Early modern views of nature and the earth upended the depiction of land. Landscape emerged as a site of artistic exploration at a time when environments and ecologies were reshaped and transformed. ...This volume historicizes the contingency of an ever-changing elemental world, reframing and reimagining landscape as a mediating space in the interplay between the natural and the artificial, the real and the imaginary, the internal and the external. The lens of the “unruly” reveals the latent landscapes that undergirded their conception, the elemental resources that resurfaced from the bowels of the earth, the staged topographies that unsettled the boundaries between nature and technology, and the fragile ecologies that undermined the status quo of human environs. Landscape and Earth in Early Modernity: Picturing Unruly Nature argues for an art history attentive to the vicissitudes of circumstance and attributes the regrounding of representation during a transitional age to the unquiet landscape.
Place Matters Bordo, Jonathan; Fitzpatrick, Blake; Mitchell, W. J. T
2022, 2022-12-15
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Bordo and Fitzpatrick coin the term critical topography to describe how thought and symbolic forms invent place through text and image. International in scope, Canadian in spirit, and grounded in ...singular sites, Place Matters presents critical topography as an approach to analyze, interpret, and reflect on place.
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.
A distinctly Indigenous form of landscape representation is emerging in the creations of contemporary Indigenous artists from North America. For centuries, landscape painting in European art ...typically used representational strategies such as single-point perspective to lure viewers—and settlers—into the territories of the old and new worlds. In the twentieth century, abstract expressionism transformed painting to encompass something beyond the visual world, and later, minimalism and the Land Art movement broadened the genre of landscape art to include sculptural forms and site-specific installations. In Shifting Grounds, art historian Kate Morris argues that Indigenous artists are expanding, reconceptualizing, and remaking the forms of the genre still further, expressing Indigenous attitudes toward land and belonging even as they draw upon mainstream art practices. The resulting works are rarely if ever primarily visual representations, but instead evoke all five senses: from the overt sensuality of Kay WalkingStick's tactile paintings to the eerie soundscapes of Alan Michelson's videos and Postcommodity's installations to the immersive environments of Kent Monkman's dioramas, this landscape art resonates with a fully embodied and embedded subjectivity. In the works of these and many other Native artists, Shifting Grounds explores themes of presence and absence, connection and dislocation, survival and vulnerability, memory and commemoration, and power and resistance, illuminating the artists' sustained engagement not only with land and landscape but also with the history of representation itself.
Studying landscape in cinema isn’t quite new; it’d be hard to imagine Woody Allen without New York, or the French New Wave without Paris. But the focus on live-action cinema leaves a significant gap ...in studying animated films. With the almost total pervasiveness of animation today, this collection provides the reader with a greater sense of how the animated landscapes of the present relate to those of the past. Including essays from international perspectives, Animated Landscapes introduces an idea that has seemed, literally, to be in the background of animation studies. The collection provides a timely counterpoint to the dominance of character (be that either animated characters such as Mickey Mouse or real world personalities such as Walt Disney) that exists within animation scholarship (and film studies more generally). Chapters address a wide range of topics including history, case studies in national contexts (including Australia, Japan, China and Latvia), the traversal of animated landscape, the animation of fantastical landscapes, and the animation of interactive landscapes. Animated Landscapes promises to be an invaluable addition to the existing literature, for the most overlooked aspect of animation.
This book explores the relationship between Sunnis and Shi'is as expressed in the patronage and architecture of shrines, and links them to the wider, pan-Islamic landscape of interconnected ...pilgrimage sites created from these acts of patronage.
Landscape Theory DeLue, Rachel; Elkins, James
2008, 20101028, 2007, 2007-12-05, 2007-12-17, Letnik:
9
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Artistic representations of landscape are studied widely in areas ranging from art history to geography to sociology, yet there has been little consensus about how to understand the relationship ...between landscape and art. This book brings together more than fifty scholars from these multiple disciplines to establish new ways of thinking about landscape in art.
Series Preface Section 1: Introduction Elusive Landscapes and Shifting Grounds, Rachel DeLue Section 2: Starting Points 1. Introduction to Social Formation and Symbolic Landscape , Denis Cosgrove 2. One With Nature: Landscape, Language, Empathy, and Imagination, Anne Whiston, Sprin 3. Writing Moods, James Elkins Section 3: The Art Seminar Participants: Yvonne Scott, Minna Törmä, Denis Cosgrove, Rebecca Solnit, Anne Whiston Spirn, David Hays, Michael Gaudio, Jacob Wamberg, Michael Newman, and Jessica Dubow. Section Four: Assessments Kenneth R. Olwig, Maunu Hayrynen, Jill Casid, Dianne Harris, Jennifer Jane Marshall, Robin Kelsey, Malcolm Andrews, Blaise Drummond, Hanna Johansson, Annika Waenerberg, Stephen Daniels, Dana Leibsohn, Yvonne Scott, Martin Powers, Jerome Silbergeld, Michele Baridon, David E. Nye, and Robert R. Riley. Section Five: Afterwords Afterword, Allan Wallach. Blindness and Insights, Elizabeth Helsinger. Notes on Contributors Index
James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. He is general series editor of "The Art Seminar." His many books include Pictures and Tears , How to Use Your Eyes , What Painting Is and, most recently, The Strange Place of Religion in Contemporary Art and Master Narratives and Their Discontents , all published by Routledge.
Rachel DeLue is Assistant Professor of Art History at Princeton University. She is author of George Inness and the Science of Landscape (University of Chicago Press, 2004).
From Francis Alÿs and Ursula Biemann to Vivan Sundaram, Allora & Calzadilla, and the Center for Urban Pedagogy, some of the most compelling artists today are engaging with the politics of land use, ...including the growth of the global economy, climate change, sustainability, Occupy movements, and the privatization of public space. Their work pivots around a set of evolving questions: In what ways is land, formed over the course of geological time, also contemporary and formed by the conditions of the present? How might art contribute to the expansion of spatial and environmental justice? Editors Emily Eliza Scott and Kirsten Swenson bring together a range of international voices and artworks to illuminate this critical mass of practices. One of the first comprehensive treatments of land use in contemporary art,Critical Landscapesskillfully surveys the stakes and concerns of recent land-based practices, outlining the art historical contexts, methodological strategies, and geopolitical phenomena. This cross-disciplinary collection is destined to be an essential reference not only within the fields of art and art history, but also across those of cultural geography, architecture and urban planning, environmental history, and landscape studies.
