself impinging upon the lake. Similarly, criticism was raised against the European sculptor Christo when he temporarily wrapped the coastline at Little Bay, south of Sydney, Australia, in 1969. Conservationists' comments attracted international attention in environmental circles and led contemporary artists in the region to rethink the inclinations of land art and site-specific art.

Sustainable art is produced with consideration for the wider impact of the work and its reception in relationship to its environments (social, economic, biophysical, historical, and cultural). Some artists choose to minimize their potential impact, while other works involve restoring the immediate landscape to a natural state.

British sculptor Richard Long has for several decades made temporary outdoor sculptural work by rearranging natural materials found on site, such as rocks, mud and branches, which will therefore have no lingering detrimental effect. Chris Drury instituted a work entitled "Medicine Wheel" which was the fruit and result of a daily meditative walk, once a day, for a calendar year. The deliverable of this work was a mandala of mosaicked found objects: nature art as process art.

Leading environmental artists such British artist and poet, Hamish Fulton, Dutch sculptor Herman de Vries, the Australian sculptor John Davis and the British sculptor Andy Goldsworthy similarly leave the landscape they have worked with unharmed; in some cases they have revegetated damaged land with appropriate indigenous flora in the process of making their work. In this way the work of art arises out of a sensitivity towards habitat.

Perhaps the most celebrated instance of environmental art in the late 20th century was 7000 Oaks, an ecological action staged at Documenta during 1982 by Joseph Beuys, in which the artist and his assistants highlighted the condition of the local environment by planting 7000 oak trees throughout and around the city of Kassel.

Ecological awareness and transformation

Other eco-artists reflect on our human engagement with the natural world, and create ecologically informed artworks that focus on transformation or reclamation. Ecoart writer and theoretician Linda Weintraub coined the term, "cycle-logical" to describe the correlation between recycling and psychology. The 21st century notion of artists' mindful engagement with their materials harkens back to paleolithic midden piles of discarded pottery and metals from ancient civilizations. Weintraub cites the work of MacArthur Fellow Sarah Sze who recycles, reuses, and refurbishes detritus from the waste stream into elegant sprawling installations. Her self-reflective work draws our attention to our own cluttered lives and connection to consumer culture. Brigitte Hitschler's Energy field drew power for 400 red diodes from the to-be-reclaimed potash slag heap upon which they were installed, using art and science to reveal hidden material culture.

Ecological artist and activist, Beverly Naidus, creates installations that address environmental crises, nuclear legacy issues, and creates works on paper that envision transformation. Her community-based permaculture project, Eden Reframed remediates degraded soil using phytoremediation and mushrooms resulting in a public place to grow and harvest medicinal plants and edible plants. Naidus is an educator having taught at the University of Washington, Tacoma for over ten years, where she created the Interdisciplinary Studio Arts in Community curriculum merging art with ecology and socially engaged practices. Naidus's book, Arts for Change: Teaching Outside the Frame is a resource for teachers, activists and artists. Sculptor and installation artist Erika Wanenmacher was inspired by Tony Price in her development of works addressing creativity, mythology, and New Mexico's nuclear presence. Oregon based artist and arborist Richard Reames uses grafting techniques to produce his works of arborsculpture and arbortecture. He uses time-based processes of multiple plantings of trees that are then shaped by bending, pruning, grafting, in ways that are similar to pleaching and espalier. These works have ecological advantages including carbon dioxide sequestration, habitat creation and climate change mitigation.

Renewable energy sculpture

Ralf Sander, World Saving Machine III, MoA Museum of Art, Seoul, South Korea

Renewable energy sculpture is another recent development in environmental art. In response to the growing concern about global climate change, artists are designing explicit interventions at a functional level, merging aesthetical responses with the functional properties of energy generation or saving. Practitioners of this emerging area often work according to ecologically informed ethical and practical codes that conform to Ecodesign criteria. Andrea Polli Queensbridge Wind Power Project is an example of experimental architecture, incorporating wind turbines into a bridge's structure to recreate aspects of the original design as well as lighting the bridge and neighbouring areas. Ralf Sander's public sculpture, the World Saving Machine, used solar energy to create snow and ice outside the Seoul Museum of Art in the hot Korean summer.

Public art

From Wikipedia, the free encyclopedia
 

Public art is art in any media whose form, function and meaning are created for the general public through a public process. It is a specific art genre with its own professional and critical discourse. Public art is visually and physically accessible to the public; it is installed in public space in both outdoor and indoor settings. Public art seeks to embody public or universal concepts rather than commercial, partisan or personal concepts or interests. Notably, public art is also the direct or indirect product of a public process of creation, procurement, and/or maintenance.

Independent art created or staged in or near the public realm (for example, graffiti, street art) lacks official or tangible public sanction has not been recognized as part of the public art genre, however this attitude is changing due to the efforts of several street artists. Such unofficial artwork may exist on private or public property immediately adjacent to the public realm, or in natural settings but, however ubiquitous, it sometimes falls outside the definition of public art by its absence of public process or public sanction as "bona fide" public art.

Characteristics of public art

Common characteristics of public art are public accessibility, public realm placement, community involvement, public process (including public funding); these works can be permanent or temporary. According to the curator and art/architecture historian, Mary Jane Jacob, public art brings art closer to life.blic accessibility: placement in public space/public realm

Public art is publicly accessible, both physically and/or visually. When public art is installed on privately owned property, general public access rights still exist.

Public art is characterized by site specificity, where the artwork is "created in response to the place and community in which it resides" and by the relationship between its content and the public. Cher Krause Knight states that "art's publicness rests in the quality and impact of its exchange with audiences ... at its most public, art extends opportunities for community engagement but cannot demand particular conclusion,” it introduces social ideas but leaves room for the public to come to their own conclusions.

Public process, public funding

Public art is often characterized by community involvement and collaboration. Public artists and organizations often work in conjunction with architects, fabricators/construction workers, community residents and leaders, designers, funding organizations, and others.

Public art is often created and provided within formal "art in public places" programs that can include community arts education and art performance. Such programs may be financed by government entities through Percent for Art initiatives.

Longevity

Some public art is planned and designed for stability and permanence. Its placement in, or exposure to, the physical public realm requires both safe and durable materials. Public artworks are designed to withstand the elements (sun, wind, water) as well as human activity. In the United States, unlike gallery, studio, or museum artworks, which can be transferred or sold, public art is legally protected by the Visual Artists Rights Act of 1990 (VARA) which requires an official deaccession process for sale or removal.

Forms of public art

Mildred Howard's "The House That Will Not Pass for Any Color Than its Own" in Battery Park City, New York City

The following forms of public art identify to what extent public art may be physically integrated with the immediate context or environment. These forms, which can overlap, employ different types of public art that suit a particular form of environment integration.

  • stand alone: for example, sculptures, statues, structures
  • integrated (into façades, pavements, or landscapes): for example, bas reliefs, Hill figure, Geoglyph, Petroglyph, mosaics, digital lighting
  • applied (to a surface): for example, murals, building-mounted sculptures
  • installation (where artwork and site are mutually embedded): for example, transit station art
  • ephemeral (or non-permanent): performances, temporary installations: for example, a precarious rock balance or an instance of colored smoke.

History of public art

Wolf Vostell Ruhender Verkehr / Stationary traffic, Cologne, 1969

United States, 20th century

In the 1930s, the production of national symbolism implied by 19th century monuments starts being regulated by long-term national programs with propaganda goals (Federal Art Project, United States; Cultural Office, Soviet Union). Programs like President Roosevelt's New Deal facilitated the development of public art during the Great Depression but was wrought with propaganda goals. New Deal art programs were intended to develop national pride in American culture while avoiding addressing the faltering economy. Although problematic, New Deal art programs such as FAP altered the relationship between the artist and society by making art accessible to all people. The New Deal program Art-in-Architecture (A-i-A) developed percent for art programs, a structure for funding public art still utilized today. This program allotted one half of one percent of total construction costs of all government buildings to the purchase of contemporary American art for them. A-i-A helped solidify the policy that public art in the United States should be truly owned by the public. It also promoted site-specific public art.

The approach to public art radically changed during the 1970s, following the civil rights movement's claims on public space, the alliance between urban regeneration programs and artistic efforts at the end of the 1960s, and revised ideas of sculpture. Public art acquired a status beyond mere decoration and visualization of official national histories in public space. Public art became much more about the public. This perspective was reinforced in the 1970s by urban cultural policies, for example the New York-based Public Art Fund and urban or regional Percent for Art programs in the United States and Europe. Moreover, public art discourse shifted from a national to a local level, consistent with the site-specific trend and criticism of institutional exhibition spaces emerging in contemporary art practices.

Environmental public art

La Joute by Jean-Paul Riopelle, an outdoor kinetic sculpture installation with fire jets, fog machines, and a fountain in Montreal.

Between the 1970s and the 1980s, gentrification and ecological issues surfaced in public art practice both as a commission motive and as a critical focus by artists. The individual, Romantic retreat element implied in the conceptual structure of Land art, and its will to reconnect the urban environment with nature, is turned into a political claim in projects such as Wheatfield – A Confrontation (1982) by American artist Agnes Denes, as well as in Joseph Beuys7000 Oaks (1982). Both projects focus on the increase of ecological awareness through a green urban design process, bringing Denes to plant a two-acre field of wheat in downtown Manhattan and Beuys to plant 7000 oaks coupled with basalt blocks in Kassel, Germany in a guerrilla or community garden fashion. In recent years, programs of green urban regeneration aiming at converting abandoned lots into green areas regularly include public art programs. This is the case for High Line Art, 2009, a commission program for the High Line, derived from the conversion of a portion of railroad in New York City; and of Gleisdreieck, 2012, an urban park derived from the partial conversion of a railway station in Berlin which hosts, since 2012, an open-air contemporary art exhibition.

The 1980s also witnessed the institutionalization of sculpture parks as curated programs. While the first public and private open-air sculpture exhibitions and collections dating back to the 1930s aimed at creating an appropriate setting for large-scale sculptural forms difficult to show in museum galleries, installations such as Noguchi's garden in Queens, New York (1985) reflect the necessity of a permanent relationship between the artwork and its site.

This relationship also develops in Donald Judd’s project for the Chinati Foundation (1986) in Texas, which advocates for the permanent nature of large-scale installations whose fragility may be destroyed when re-locating the work.

Sustainability and public art

The Gangsta Gardener, Ron Finley, in one of his public food gardens

Public art faces a design challenge by its very nature: how best to activate the images in its surroundings. The concept of “sustainability” arises in response to the perceived environmental deficiencies of a city. Sustainable development, promoted by the United Nations since the 1980s, includes economical, social, and ecological aspects. A sustainable public art work would include plans for urban regeneration and disassembly. Sustainability has been widely adopted in many environmental planning and engineering projects. Sustainable art is a challenge to respond the needs of an opening space in public.

In another public artwork titled "Mission leopard" was commissioned in 2016 in Haryana, India, among the remote deciduous terrain of Tikli village a team coordinated by Artist Hunny Mor painted two leopards perched on branches on a water source tank 115 feet high. The campaign was aimed to spread awareness on co-habitation and environmental conservation. The art work can be seen from several miles across in all directions.

Ron Finley's work as the Gangsta Gardener (or Guerrilla Gardener) of South Central L.A. is an example of an artist whose works constitute temporary public art works in the form of public food gardens that addresses sustainability, food security and food justice.

Andrea Zittel has produced works, such as Indianapolis Island that reference sustainability and permaculture with which participants can actively engage.

Interactive public art

Public sculpture that is also a musical instrument (hydraulophone) by Steve Mann, which the public can play.

Some public art is designed to encourage direct hands-on interaction. Examples include public art that contain interactive musical, light, video, or water components. For example, the architectural centerpiece in front of the Ontario Science Centre is a fountain and musical instrument (hydraulophone) by Steve Mann where people can produce sounds by blocking water jets to force water through sound-producing mechanisms. An early and unusual interactive public artwork was Jim Pallas' 1980 Century of Light in Detroit, Michigan of a large outdoor mandala of lights that reacted in complex ways to sounds and movements detected by radar (mistakenly destroyed 25 years later). Another example is Rebecca Hackemann's two works The Public Utteraton Machines of 2015 and The Urban Field Glass Project / Visionary Sightseeing Binoculars 2008, 20013, 2021, 2022. The Public Utteraton Machines records people's opinions of other public art in New York, such as Jeff Koon's Split Rocker and displays responses online.

An outdoor interactive installation by Maurizio Bolognini (Genoa, 2005), which everybody can modify by using a cell phone.
 
Public art on display at Clarence Dock, Leeds, UK

New genre public art

In the 1990s, some artists called for artistic social intervention in public space. These efforts employed the term "new genre public art" in addition to the terms "contextual art", "relational art", "participatory art", "dialog art", "community-based art", and "activist art". "New genre public art" is defined by Suzanne Lacy as "socially engaged, interactive art for diverse audiences with connections to identity politics and social activism". Mel Chin's Fundred Dollar Bill Project is an example of an interactive, social activist public art project. Rather than metaphorically reflecting social issues, new genre public art strove to explicitly empower marginalized groups while maintaining aesthetic appeal. An example was curator Mary Jane Jacob's 1993 public art show "Culture in Action" that investigated social systems though engagement with audiences that typically did not visit traditional art museums.

Curated public art

Salifou Lindou, Face à l'eau, Bonamouti-Deido, Douala, 2010. Commissioned by doual'art for the SUD Salon Urbain de Douala.

The term "curated public art" refers to public art produced by a community or public who "commissions" a work in collaboration with a curator-mediator. An example is the doual'art project in Douala (Cameroon, 1991) that is based on a commissioning system that brings together the community, the artist and the commissioning institution for the realization of the project.

Memorial public art

Memorials for individuals, groups of people or events are sometimes represented through public art. Examples are Maya Lin's Vietnam War Memorial in Washington DC, Tim Tate's AIDS Monument in New Orleans, and Kenzō Tange's Cenotaph for the A-bomb Victims in Hiroshima Peace Memorial Park in Japan.

Controversies

Sculpture for an objective experience of architectureDavid Chipperfield and Antony Gormley, Kivik Art Centre, Sweden (2008)

Public art is sometimes controversial. The following public art controversies have been notable:

  • Detroit's Heidelberg Project was controversial for several decades since its inception in 1986 due to its garish appearance.
  • Richard Serra's minimalist piece Tilted Arc was removed from Foley Square in New York City in 1989 after office workers complained their work routine was disrupted by the piece. A public court hearing ruled against continued display of the work.
  • Victor Pasmore's Apollo Pavilion in the English New Town of Peterlee has been a focus for local politicians and other groups complaining about the governance of the town and allocation of resources. Artists and cultural leaders mounted a campaign to rehabilitate the reputation of the work with the Baltic Centre for Contemporary Art commissioning artists Jane and Louise Wilson to make a video installation about the piece in 2003.
  • Sam Durant's Scaffold (2017), installed in the Walker Art Center's garden represented the gallows used in seven government hangings. Native American groups found the work offensive, as 38 Dakota people had been hung at Mankato, Minnesota. The artist agreed to dismantle and permit the tribal elders to burn and bury the piece.
  • Maurice Agis' Dreamspace V, a huge inflatable maze erected in Chester-le-Street, County Durham, killed two women and seriously injured a three-year-old girl in 2006 when a strong wind broke its moorings and carried it 30 ft (9.1 m) into the air, with thirty people trapped inside.

Online documentation

Online databases of local and regional public art emerged in the 1990s and 2000s in tandem with the development of web-based data. Online public art databases can be general or selective (limited to sculptures or murals), and they can be governmental, quasi-governmental, or independent. Some online databases, such as the Smithsonian American Art Museum's Archives of American Art. It currently holds over six thousand works in its database.

There are dozens of non-government organizations and educational institutions that maintain online public art databases of public artworks covering numerous areas, including the National Endowment for the Arts, WESTAF, Public Art Fund, Creative Time, and others. Public Art Online, maintains a database of public art works, essays and case studies, with a focus on the UK. The Institute for Public Art, based in the UK, maintains information about public art on six continents.

The WikiProject Public art project began in 2009 and strove to document public art around the globe. While this project received initial attention from the academic community, it mainly relied on temporary student contributions. Its status is currently unknown.

Pro bono

From Wikipedia, the free encyclopedia

Pro bono publico (English: 'for the public good'), usually shortened to pro bono, is a Latin phrase for professional work undertaken voluntarily and without payment. In the United States, the term typically refers to provision of legal services by legal professionals for people who are unable to afford them.

Pro bono publico is also used in the United Kingdom to describe the central motivation of large organizations, such as the National Health Service and various NGOs which exist "for the public good" rather than for shareholder profit, but it equally or even more applies to the private sector where professionals like lawyers and bankers offer their specialist skills for the benefit of the community or NGOs.

Legal counsel

Pro bono legal counsel may assist an individual or group on a legal case by filing government applications or petitions. A judge may occasionally determine that the loser should compensate a winning pro bono counsel.

Philippines

Sen. Jose W. Diokno, a human rights lawyer who coined the term "developmental legal aid"

In late 1974, former Philippine Senator Jose W. Diokno was released from prison as a political detainee. He set out as a litigation lawyer to devise a means to combat the Marcos dictatorship and introduced the term "developmental legal aid", which involved lawyers providing pro bono legal services but also providing allowances to their clients, who were normally the urban poor, informal settlers, farmers, and victims of Martial law under Ferdinand Marcos. Diokno set up the Free Legal Assistance Group or FLAG, which is the oldest human rights organization in the country. During martial law FLAG has handled most of the human rights cases against the military police and the administration. Eventually the concept of developmental legal aid has grown and fresh lawyers are required to conduct part-time free legal aid for a considerable amount of time, otherwise called the Community Legal Aid Service (CLAS) Rule. Many developmental legal services are provided by most law firms and NGOs in the Philippines.

South Korea

South Korean lawyers are required to complete at least 30 hours of pro bono work per year; however, the local bar associations can reduce this requirement to 20 hours. Those who have a good reason not to fulfill the requirement may pay to a pro bono fund 20,000–30,000 (US$17-26) per hour instead.

United Kingdom

Since 2003, many UK law firms and law schools have celebrated an annual Pro Bono Week, which encourages solicitors and barristers to offer pro bono services and increases general awareness of pro bono service. LawWorks (the operating name for the Solicitors Pro Bono Group) is a national charity that works with solicitors and law students, encouraging and supporting them in carrying out legal pro bono work. It also acts as a clearing house for pro bono casework. Individuals and community groups may apply to the charity for free legal advice and mediation, where they could not otherwise afford to pay and are not entitled to legal aid. Advocates for International Development, which exclusively brokers international pro bono contributing towards the Sustainable Development Goals, operates from a London base. Many barristers offer pro bono services as a direct response the Legal Aid cuts brought by LASPO 2012, from which they make no profit. The Bar Council has revealed that just under a quarter of the bar offer pro bono; this is 3,486 barristers. Additionally, in 2018, the Bar contributed almost 11,000 hours of pro bono work.

United States

Lawyers in the United States are recommended under American Bar Association (ABA) ethical rules to contribute at least 50 hours of pro bono service per year. Some state bar associations, however, may recommend fewer hours. Rule 6.1 of the New York Rules of Professional Conduct strongly encourages lawyers to aspire to provide at least 50 hours of pro bono service each year and quantifies the minimal financial contributions that lawyers should aspire to make to organizations providing legal services to the poor and underserved. In contrast, other states, such as Illinois, do not have recommended hours, yet require annual disclosure of voluntary pro bono hours and contributions made to pro bono organizations.

The Chief Judge of New York has also instituted a requirement that applicants who plan to be admitted in 2015 and onward must complete 50 hours of pro bono service in order to qualify. All attorneys who register must report their voluntary pro bono hours or voluntary contributions.

The ABA has conducted four national surveys of pro bono service: one released in August 2005, the second in February 2009, the third in March 2013 and the fourth in April 2018.

The ABA Standing Committee on Pro Bono and Public Service and its project, the Center for Pro Bono, are a national source of information, resources and assistance to support, facilitate, and expand the delivery of pro bono legal help. The ABA Standing Committee also sponsors Pro Bono Week during the week of 23–29 October. The ABA Standing Committee on Legal Assistance for Military Personnel and Section of Litigation jointly sponsor the ABA Military Pro Bono Project, which delivers pro bono legal assistance to enlisted, active-duty military personnel.

In an October 2007 press conference reported in The Wall Street Journal and The New York Times, the law student group Building a Better Legal Profession released its first annual ranking of top law firms by average billable hours, pro bono participation, and demographic diversity. The report found that most large firms fall short of their pro bono targets. The group has sent the information to top law schools around the country, encouraging students to take this data into account when choosing where to work after graduation.

The American Lawyer compiles, from among its 200 top-rated law firms, those that contributed the most pro bono hours of service during the previous calendar year, publishing the list annually.

The Netherlands

In the Netherlands, legal services offered without payment are known as pro deo.

Examples within specific legal sectors

In intellectual property

To help make services related to intellectual property (IP) more accessible, a number of organizations have created pro bono initiatives. These organizations offer support from legal professionals at no cost. The services usually cover the professional fees associated with the related services, but no official fees due to a cost to intellectual property offices.

International efforts

Established in 2015, the Inventor Assistance Program helps inventors navigate the patent system in their own country and a number of other jurisdictions at no cost. Individual inventors and enterprise must be from a participating country and meet certain eligibility criteria. Applicants apply via the IAP Online Platform. Current participating countries include Colombia,  Chile, Ecuador, Morocco, Peru, the Philippines, and South Africa. The program is operated by the World Intellectual Property Organization (WIPO). In 2020, the WIPO GREEN reinstated their pro bono legal advice program.

The Inter-American Association of Intellectual Property (offers pro bono services related to intellectual property. Services include applications for copyright, patent, and trademarks, academic training, advice on IP related contracts, and IP related disputes.

The International Trademark Association matches eligible clients facing trademark issues with member attorneys who volunteer to provide services free of charge. The program initially accepted applications in the United States and Latin America and later expanded globally.

The European Union Intellectual Property Office (EUIPO) offers free personalized IP support to small businesses for EU based SMEs. The work is not limited to a specific field of IP but covers virtually all IP aspects and services, including help in filing patents, trade marks, design applications, copyright, plant varieties, geographical indications, trade secrets and domain names, as well as licensing, enforcement, franchising, tech transfer of IP rights or any “other IP matters and disputes”.

National efforts

In the United States, the Patent Pro Bono Program is a nationwide network of independently operated regional programs that matches volunteer patent professionals with financially under-resourced inventors and small businesses for the purpose of securing patent protection.

In the United Kingdom, a collaboration between local intellectual property organizations called IP Pro Bono offers intellectual property advice and legal support or claimants and defendants in intellectual property disputes.

Outside the legal sector

Corporate pro bono efforts generally focus on building the capacity of local nonprofits or mentoring local businesses. There are many models that businesses use and tailor to their specific strengths. They may loan employees, provide coaching and mentoring, complete a service marathon, create standardized team projects, engage in open-ended outsourcing, provide sector-wise solutions, perform general contracting, or work on a signature issue.

Loaned employee

In this model, companies loan a fully trained and paid-for employee to the non-profit organization. Employees apply for the coveted opportunity to pursue a pro bono interest by lending their knowledge and experience. They use their workplace skills in a hands-on or consulting role to build the non-profit's capacity.

Functional coaching and mentoring

Employees match up with their nonprofit peers, form a relationship, and share functional expertise. They may connect them with assets for growth or revise their business models. For commodities and service-based businesses, coaching and mentoring is a fresh way for them to do philanthropy. It builds a stronger market for the businesses by strengthening the local economy and cultivates important skills for the service providers and recipients.

Marathon

An event where people meet up to do pro bono work for many continuous hours.

Standardized team projects

Individuals are placed on teams, each with specific roles and responsibilities. Each project is scoped and structured around a standard deliverable based on the needs of the nonprofit partners. Team projects are meant as fun team-building activities or as highly competitive competitions to examine leadership abilities in employees.

Open-ended outsourcing

A company makes its services available to a specific number of nonprofit organizations on an ongoing, as needed basis. Volunteers act in a mentor capacity to fill a non-profit's need. Often employees use workplace skills to provide services that non-profits do not have the resources to fund.

Sector-wide solutions

A company creates a deliverable pro bono resource that can be applicable to all nonprofits across the sector. Similar to creating products for consumers, this pro bono model advocates creating products that will be distributed for free or at a greatly reduced cost. Often these are software or other tech services.

General contracting

An entity coordinates and oversees internal and external resources, promoting cross-sector collaboration to address a specific social problem. Contracting is generally done in an ad-hoc capacity and by intermediary organizations such as AMAIDI International gGmbH, Common Impact, Points of Light or Taproot Foundation.

Signature issue

Signature issues combine corporate assets with pro bono work to fight social problems. This is as much a corporate branding initiative as it is an altruistic endeavor. Pro bono volunteers that come en masse from a company become associated with that cause while combating social issues.

Butane

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