This essay focuses on a series of radical, never-built “garden” designs from 1969 by the artist-turned-landscape-architect Patricia Johanson (1940–2024), which proposed sites in and around New York City that would confront the public with complex human–ecological interrelationships of the day, often posing thorny questions about them. In all, she composed 150 drawings and 7 related essays, sparked by a misguided commission from House to the conversion of a highway interchange into a clover field for honey production; fissures sliced into asphalt to allow the release and observation of subterranean steam; and a river dyed to highlight, rather than conceal, ongoing industrial pollution. I revisit this ambitious, multidisciplinary body of work not only in relation to its original context, when a modern ecology movement was gaining momentum, American cities were becoming ever more privatized, and a number of fellow artists began making large-scale outdoor artworks that would come to dominate art historical accounts of land and environmental art, but also, through the lens of its continued, and arguably heightened, relevance in our own moment of spiraling climate breakdown, corporate geo-engineering schemes, and further enclosures of various commons, as well as an ever-growing field of eco-art history, to which this special journal issue is a testament.
Emily Eliza Scott (Wed,) studied this question.