Lithuanian Landscape Photography in the Era of the Anthropocene: Ideological and Aesthetic Aspects

Acta Academiae Artium Vilnensis

Abstract

This paper examines landscape photography from the latter half of the 20th century to the first half of the 21st century, focusing on the emergence of the aestheticized landscape tradition prevalent in Lithuanian photographic art. It also questions whether landscape photography has the capacity to respond to the challenges posed by the Anthropocene and foster ecological awareness and activism. The analysis of the photographs’ aesthetics is conducted within the framework of theories concerning the visualization of the Anthropocene, while the ideological discourse is contextualized within the development of environmental law and the ecological landscape.

During the Soviet era, nature conservation efforts were primarily geared towards resource preservation and reproduction to meet consumer demands. Although Soviet ideologists advocated for addressing ecological issues at micro-level, through education and instilling a basic culture of environmental responsibility, the rapid development of industries, agriculture, and energy disregarded ecological sustainability principles. Photography, under strict control and censorship, was unable to openly address ecological crises. Furthermore, creators often lacked awareness and comprehension of the magnitude of the crisis.

Following Lithuania’s independence, the nation’s environmental protection efforts integrated into international frameworks. However, agricultural renewal processes remain unaddressed, and preemptive measures to prevent environmental violations and tragedies have been lacking. Despite three decades of open discourse on ecological issues and widespread availability of information through various channels – including media and scientific research – society’s perception of nature has undergone significant transformation. Nevertheless, artists upholding the traditions of Lithuanian humanistic photography have largely sidestepped global trends in ecological activism. Instead, their archives predominantly feature imagery characterized by romanticization, sacralization, mythologization, universalization, and aestheticization. The distinction between the artistic strategies of modernist and postmodernist photography becomes evident in how nature is represented or omitted, and in the construction and actualization of environmental issues.