Eve Armstrong

Michael Lett

The joke about Al Gore’s An Inconvenient Truth (2006) being a Power Point presentation rather than a documentary may only begin to fathom the crudeness of the aesthetic strategies—or complicity with boardroom vocabulary—required to precipitate what he calls a political “tipping point on climate change.” And yet, at the same time, audiences for contemporary art are likely already inured to pleas for the urgency of acting to avoid impending ecological catastrophe. What kind of meaningful intervention is left, then, to an individual artist—especially one not funded at the level of the Alliance for Climate Protection—whose work deals with issues such as the fate of waste?

Eve Armstrong, for one, has consistently engaged with the idea of recycling, responding first to the colors and forms that have shown up on local curbsides in the wake of civic initiatives—the browns

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