Second Site Nisbet, James
2021, 20211130, 2021-11-16, Letnik:
4
eBook
A meditation on how environmental change and the passage
of time transform the meaning of site-specific art In the
decades after World War II, artists and designers of the land art
movement used the ...natural landscape to create monumental
site-specific artworks. Second Site offers a powerful
meditation on how environmental change and the passage of time
alter and transform the meanings-and sometimes appearances-of works
created to inhabit a specific place. James Nisbet offers fresh
approaches to well-known artworks by Ant Farm, Rebecca Belmore,
Nancy Holt, Richard Serra, and Robert Smithson. He also examines
the work of less recognized artists such as Agnes Denes, Bonnie
Devine, and herman de vries. Nisbet tracks the vicissitudes wrought
by climate change and urban development on site-specific artworks,
taking readers from the plains of Amarillo, Texas, to a field of
volcanic rock in Mexico City, to abandoned quarries in Finland.
Providing vital perspectives on what it means to endure in an
ecologically volatile world, Second Site challenges
long-held beliefs about the permanency of site-based art, with
implications for the understanding and conservation of artistic
creation and cultural heritage.
Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change ...and related environmental issues. In Landscape into Eco Art , Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting.
Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet.
An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating.
Dedicated to an articulation of the earth from broadly
ecological perspectives, eco art is a vibrant subset of
contemporary art that addresses the widespread public concern with
rapid climate change ...and related environmental issues. In
Landscape into Eco Art , Mark Cheetham systematically
examines connections and divergences between contemporary eco art,
land art of the 1960s and 1970s, and the historical genre of
landscape painting.
Through eight thematic case studies that illuminate what eco art
means in practice, reception, and history, Cheetham places the form
in a longer and broader art-historical context. He considers a wide
range of media-from painting, sculpture, and photography to
artists' films, video, sound work, animation, and installation-and
analyzes the work of internationally prominent artists such as
Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In
doing so, Cheetham reveals eco art to be a dynamic extension of a
long tradition of landscape depiction in the West that boldly
enters into today's debates on climate science, government policy,
and our collective and individual responsibility to the planet.
An ambitious intervention into eco-criticism and the
environmental humanities, this volume provides original ways to
understand the issues and practices of eco art in the Anthropocene.
Art historians, humanities scholars, and lay readers interested in
contemporary art and the environment will find Cheetham's work
valuable and invigorating.
Stilspraak, Strijdom van der Merwe en Landkuns is ’n populêr-wetenskaplike kunsboek en bestaan uit drie hoofafdelings. Die geskiedenis van landkuns wat in deel een bespreek word kom uit twee lande, ...naamlik die Verenigde State van Amerika (VSA) en Nederland. Ten eerste is dit ’n momentopname van landkuns aan die begin van die een-en-twintigste eeu en word Van der Merwe vervolgens met hierdie publikasie geplaas binne die internasionale konteks van landkuns.
Speaking Out of Turn is the first monograph dedicated to
the forty-year oeuvre of feminist conceptual artist Lorraine
O'Grady. Examining O'Grady's use of language, both written and
spoken, Stephanie ...Sparling Williams charts the artist's strategic
use of direct address-the dialectic posture her art takes in
relationship to its viewers-to trouble the field of vision and
claim a voice in the late 1970s through the 1990s, when her voice
was seen as "out of turn" in the art world. Speaking Out of
Turn situates O'Grady's significant contributions within the
history of American conceptualism and performance art while also
attending to the work's heightened visibility in the contemporary
moment, revealing both the marginalization of O'Grady in the past
and an urgent need to revisit her art in the present.
Copublished with the Tanner Trust Fund, J. Willard Marriott Library.
Robert Smithson’s earthwork, Spiral Jetty (1970), an icon of the Land Art movement of the 1960s and 1970s, is located on the ...northern shores of Utah’s Great Salt Lake. Smithson built a masterpiece from local materials, one that spirals counterclockwise into the lake and appears or is submerged with fluctuations in the lake’s locally red, saline water.
The Spiral Jetty Encyclo draws on Smithson’s writings for encyclopedic entries that bring to light the context of the earthwork and Smithson’s many points of reference in creating it. Visitors and armchair travelers, too, will discover how much significance Smithson placed on regional considerations, his immersion in natural history, his passion for travel, and his ability to use diverse mediums to create a cohesive and lasting work of art. Containing some 220 images, most of them in color, with some historical black and whites, The Spiral Jetty Encyclo lets readers explore the construction, connections, and significance of Smithson’s 1,500-foot-long curl into Great Salt Lake, created, in Smithson’s words, of “mud, salt crystals, rocks, water.”
In the twenty-first century, we are continually confronted with the existential side of technology—the relationships between identity and the mechanizations that have become extensions of the self. ...Focusing on one of humanity’s most ubiquitous machines, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art combines critical theory and new media theory to form the first philosophical analysis of the car within works of conceptual art. These works are broadly defined to encompass a wide range of creative expressions, particularly in car-based conceptual art by both older, established artists and younger, emerging artists, including Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper. At its core, the book offers an alternative formation of conceptual art understood according to technology, the body moving through space, and what art historian, curator, and artist Jack Burnham calls “relations." This thought-provoking study illuminates the ways in which the automobile becomes a naturalized extension of the human body, incarnating new forms of “car art" and spurring a technological reframing of conceptual art. Steeped in a sophisticated take on the image and semiotics of the car, the chapters probe the politics of materialism as well as high/low debates about taste, culture, and art. The result is a highly innovative approach to contemporary intersections of art and technology.
The directions change twenty times but the landscape stays the same: mud, salt crystals, rocks, water. Coleridge, on the other hand, reached for his earliest memory of climbing a spiral staircase in ...a mansion near his childhood home to explain creative form. Art should have an energy that excites the mind, he said, "like the motion of a serpent" that pauses, regresses, gathers force, then moves forward. Because Coleridge understood aesthetic form as a struggle toward unity, he might have seen that striving in Smithson's desert sculpture, but Smithson emphasized the opposite. Spirals can be a way of structuring writing too, a way of seeing something from multiple points of view, a repetition with a difference.
Conceptualism and Materiality. Matters of Art and Politics underscores the significance of materials and materiality within Conceptual art and conceptualism more broadly. It challenges the notion of ...conceptualism as an idea-centered, anti-materialist enterprise, and highlights the political implications thereof.
