Introduction

Over the past forty years, the relationship between ‘art’ and ‘environment’ has attracted growing attention, reminding us that the term ‘environment’ had already emerged in the 1960s on the Pop Art scene. Via its embrace of recycled everyday objects or waste, artists such as Warhol, Oldenburg, Raushenberg, Johns, Oppenheim and Polke, and the lesser known women artists such as Lee Bontecou, Carolee Schneemann, Nancy Rubins or even Collette (Levin, 2010), would already utilize the environment as both a resource bank and a treasure trove – as something which, much like an artwork, could be recreated, inhabited and transformed.