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The study was carried out in order to take attention to the unconscious water use, the introduction of hazardous wastes and these wastes to water sources without treatment, the contamination of the lake waters and the rapid reduction of the water level in Turkey over many years. Land art was used in the study to raise awareness, especially on lake water withdrawal and water pollution. There are many lakes that have begun to dry up throughout the country, and this is most common in the Lake District. For this purpose, Burdur Lake, where the water level is rapidly decreasing and water pollution is very intense, has been chosen as the study area. A visual design program for the creation of land art proposals has been used as a tool in the realization of the work. As a result, it is aimed to raise awareness by drawing attention to Burdur Lake and similar qualified areas with the virtual application of land art, additionally ensure sustainability by taking care of conservation-use balance. [ABSTRACT FROM AUTHOR]

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The work initially focuses on the beneficial distinction between scenery and landscape. It will gradually introduce auxiliary concepts for the presentation of land art, thus allowing it to be conceived not as an essence, which it does not represent, but as a processuality and a pictorial gesture of expression and suggestion. [ABSTRACT FROM AUTHOR]

The article focuses on re-examination of the artistic legitimacy of landscape architecture practices and spirit of experimentation was spreading in the professional practice and educational institutions. It mentions Land Art that interested landscape architects and academics was primarily its capacity to reveal symbolic resonances related to the relationships of cultures and people with the landscape. It also mentions relationship between the meaning intended by the designer.

Copyright of Magistra Iadertina is the property of University of Zadar, Department of Teacher & Preschool Teacher Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La aparición de los colosales depósitos industriales en los paisajes urbanos y rurales acarreó cuando menos, numerosas críticas y un importante sentimiento de rechazo; y, una vez que quedaron obsoletos y fueron abandonados, su presencia siguió suscitando igual o mayor escepticismo. El presente estudio pretende valorar de qué modo la intervención en estos objetos y su transformación en arquitectura ha modificado su relación con el entorno así como la percepción que hoy se tiene de los mismos, así como demostrar el potencial que encierran desde el punto de vista paisajístico. El análisis de algunos de estos proyectos evidencia, por un lado, que debido a la naturaleza singular de estos artefactos, los arquitectos que se enfrentaron a su transformación tuvieron que reinventar su modo de trabajar, adoptando metodologías, estrategias y herramientas propias de la disciplinas artística; y por otro, que el potencial conceptual de estos artefactos no puede ser entendido por completo sin tener en cuenta esta dimensión artístico-paisajística. Palabras clave: arte, depósito, industrial, land art, paisaje.

Land art in the English class is a proposal to promote environmental awareness in a group of 30 students from the Integrated English Course Three at Sección Regional Huetar Norte y Caribe, National University Sarapiqui Campus, Costa Rica. The base of this proposal is the development of class activities under the concepts of the Suggestopedia methodology, by Georgi Lozanov, and some aspects of the holistic approach. This proposal responds to the necessity of encouraging the topic of Mother Earth and its importance. Environmental awareness is a fundamental attitude to start changing actions. Suggestopedia proposes to enable students to learn a language in a relaxing atmosphere, full of stimuli that liberate them from the restrictive influences and rigor that more traditional classroom settings usually have (Chastain, 1988, p.104; cited in Omaggio, 1993, p.117). The group of students previously mentioned attended a class where the atmosphere was comfortable and relaxing. To stimulate the senses, the teacher used attractive pictures, colorful card phrases related to the topic, baroque music, videos, songs, soft aroma, and, finally, the contact with nature elements to express a message. As a result, many students had positive reactions toward the class activities. They considered this class methodology different, more interesting, and more meaningful than the traditional classes. They felt more motivated and less stressed to express themselves in English. Students produced some posters and land art videos to express their concerns, feelings, and reflections regarding the environmental topic. In conclusion, this group could give an environmental message in English in a satisfactory way.

This paper analyses the relationships between literature and land art, in a comparative and cooperative perspective. A feeble monument in Kenya, erected by Karen Blixen and dedicated to her beloved, finds echoes in a paper installation by Canadian artist Marlene Creates. Both monuments present a strong gender signature. J.M. Coetzee's novel In the Heart of the Country (1976) includes writing with stones in the Karoo desert not dissimilarly from what children do in a popular game, where they draw with stones. Finally, Margaret Atwood provides a memorable example of bioart and ecoart in her novel The Year of the Flood (2009), where insects co-participate in the artistic project, right as South African artist William Kentridge managed to produce drawings and a film with ants. All these examples show a cooperative approach to art between humans and non-humans, be they rocks, insects, bones.

This video article is one outcome of a collaborative project with artist Thomas Wolsing in the summer of 2016. The collaboration was video recorded (FPS, head mounted camera). The footage was thereafter edited into a video article that documents emerging dimensions and themes of this project. My ambition for this collaboration was to experience and discover interlacements between, on the one hand, art theory (epitomized by some sentences of Heidegger’s “The Origin of the Work of Art”) and, on the other hand, artistic and physical-constructional work in building a land art piece. The video article presents dialogues and monologues in situ that circles around the problem of how to bodily and conceptually integrate art theory and concrete artistic practice and the dependence between and incompatibilities of art theory and art making. It shows the experienced integration of physical and discursive actions that, in the moment of performance, is elusive and refutes any ethical assessment. The video is in Danish with English subtitles.

This text is a commentary inspired by an interview with Richard Long by conservation-restoration students from l’École supérieure des beaux-arts de Tours and Fine Art students from l’université de Bordeaux. The interview was held in English on the 19th September 2014 at the CAPC in Bordeaux an is published in French translation here. This took place after the remake de White Rock Line made in 2014 after a restoration study took place in the École supérieure des beaux-arts de Tours.

Transcript of an interview with Richard Long by art and conservation-restoration students, translated into French. At the occasion of the public presentation, for the French national heritage days, of the restored artwork White Rock Line (1990, remade 2014), the artist met the students, who were able to question him about the work. During the conversation, the artist evokes his points of view on restoration, on art in general and his own work in particular.

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This essay argues that what most characterizes the late twentieth century is not, as is often assumed, the threat posed to the human by technology but rather that imposed by technology's failure. The essay does so by tracking the development of a postwar literalism that is neither modernist nor postmodernist. This literalism emerges as an aesthetic in the earthworks and writings of Michael Heizer and Robert Smithson and is isolated as a cultural logic by Thomas Pynchon's Gravity's Rainbow (1973). Backed by the rise of cybernetics, this literalism reconfigures the Aristotelian conception of the artifact. Through the lines in the dirt they feature, the works discussed in this essay bracket off the axes of the subject, the human, and the machine. To that end, they generate "failed artifacts" by isolating the exposures of human-made things to their environments as junctures for rendering the empirical limits of technology and putting its conceptual coherence into question. Here, then, technology fails not only in fact but in principle. [ABSTRACT FROM AUTHOR]

Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson's Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy's New Vision or Le Corbusier's Loi du Méandre. [ABSTRACT FROM AUTHOR]

A land art project exploring the landscape and geometry of a beautiful grove of walnut trees gives a setting to consider a perceptualist framework for creativity, bringing in mathematical abstraction as a tool to document and reflect on a first intuitive experience of place. We visit mathematics as metaphor, projective geometry and Andy Goldsworthy on the way to the art project and a discussion of the application of the ideas to teaching. [ABSTRACT FROM AUTHOR]

The article provides an overview of the IX Wood Week of the Basque Country, highlighting a surprise visit to the relocated Painted Forest of Oma. It delves into the forest's history, environmental challenges, and its role as an example of land art. It encapsulates the essence of the event and its significance in blending art with nature while addressing ecological concerns.

El texto describe y dibuja una estrategia de recuperación ecológica de una explotación minera de piedra ornamental en activo, situada en el entorno del parque arqueológico del Tolmo de Minateda, en el Término municipal de Hellín (Albacete, España). En el año 2015, la empresa Areniscas Rosal, propietaria de los derechos de explotación de dicha cantera, encargó a la oficina de Arquitectura y Urbanismo SSS (Spanish Studio of Space) un Plan de Restauración para establecer las directrices básicas de una recuperación paisajística que revierta el impacto de la actividad extractiva en un futuro próximo. El proyecto, fundamentado en la filosofía del Land Art, es una reconstrucción geométrica del terreno por medio de la reutilización de los sobrantes de la propia actividad, para así crear un paisaje totalmente nuevo y contemporáneo. El reciclaje, la re-vegetación y una solución proyectual innovadora fundamentan las directrices de esta intervención paisajística y territorial. Las posibilidades de reutilización y disfrute de este nuevo entorno natural podrán ser variadas y enriquecedoras y solo dependerán de una gestión sensible y respetuosa de la relación del hombre con la naturaleza. The former document describes and draws a strategy of ecological recovery of an ornamental stone mine in active, located in the archaeological park environment of Tolmo de Minateda in the municipality of Hellín (Albacete, Spain). Back in 2015, the company Rosal Sandstones, which owns the rights to exploit the quarry, commissioned the Office of Architecture and Urbanism SSS (Spanish Studio of Space) a Restoration Plan in order to establish the basic guidelines for a landscape recovery to revert the impact of mining activity in the near future. The project, based on the philosophy of Land Art, is a geometric reconstruction of the ground by means of reusing the leftovers of the activity itself, to thereby create a totally new and contemporary landscape. Recycling, re-vegetation and innovative design methodology solutions substantiate the guidelines of this landscape and territorial intervention. The possibilities for re- usability and enjoyment of this new natural environment can be diverse and enriching and, only depend on a sensitive and respectful management of the relationship between man and nature.

The purpose of this article is to examine the environmental issue which plays a key role in the art world since 1967, especially through the American Land Art and the European Environmental Art. Due to the pop art’s assemblages and the Land Art conceptual experiences, the Environmental Art has developed its own contents. Through a review of significant endeavours, we will be able to appreciate an unprecedented interpretation of human’s actions on the environment. From a critical and historical point of view, this article aims to examine some art facts which are fundamental to rough out the current shape of the Environmental Art. This can only be achieved by the widest range research of any stripe and variety and the widest range of functional diversity.

This interview synthesizes artist statements collected in a series of interviews with Félie-Line Lucol conducted by Frédéric Lefrançois, with reference to the paper presented during the conference “Artistic Cartographies and Topologies” which was held on 18 December 2017, at the Campus of Fouillole, Guadeloupe, FWI, University of the French Antilles.

1968 marks the beginning of a social, political and cultural revolution, with all of its internal contradictions. It engulfs the artistic world on both sides of the Atlantic in a veritable transformation, a cathartic rebirth crystalized through the reconfiguration of traditional canons. This creative impulse refuses any artifice, assimilates contradictions, incorporates experience and imaginary worlds, restructures ideas about space and time, definitely severing the boundary between object and concept, short circuiting reality and the imaginary. Inspired by codes of common origins, minimalism, conceptual art, arte povera and land art nonetheless carry diversity in their approaches and methods; yet they coexist and coalesce, in an intricate weave of exchange and rhythmic syncronicity.

В статье рассматривается ландшафтное стекло как один из видов современного ландшафтного искусства. На примере пленэрных выставок 2000 – 2016-х годов уточняется художественная специфика жанра, его роль в установлении эстетической связи природы и объекта искусства, во включении природы в контекст культурного пространства. Новый жанр ландшафтного стекла формировался в контексте развития студийного авторского стекла, в свою очередь тесно связанного с общемировым движением, получившим название «Glass Studio movement». Художественный смысл этого процесса заключается в сугубо экспериментальном характере поисков авторского стиля, в стремлении найти современные средства выражения. В процессе творчества радикально меняются принципы формотворчества, расширяются границы жанра, по-новому осознается пластическая природа образа. Выставки Елагиноостровского дворца-музея в Санкт-Петербурге «Стекло и керамика на траве» и стали тем материалом, на основе которого изучается данная тема. Обращение художников к крупной форме, а это продиктовано масштабом пространства, расширили границы и принципы формообразования, меняли субстанциональные проявления стекла как материала, его возможность передать драматические коллизии мира, сложность и многомерность содержания. Особое внимание было обращено на технический эксперимент, в первую очередь, в работе с плоским оконным стеклом.

Land Art is one of the art avant-gardes that had its most prominent development in the United States (1967/8). Land artists share many elements in common, but mainly they are identified by their use of natural materials and their site-specific installations which take shape in remote locations, far from urban centers. It is a revolution that means to take art out of its industrial interpretation as a commodity object, in order to propose a revaluation of the spiritual essence of artistic practices, rejecting the system of traditional galleries. Photographic documentation has played a fundamental role for Land Art works. The camera has carried out the task of witnessing the existence of those temporary works by recording objects and events that did not arise for a specific audience, but were to be understood as "temporary monuments" (Robert Smithson) suitable for interpreting the complex weaving of those vast deserted areas. Through the photographic image the precarious integration between art and nature took form. My contribution will analyze the key role of photography with relation to some significant installations of Land Art, in order to highlight its substantial role as an art form that produced monuments out of the American landscape, recovering the etymological origin of the word landscape itself: "landschap", a word born with the Dutch landscape painters (1598).

Durante el curso 2016/2017, en el Instituto de Secundaria de Albarracín, hemos desarrollado dos proyectos artísticos en la asignatura de Plástica, Visual y Audiovisual con alumnado de 2º y 4º de la ESO. Estas intervenciones localizadas fuera del aula, integradas con procesos de aprendizaje que precisan del trabajo en equipo, la comprensión del lenguaje artístico en sus representaciones menos académicas, les inician en el análisis de la relación entre la historia y el arte y cómo este último deja patente la sensibilidad del artista con el contexto social e histórico que le toca vivir. Desde las posibilidades que nos ofrecen los materiales reciclados, con una pizca de creatividad, y utilizando recursos procedimentales, que nacen con las vanguardias, el trabajo es innovador. Permite desarrollar proyectos, que involucran a una comunidad rural de alumnos y alumnas entre 12 y 16 años, que se integran en proyectos comunes, ya sea con la intervención directa o con la presentación de los mismos a otros cursos, abriendo nuevos campos de experimentación. Se ha dado paso a la experiencia del arte efímero, a la adecuación de espacios inusuales para su exposición y, en todo ello, se identifican como los verdaderos protagonistas de un proceso de aprendizaje que queda integrado en el día a día del centro. Estos dos puntos de intervención, localizados en el exterior y el interior de su instituto son el jardín que da acceso, con su alusión al Land Art (de los años 70), y la exposición mural de la reinterpretación del Guernica en un espacio de paso ubicado en el interior del mismo.

Qual è il rapporto tra immagine e natura nella cultura contemporanea? Poche vicende sono in grado di riassumere, in breve, la parabola percorsa nella modernità di questo rapporto come quella cui è andata incontro la parola panorama. Oggi, anche se molti continuano ad usare questo termine come equivalente di paesaggio, pochi sanno che il ‘panorama’ nacque, alla fine del Settecento, per indicare uno «spettacolo ottico» destinato a riscuotere grande successo lungo tutto il secolo seguente: il ‘panorama’ era, in origine, una grande tela dipinta, disposta a trecentosessanta gradi intorno a uno spettatore. Nel corso dell’Ottocento, le foto presero gradatamente il posto della pittura, nei panorami, fino a che, all’inizio del Novecento, le nuove forme di riproduzione dell’immagine, come il cinema, resero obsoleto questo tipo di spettacolo. Ma non la parola, che era già transitata a indicare la cosa naturale osservata e non più l’apparecchio destinato a riprodurla, la realtà e non la rappresentazione. Ed è proprio questo passaggio, per cui l’immagine soppianta la natura, la sostituisce, si pone al suo posto, ed impedisce un rapporto reale con la cosa rappresentata, ciò che si impone a chi prende a considerare il rapporto tra immagine e natura nel mondo contemporaneo. A partire dalla seconda metà del Novecento, molti artisti hanno cercato di dare attraverso le loro opere delle esperienze del nostro rapporto con la natura, o, per meglio dire, di trasformare in opera la propria esperienza della natura. Un tratto accomuna le esperienze dei land artist americani degli anni Sessanta con quelle dell’arte ambientale europea dei decenni successivi: il fatto che entrambe hanno compreso che il patto mimetico che legava l’arte alla natura è andato in pezzi e che nulla è più vano che cercare di ricomporlo, ragione per cui l’arte non potrà recuperare un legame con la natura riproducendola, ma solo operando all’interno di essa. Tuttavia, il necessario ricorso, da parte degli artisti, ai mezzi di comunicazione visiva, come fotografie e video, per documentare e divulgare le loro opere, spesso realizzate in luoghi sperduti ed inaccessibili ai più, ha determinato un vero e proprio paradosso: un’arte che era nata in antitesi all’immagine torna ad essere pura immagine.

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In studying visual and plastic arts, social researchers tend to assume that an aesthetic object is pre-given to a viewer who does not participate in the process of the object’s becoming. They problematise the aesthetic status of an artwork, but not its objectness. This article shows that audience perception, considered as interaction and situated practice, does not merely define the meanings and emotions attached to a certain object, but plays a constitutive role in the object’s physical state and its very existence as an object, i.e. as an integrated unity extracted from its surroundings and affording a direct, intensive encounter. Synthesising the conceptual resources of Hennion’s pragmatics of taste, Simmel’s aesthetic theory, gestalt theory, and social phenomenology, I explain various ways an object in the situation of perception happens and achieves a certain mode of existence or fails to happen and disappears. The article is based on three empirical examples derived from the ethnographic study of the open-air land art/architectural festival ‘Archstoyanie’. The first case illustrates how an object is extracted from the environment and the festival’s infrastructure; the second, how the visitors destroy the incomplete boundaries of an object so that it dissolves into the surroundings; and the third, how an object maintains its integrity despite its inner complexity and multiple centres that attract the visitor’s attention. [ABSTRACT FROM AUTHOR]

Background The author argues for a reconsideration of Robert Smithson's relationship to the spatial discourse and proto-media studies of Wyndham Lewis and his Canadian protégé Marshall McLuhan. Analysis Through a comparative reading of a lesser-known Lewis text and Smithson's photoessays and related earthworks, the article sets out to re-evaluate the American artist's mock- Platonic "earth maps" as mobilizing cinematic and spatial metaphors deployed by Lewis' satirical travel writings; in particular, Lewis' exploration of Atlantean images of postnational space as an alternative to a time-obsessed modernity in Filibusters in Barbary (1932). Conclusion and implications The cinematic geographies of Smithson, Lewis, and McLuhan emerge as allied responses to, and radical reworkings of, Bergson's discourse on time and media that materialize a shared critical optics and quest for utopia propelled by the lingering spectre of global conflict. [ABSTRACT FROM AUTHOR]

The essay retraces the most important stages of the doctoral research led by the author that focused on the relationship between the Land Art and the media, now published as a monograph. The article, based on the speech pronounced during the conference Monografia ancora? (Bologna, 22nd June 2017), dwells on the different answers given by the artists to the problem of the documentation and on the communication of their work to the public, outlining the methodological framework inside of which the study has been developed as well as the institutions, both national and international, in which the research has been accomplished.

O ensaio é voltado à reflexão acerca de intervenções na paisagem desde a pré-história, com foco em uma viagem realizada pela autora para Stonehenge e reverberações deste em obras de Land Art e ecos na arte contemporânea. Como um relato de viagem, a autora narra sua experiência ao visitar o monumento megalí­tico e traça relações com obras de Richard Serra, Donald Judd, Richard Long e Michael Heizer, que trabalharam com a paisagem e materiais naturais para produzir obras de escala colossal criando, assim como Stonehenge, uma mudança na relação entre o homem e a paisagem.

Dentro de la provincia italiana de Trento, se sitúa el parque escultórico de Arte Sella, donde se articula un recorrido que combina las creaciones medio ambientales de distintos artistas en simbiosis con la naturaleza, remitiéndose dicha propuesta a las manifestaciones teóricas y programáticas del Land Art. El proyecto se articula como nuevo producto patrimonial, participando por una parte de las diferentes características que estructuran el concepto de los cultural commons, y por otra demostrando una capacidad de distinción respecto a otras ofertas turísticas de carácter cultural. Su capacidad de diferenciación y espectacularidad, junto con el reclamo del medio ambiente y el contacto con la naturaleza, ha generado que Arte Sella se inserte en las distintas especificaciones del turismo cultural, así como del turismo rural y ecoturismo, a la vez que se emplaza como un marco favorable para el desarrollo sostenible.

Over the past decade, the canton of Valais in the Swiss Alps has witnessed a true craze for site-specific sculptures or installations linked to the landscape. The predominant curatorial model has been the landscape sculpture park. The decision to choose the natural environment as the context for monumental sculptures or installations suggests that a certain idea of “land art” serves as a model for the projects developed in the Valais. This model is seen as a way to develop cultural content in response to the structural changes affecting the rural and mountainous regions. The École Cantonale d’Art du Valais undertook a research project to gain a better understanding of this phenomenon. The project’s conclusions are summarised here. The main goals of this research were to identify the conditions that explain the rising number of art projects in response to territorial issues and to propose a critical analysis based on case studies from the Valais. Three main conditions were identified: an urbanisation process at play in the countryside, the development of managerial cultural policies in line with the concepts of the creative economy and the development of an economy of project work in the art world. In short, the analysis of the case studies from the Valais suggests a link between this economy of project work and the creation and legitimisation of low-stakes cultural “products.”

Since 2007, the Massif du Sancy (Puy de Dôme) has hosted the Horizons-Arts Nature festival. For the CRDT (Comité Régional de Développement Touristique/Regional Tourism Development Committee), this Land Art event “is a wonderful collision of art with nature”. At first glance, the festival may indeed appear surprising for a region like Auvergne which is perceived as a less open-minded territory and an unlikely place for innovative activities.The object of this paper is twofold. First we want to understand the organisation and success of such an event in the region. What are the secrets to such a long run (10th edition in 2016) ? Why are artists so inspired by the area ? Is it the terrain that generates so much enthusiasm or simply the history of the site ? We are also interested in the role culture plays in making the area attractive. In the Sancy mountain range, which of these reasons is behind Horizons - Arts Nature ? What have local authorities and tourism professionals tried to achieve by creating the event ?

Over the past decade, the canton of Valais in the Swiss Alps has witnessed a true craze for site-specific sculptures or installations linked to the landscape. The predominant curatorial model has been the landscape sculpture park. The decision to choose the natural environment as the context for monumental sculptures or installations suggests that a certain idea of “land art” serves as a model for the projects developed in the Valais. This model is seen as a way to develop cultural content in response to the structural changes affecting the rural and mountainous regions. The École Cantonale d’Art du Valais undertook a research project to gain a better understanding of this phenomenon. The project’s conclusions are summarised here. The main goals of this research were to identify the conditions that explain the rising number of art projects in response to territorial issues and to propose a critical analysis based on case studies from the Valais. Three main conditions were identified: an urbanisation process at play in the countryside, the development of managerial cultural policies in line with the concepts of the creative economy and the development of an economy of project work in the art world. In short, the analysis of the case studies from the Valais suggests a link between this economy of project work and the creation and legitimisation of low-stakes cultural “products.”