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Think Globally, Art Locally As humans become increasingly sensitized to the developments and pressures of globalization and change, the fate of the particular places people live-our homes-is a growing concern. Among artists, scholars, and educators, there is renewed interest in placed aware that their own futures are at stake in the quality of life and the nature of their relationship to the land (Vitek & Jackson, 1996). Writers describe their attempts to settle down, or more deeply, into a life grounded in and environment (Elder, 1998; Sanders, 1993; Tall, 1993). Bioregionalist activists claim that is the most viable starting point for changing humanity's relationship with nature (Berry, 1972; McGinnis, 1999). Academic theorists argue that places are constituted, represented, and negotiated through a variety of discursive, material, and institutional practices (Harvey, 1996, p. 78), including those that are artistic whereby human creativity is integral part of the web formed by land, history, culture, and place (Lippard, 1997, p. 18). Art educators, as well, are acutely aware of the intimate relationship among art, education, and place. Blandy and Hoffman (1993) raise this issue, calling for an art of place that would educate and encourage a pro-active stance (p. 30). Recognizing that anthropocentric assumptions underlie conventional approaches to community-based art education, they draw on eco-theory to expand the notion of to include the physical environment. They also present examples of art with message, suggesting to educators that their inclusion in the would facilitate students' of the interdependence and interconnectedness of all things (p. 28). While their study seeks to bring and environment more centrally into art educators' field of vision, the artworks they examine address the issue of environment in general leaving open the question of place's particularity. This raises the question: How can art facilitate understandings of a specific place? Subsequently, art educators have been addressing a variety of topics and issues that consider such place-specificity. Neperud, for example, argues for environmental design education that is community-based, developed around the texture of community (1995, p. 234). He maintains that investigation of the local environment, moreover, entails both recognition of particular ways people shape their own environments, as well as consideration of how they are shaped by power, ideology, economy, and politics. His approach combines attention to global issues like degradation and multiculturalism with awareness of the particularity of place, so that each teacher must particularize her or his approaches in sympathy with local textures (p. 237). Irwin, Rogers, and Wan (1997, 1999) explore the relationship between Aboriginal peoples and their particular landscapes as a necessary means for understanding their art. Garoian (1998) promotes ecological pedagogy that recognizes the community-based experiences of students as a complement to that of the teacher's curriculum (p. 260). Blandy, Congdon, and Krug (1998), in the context of their discussion of promoting restoration, imagine an art of in which art educators and students promote restoration through inter-organizational and inter-institutional cooperation in their local (p. 241). Krug (2002), in treating inquiry about art in the context of everyday lifecentered issues, also touches on place-specificity. For instance, by exploring the concept of nature and culture's interdependency in relation to examples of art, he has shown how some artists are working collaboratively with members of communities to use their creative energies to solve real life-centered problems (p. …
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