Sellers-Young has provided an insightful text into the specific relationships between places and practices. By looking into the deep history of how the bioregions of Oregon developed geologically, in relationship to human cultures which have called them home, and up to the present-day work of contemporary arts engaged with the strata of these histories, this book highlights how these specific entanglements shape the way artists work and the way art works on society —Ian Garrett, Associate Professor, Department of Theatre and Performance, School of the Arts, Media, Performance & DesignYork University, Canada.

Acknowledgments; List of Figures xi Introduction: Art, Environment and Metaphor ;1. Environmental Activism, Arts and the Land of Eden,Landscape One: High Desert Basin and Range; 2. The Murals of Vale: Gateway to Oregon;  3. Ontario: The Legacy of Kanriye Fujima 61 Landscape Two: Columbia Gorge and Plateau; 4. James Lavadour and Crow’s Shadow Institute of the Arts, Landscape Three: Cascade Range; 5. Hunter Noack: In a Landscape, Landscape Four: The Willamette Valley; 6. Portland’s Elisabeth Jones Art Center and Signal Fire; 7. Willamette Valley’s Sanctuary Stage; 8. Salem’s Gaiety Hollow: Lord and Schryver Landscape Architects and the Conservancy; 9. Eugene and the Oregon Country Fair; Landscape Five: Rogue River Valley; 10. Ashland: Angus Bowmer and the Oregon Shakespeare Festival, Landscape Six: Oregon Coast and Coast Range 185 11. Astoria’s Fisher Poets; 12. Sitka Center for Art and Ecology; 13. Bandon’s Washed Ashore: Art to Save the Sea; 14. Climate Change, Sustainability and Artists in the Land of Eden; Index