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"Traces: a trench below the horizon, expanding [s'élargissant] over the circle of beaten snow." The verb s'élargir, extracted here from the opening of Darrieussecq's White (2003 [2005]), in fact spreads out throughout a story of anticipation set in a near future: 2020. This novel concerns a mission to construct a permanent European Base at the deserted heart of Antarctica. After its appearance in the first line, "s'élargir/élargir" recurs as Darrieussecq narrates atmosphere and bodily perceptions. Through language, Darrieussecq expands—and at time contracts—visions and mirages, sounds and acoustic hallucinations, expanding or suspending time, making a real and possible scientific mission into something strange. At several moments, the shades of colors and the tension between blurred and precise visions seem to acquire, through language, the mental texture of video art. The novel, which has already acquired a place in Antarctic Studies, reinvents the fictional realm, entangling in its unfolding not a generic intermediality but, more precisely, expanded artistic and cinematic practices. This article places the singularity of White in a wider artistic context that spans not only 1960s and 1970s Land Art but also expanded cinema to very contemporary artistic mixed-medium practices. [ABSTRACT FROM AUTHOR]

This article focuses on renowned artist Fujiko Nakaya's fog sculptures and the means by which they offer meditative considerations for place and embodied experience. Following Nakaya's requirements for her first fog sculpture for Expo '70 in Osaka, the article explores the artist's practice via three main areas: visibility, tangibility and vulnerability. [ABSTRACT FROM AUTHOR]

This article considers the concept of conservation from both a museological and ecological lens, locating its modern origins in the development of the mechanical hair hygrometer invented by Horace Bénédict de Saussure. Loosely employing the sociological method of a field study, the paper finds that ecological conservation and art/museum conservation not only share an origin but have begun to collapse back in on themselves in the face of climate change, where land art has become a "barometer" for rapidly changing ecosystems and protected living species have begun to be monitored with the exacting practices normally reserved for museum collections. It concludes with the arbitrary nature of what has the privilege—or burden—of being conserved, in relation to semiotic analysis (the arbitrary nature of the sign) developed by de Saussure's Senior's great-grandson, Ferdinand de Saussure. [ABSTRACT FROM AUTHOR]

A comienzos de la década de 1960, cuando el expresionismo abstracto dejó de ser la corriente dominante en las artes visuales estadounidenses, varios artistas, algunos bajo la etiqueta del “Land Art”, iniciaron una exploración diversa, compartiendo un enfoque unificador: la utilización del paisaje como escenario del arte. Un singular lienzo que interactúa con los elementos introducidos. El trabajo de RCR arquitectes, en especial los proyectos desarrollados en la zona de la Garrotxa, consigue dotar al entorno de un papel protagonista en sus obras, buscando la interacción de los formalismos arquitectónicos con las distintas percepciones que ofrece la naturaleza, lo que queda evidenciado en la representación gráfica de sus planos y proyectos. El presente artículo busca analizar la significativa función que el paisaje desempeña en las obras de RCR arquitectes, mostrando las conexiones y paralelismos existentes entre su obra y la corriente artística Land Art, mediante el análisis de algunas de sus obras más representativas.

This article investigates the potential of land art as a transformative tool for promoting inclusivity and fostering a sense of belonging in public spaces. Drawing on environmental psychology and participatory urban research, the study explores the cognitive and emotional processes involved in place-making and space (re)appropriation. By examining the artist’s perspective on land art interventions, the paper seeks to understand how these creative practices can re-signify and create place meaning, empowering individuals to become active “placemakers.” The research explore the ways in which land art can enhance awareness of place, foster a sense of agency, and contribute to the creation of more inclusive and socially vibrant urban environments. We are inspired by the Land art movement that emerged in the 1960s, specifically inspired by Europeans’ ephemeral interventions in-and-within the landscape, returnable, with natural materials. In order to explore such possibilities, we focus on land art as a possibility to be used in natural public spaces. These reflections come from teachers and students, all authors of this article, deriving from a project of land art as a part of an international distance master course in environmental psychology, repeated for 3 years. We explore how the creative process of doing a land art project with natural materials from a basic experiential perception of the art-processes unfolds within a public space in different parts of the world, exploring aspects that facilitate or impede such potentials of place creation and awareness of place. Reflections on experiences of creating land art projects are presented exploring the basic perception of inner processes connected to place that are cognitive, somatic and embodied, moving towards a deeper relationship with place, touching upon place meaning, identity and attachment. The findings highlight the potential of individual land art experiences as means of engaging with and reimagining public spaces, raising questions about the rights to the city and the public space, and highlighting the awareness that a land art project that is ephemeral and natural has an intrinsic value for its users and how this could be beneficial for the individual experiences and wellbeing.

This essay reflects on works chosen from the Sonnenfeld Collection at the Katzen Gallery at American University in Washington, DC—it originally accompanied an exhibition at that gallery in early 2021—to comment on the observations of several generations of Israeli artists on the land and its meaning for the culture and politics of Israel's coming into existence and evolution during the first 70 years of its existence. Beginning with a pair of photographs of pioneers in the land in the fifteen years before statehood—and conceptually re-purposed by a contemporary Israeli artist in 2008—and moving through decade after decade of engagement with the landscape of Israel in both figurative and abstract modes, with and without humans present within these contexts, veering from brightly colored to virtually colorless images, including paintings and photographs, the essay traces a distance between earlier assertions of presence and the gradual emergence of questions regarding presence, absence, and identity. Israel, in its internal development, is both visually and thus verbally interwoven with the issue of its external relationship with its immediate neighbors and to the shifts between what comprises "internal" and "external"—"this" and "other"—as the context has metamorphosized from the 1930s to the 1950s to 1967 to 1993 to 2000 and to the present. [ABSTRACT FROM AUTHOR]

A partir de dos obras pertenecientes al land art (A circle in Huesca de Richard Long) y al body art (Psyché de Gina Pane) presentamos una lectura sobre la base del concepto rizoma, extraído de Deleuze-Guattari, que nos conducirá al de horizontalización. Con ello, imbricando arte y política, incidiremos en las implicaciones radicalmente democráticas de estas propuestas artísticas. Extraeremos tres funciones que comparten ambas: anti-jerarquía, inmediación y apertura. Enarbolando el concepto rizoma, tenderemos puentes entre las obras antedichas conjugando el análisis del ombligo en Gina Pane como centro y el perímetro de piedras de Richard Long como límite conectivo. El centro, símbolo de autoridad, eje vertebrador de un sistema cerrado, será diluido, esto es, criticado y destruido por el perímetro siempre abierto que convierte a toda frontera en porosa. En las conclusiones finales destacaremos la disolución del clásico-moderno paradigma sujeto-objeto y, sobre todo, la función del arte como señalización experiencial abogando por la comunicación abierta como eje de toda significación artística.

Este artículo analiza parte de la obra poética de Raúl Zurita, expresada tanto en algunos de sus poemarios como en sus “inscrituras” o inscripciones materiales, y también en sus automutilaciones corporales, para determinar las funciones de su arte frente a las prác-ticas biopolíticas neoliberales (Foucault, Agamben, Calveiro) y como apuesta por una communitas del dolor (Diéguez). Se explica el sentido y función que cumplen libros como Purgatorio (1982), Canto a su amor desaparecido (1985) y zurita/in memoriam (2007), e intervenciones como su verso “ni pena ni miedo” en el Desierto de Atacama, su presen-cia en memoriales o su intervención “El mar del dolor”, todo como formas diferenciadas de resistencia desde el arte, frente a estrategias del poder que pretendieron “dejar morir” a parte de la sociedad en el contexto de la dictadura militar en Chile (1973-1990) y tam-bién en otros contextos de violación a los derechos humanos. This article analyzes part of the poetic work of Raúl Zurita, expressed both in some of his poetry books and in his “inscriptions” or material inscriptions and in his corporal self-mutilations to determine the functions that his art fulfills in the face of neoliberal bio-political practices (Foucault, Agamben, Calveiro) and as a bet for a communitas of pain (Diéguez). It explains the meaning and function of books such as Purgatorio (1982), Canto a su amor desaparecido (1985) and zurita/in memoriam (2007), or interventions such as her verse “ni pena ni miedo” in the Atacama Desert, her presence in memorials or her intervention “El mar del dolor”; all as differentiated forms of resistance from art, against strategies of power that tried to “let die” part of the society in the context of the military dictatorship in Chile (1973-1990) and also in other contexts of human rights violations.

Investigamos en este artículo la relación entre caminar y dibujar como acciones que presentan múltiples afinidades porque revelan nuestra con-dición existencial espacio-temporal. También nos hacen percatarnos de que vivir es transitar, reco-rrer un camino y dejar una huella. Desde el dibujo como gesto, huella personal y testigo de nuestra interrelación con el ecosistema en el que vivimos, a las caminatas de los Walking-artists donde el gesto se hace dibujo, caminar y dibujar se muestran como actividades impulsadas por un mismo afán de ampliar el horizonte y aprehender nuevos territo-rios tanto físicos como conceptuales. Ambas ponen el cuerpo en movimiento y nos llevan a la toma de conciencia de nuestra unicidad existencial. Son ges-to, recorrido, trayectoria y también conquista, toma de posesión, delimitación. El resultado en ambas crea una línea. Caminar y dibujar son acciones que, al aumentar nuestra conciencia del aquí y ahora y del entorno, pueden llegar a transformar nuestra reflexión estética, ofreciendo un espacio privile-giado para la formación de un pensamiento crítico capaz de dar respuestas éticas y de producir un significativo cambio social, especialmente en esta época de crisis climática.

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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.)

Comprising 17,000 blocks of coal fly-ash, Betty Beaumont's Ocean Landmark (1978–1980) is an artificial reef located off the coast of Fire Island, New York. This essay analyses the visual inaccessibility of the work and its reliance on an assemblage of media to highlight its significance for conceiving political, ecological and cultural meanings of the ocean. Land art's fascination with the limits of visuality, the site/non-site dialectic and relationship with industry will provide a framework for this aim. Ocean Landmark's situatedness and association with industrial ecology signals the wider juridical and political lack of transparency in industrial activity in the ocean spaces framed as sites of unseen environmental extraction. Demonstrating the political and epistemological consequences of a lack of visibility, it challenges the assumptions of total sensorial and epistemic access, highlighting the limitations of anthropocentric positions in and beyond the ocean. [ABSTRACT FROM AUTHOR]

"This Circle is a Mercle" explores the creation of a meadow-sized pentacle terra form artwork conceived by Tracy Tidgwell, Deirdre Logue, and Allyson Mitchell. Originating from a chant at a gathering of queer witches, the term "mercle" symbolizes the miraculous nature of communal connection. The pentacle seeks to reclaim the extraordinary as an accessible, intimate, reflexive, shared experience. It offers pathways and gestures of reconciliation with the land, each other, and our histories of and presence with colonization. The pentacle invites participants into a walking meditation through themes: love, connection, grief, accountability, and healing. Documented through photos and image descriptions, "This Circle is a Mercle" extends its transformative potential beyond its physical form, fostering connections across time and place and embodying principles of accessibility and care. [ABSTRACT FROM AUTHOR]

This article describes a study that aimed to investigate how children perform and document Land Art in local places near their kindergarten and the visualization of their experiences through their drawings back in the kindergarten. Documentation is important for a kindergarten’s planning and evaluation of pedagogical practices and activities. Studies have shown that using visual methods, such as drawings and photographs created by children themselves, to provide information related to children’s perspectives, actions and attitudes is a way for children to communicate and make meaning of their experiences. Encounters with the natural world through the performance of Land Art offer children the opportunity to directly sense, interact with and know ‘the world of materials’. Children’s interactions correspond with natural materials and the environment. Participatory observation was used, following a group of twelve children, aged four and five years in a year’s period to their trips near a shoreline. Data consists of photographs, voice recordings, video, drawings, and narratives to explore ways children interact with and make meaning of place by performing Land Art. The results show that children’s photographs and drawings are ways to ‘communicate’ with their experiences and engage with, pay attention to and visualize their perspectives. The findings might have implications for new approaches to documenting children’s voices and experiences through performing Land Art and drawings.

Copyright of ECR- Studies in Conservation & Restoration / Estudos de Conservação e Restauro is the property of ECR- Studies in Conservation & Restoration 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 ECR- Studies in Conservation & Restoration / Estudos de Conservação e Restauro is the property of ECR- Studies in Conservation & Restoration 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.)

INTRODUCTION: with the continuous advancement of urbanization, urban landscape sculpture plays an increasingly important role in modern urban planning. Traditional planning and design methods make it challenging to demonstrate the three-dimensional sense and artistry of sculpture fully; therefore, this study explores a new method of planning and designing modern urban landscape sculpture based on three-dimensional virtual reconstruction. OBJECTIVES: This study aims to enhance the three-dimensional sense and artistry of urban landscape sculpture planning and design through three-dimensional virtual reconstruction technology to meet the needs of modern urban development better. By using advanced technical means, the planning and design can be made more intuitive and specific and provide urban residents with a more artistic public space. METHODS: The study adopts advanced three-dimensional virtual reconstruction technology, combined with urban planning and design theory, to plan and design modern urban landscape sculpture. Firstly, relevant literature on urban planning and sculpture design is collected to understand the existing design concepts and technical means. Secondly, a detailed virtual reconstruction of the sculpture is carried out by using three-dimensional modeling software to show the three-dimensional effect of the sculpture. Finally, the design scheme is optimized and improved through fieldwork and expert review. RESULTS: Through three-dimensional virtual reconstruction technology, this study successfully shows the whole picture of modern urban landscape sculpture. The design scheme not only has a three-dimensional sense but it has also been improved in artistry. The results of fieldwork and expert evaluation show that the new design scheme is more in line with the needs of urban development and adds a unique artistic atmosphere to the urban space. CONCLUSION: This study has achieved positive results in the field of modern urban landscape sculpture planning and design through 3D virtual reconstruction technology. The new design method not only provides a more specific tool for urban planners but also creates a more creative and artistic public space for urban residents. In the future, the application of this method in different urban contexts can be further explored and expanded to inject more innovation and vitality into urban planning and sculpture design. [ABSTRACT FROM AUTHOR]

Copyright of Materia Arquitectura is the property of Universidad San Sebastian 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 Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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.)

Este texto nasce como um comentário ao texto do Luis Inácio acerca da figura do flâneur, descrita por Walter Benjamin, e suas implicações no nascimento do romance policial. Embora a literatura seja o lugar em que a figura do flâneur seja mais amplamente discutida, as artes visuais também foram influenciadas por esse tipo de andarilho urbano. O texto que se segue procura traçar uma síntese do percurso de apropriação e desenvolvimento da flânerie, desde as excursões promovidas pelo dadaísmo, passando pelas derivas situacionistas até a Land art.

Matterscapes es un término que propone una visión integral de la materia. Desde los paisajes industriales hasta los trastornos ecológicos, la transformación y el transporte de la materia no sólo dan forma a nuestro entorno de vida, sino que a su vez desencadenan desequilibrios geoquímicos con consecuencias sobre el mundo de los seres vivos. Gracias a las herramientas pedagógicas desarrolladas en un curso de materiales, este ensayo propone navegar entre modos de existencia científica y artística con el fin de impulsar la construcción de una ética material para el siglo XXI.

In 2013, Pacific Islander American artist and architect Sean Connelly formed a geometric sculpture with 32,000 pounds of earthen matter at the now-closed ii Gallery in the Kakaʻako neighborhood of Honolulu. Titled A Small Area of Land (Kakaʻako Earth Room), the work was composed of volcanic soil and coral sand—deemed by Connelly as “two of Hawaiʻi’s most politically charged materials and highly valued commodities”—sourced from various locations on the island of Oʻahu. Connelly allowed his sculpture to slowly erode in the gallery over the course of its installation, a non-gesture toward what might seem to be uncontrollable disintegration. A Small Area of Land adds a divergent dimension to Euro-American art movements, pushing back against the rigidity and firmness of minimalism and the grand impositions of land art that initially inspired him. In doing so, Connelly  expands the notion of “land” beyond a material or merely site-specific interest for artists into something that additionally includes more explicit references to structural systems of dispossession, exploitation, theft, and lasting injustices. Connelly’s work amplifies relationships to land that do not rely on economic value in the extractive, capitalist sense so much as values that link Indigenous onto-epistemologies with ecological flourishing, providing an avenue through which we can think about histories of land, labor, and the increasing disassociation between the two, as well as how material choices are imbricated with personal and political complexity in Hawaiʻi.

This article describes a study that aimed to investigate how children perform and document Land Art in local places near their kindergarten and the visualization of their experiences through their drawings back in the kindergarten. Documentation is important for a kindergarten's planning and evaluation of pedagogical practices and activities. Studies have shown that using visual methods, such as drawings and photographs created by children themselves, to provide information related to children's perspectives, actions and attitudes is a way for children to communicate and make meaning of their experiences. Encounters with the natural world through the performance of Land Art offer children the opportunity to directly sense, interact with and know 'the world of materials'. Children's interactions correspond with natural materials and the environment. Participatory observation was used, following a group of twelve children, aged four and five years in a year's period to their trips near a shoreline. Data consists of photographs, voice recordings, video, drawings, and narratives to explore ways children interact with and make meaning of place by performing Land Art. The results show that children's photographs and drawings are ways to 'communicate' with their experiences and engage with, pay attention to and visualize their perspectives. The findings might have implications for new approaches to documenting children's voices and experiences through performing Land Art and drawings. [ABSTRACT FROM AUTHOR]

This article considers some of the ways the cultural frameworks within which we create and dialogue are shifting in the twenty-first century, and how this might be articulated by emerging theories of 'metamodernism'. It outlines some of the foundational issues to which metamodern theory speaks: hallmarks of postmodernism which have since become problematic within contemporary practice, exampled in approaches to painting landscape from the 1980s to 90s. The author considers the contradictions of postmodernism in relation to decolonization through aspects of critique that are both constructive and exclusionary. This leads to a broad overview of metamodern theory, outlining significant contributions to the field from a global perspective. It introduces some key ideas; simultaneity, depth, a 'structure of feeling' and a return to meta-narrative: characteristics of metamodernism which the article proposes as being first apparent in historical Land art. Through this lens the author articulates recent shifts in contemporary painting of/with and in landscape. Considering the resonances between Land art and painting in context of metamodern ideas, it is argued, contributes to cultivating a more embodied, non-essentialist, decolonized and outward looking approach to painting and landscape. [ABSTRACT FROM AUTHOR]

Architecture, akin to other forms of art, often transcends mere functional considerations, striving to re-present reality in a manner that engages the senses and shapes the human psyche. The Iranian Garden, also known as the Persian Garden, holds a distinctive status in Iranian spatial and environmental design. Its meticulously balanced and structured amalgamation of natural and man-made elements has transformed the Iranian Garden into a global phenomenon, offering a uniquely nuanced portrayal of the world. This investigation delves into three specific Iranian gardens, aiming to elucidate how reality is re-presented within Iranian garden design to attain a transcendent experience. Utilizing a qualitative and interpretive analysis of contemporary theories addressing issues related to image and reality, this paper initially introduces three categories for representing reality--intensification, integration, and transformation--alongside two realms of experience: the corporeal and the mental. These modes of depicting and experiencing reality are subsequently explored within the context of three renowned Iranian gardens--Dolatabad Garden of Yazd, Fin Garden of Kashan, and Shazdeh Mahan Garden of Kerman. This examination serves to illustrate the diverse design solutions employed to re-present familiar reality to observers. The evaluation of these gardens involved on-site visits, personal immersion in the garden environments, and a reliance on existing documentation and theories regarding these spaces. The findings of this study reveal a sophisticated and adept utilization of architectural and spatial components in garden design. Through varied approaches to re-presenting familiar reality, these gardens craft an aesthetic experience that stimulates the senses and elevates both the intellect and the spirit. Such interpretations of the traditional Iranian Garden offer valuable insights for designers seeking to emulate the spatial qualities without resorting to the replication of familiar motifs and forms. It is anticipated that a deeper comprehension of how the Iranian Garden re-presents the familiar will guide future endeavors to adapt it for contemporary times, steering clear of deviations that might compromise its essential nature. [ABSTRACT FROM AUTHOR]

When Robert Smithson visited Passaic, New Jersey, the town where he was born, he recognized in the deserted sandbox a 'model desert' and a 'sandbox monument.' Following Smithson's lead, this narrative will thread spatial instances that explore how a box full of sand, where children usually play, could encapsulate the potency of some vast barren lands eliciting war and destruction, burial, and death. In the hands of some players, the sandbox also becomes a monument to unattainable lands, a monument to the passage of time—a playground to a future yet to come. [ABSTRACT FROM AUTHOR]

Agustín Ibarrola creó en 1999 una obra artística sobre rocas y árboles en el Ecoespazo O Rexo, en Allariz, Ourense. El deterioro progresivo de la pintura, muy evidente en los últimos tiempos, preocupó a sus gestores, que buscaron colaboración para dar solución a los problemas de conservación que presenta el conjunto. Este texto comparte los resultados del estudio de esta obra, que abordan la complejidad de su creación, el estudio de técnicas y materiales y el análisis de su estado de conservación. Finalmente, se hace una propuesta para su conservación tras cotejar el tratamiento recibido por obra análoga del mismo artista.

In the present paper, we start from considering that through space organization and landscaping, there is a permanent exchange of messages between the living world and the human element, between the world of landscapes and its perception by human beings. We are also interested in the elements that determine the landscape structure and how they can be highlighted from a diachronic point of view; therefore, we study the role of human beings in space organization. In the second part of this paper, we conduct a case study on Land Art, a phenomenon still little studied in our country, which represents the harmony between working techniques, natural materials in their pure state, and the landscape. Land Art works can be defined as large-scale sculptures inserted into nature. Their presence changes the reading of the landscape and shapes the place. [ABSTRACT FROM AUTHOR]

Canadian sculptor Elizabeth Wyn Wood (1903–66), best known for her modernist landscape sculptures, has since the inception of her artistic career been compared, through analogy, with the Group of Seven (fl. 1920–33), Canada's enduringly famous and overtly nationalistic collective of modernist landscape painters. Critics claimed that Wood "achieved for sculpture what the Group of Seven achieved for painting" and, occasionally, invoked specific Group artists, dubbing Wood the "Lawren Harris of sculpture." Analogizing across disciplines, the Wood/Group likening appears to posit a formal comparison in gendered language: the Group's bold, decorative portrayals of the northern Ontario "wilderness" find clear visual comparands in Wood's abstracted compositions of the same region. In this article, however, I demonstrate that the apparently visual basis for the comparison is inextricable from the textual discourse fundamental to Canadian art in the early twentieth century and beyond; it is only through analyzing this discourse that an understanding of the Wood/Group analogy can be reached. The Group ostensibly pioneered the first genuine Canadian landscape aesthetic; through immersing himself in the land, the mythology went, the Canadian artist learned to paint Canada on its own terms. This landscape artist-as-woodsman myth was a form of settler indigenization by which Canada laid cultural claim to colonized land. Analogy frames Wood as not an epigone but an equal of the Group: in producing organically, anew, a genuine Canadian landscape aesthetic for sculpture, Wood "achieved for sculpture what the Group of Seven achieved for painting"—its deployment as a medium in the service of Canada's land claim. [ABSTRACT FROM AUTHOR]

The article explores the birth and importance of Flevoland's Land art collection, unravelling the meaning behind ten distinct permanent installations scattered across accessible spots in the region, and significance of the Flevoland collection of Land art in the Netherland. It states that the assembly of renowned Dutch and global artists' works came to fruition through commissions by regional authorities and nature groups, aiming to enrich local areas and draw in residents and tourists.

The article delves into Han Jansen's Waddenprojects, spotlighting his art interventions in the Wadden Sea with mud pigment performances, exploring controversies and his lesser-known environmental role in land art. It explores Jansen's approach to art creation, highlighting his utilization of environmental affordances and the paradox of balancing nature awareness with creating compelling art.

Copyright of Ge-Conservación is the property of Instituto del Patrimonio Cultural 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.)

Industrial facilities have been dispersed across the American and European landscapes since the early Nineteenth century. Also, their activity encouraged the growth of a vast global network of logistical, mining, and agricultural infrastructures. Yet, since the late 1960s, a significant number of productive sectors have been gradually dismantled as a result of technical advancement, obsolescence, and changes in industrial regulations. The repurposing of "brownfields", as abandoned industrial sites have been dubbed, became a topic of discussion in the architectural community. In the 1980s, this circumstance presented an amazing opportunity to modernise the layout of Western cities. Yet, contemporary critical views on the nature and effects of industrialism, societal transformations, and awareness of the environmental crisis at the turn of the Twentieth century call for refocusing the architectural discussion regarding brownfields. In this essay, case studies are examined and set against the backdrop of an expanding conversation in architecture regarding sustainability. [ABSTRACT FROM AUTHOR]

This article discusses intermediation in three artistic projects by American artists Helen Mayer Harrison (1927-2018) and Newton Harrison (1932-2022). Entitled The Lagoon Cycle (1973-1984, based in Sri Lanka and the United States), Breathing Space for the Sava River (1989-1990, in the former Yugoslavia) and Endangered Meadows of Europe (1996, in Bonn), these projects defy commodification and openly assert the well-being of ecosystems and ecological change as their main objectives. How is intermediation achieved from these intellectual positions and in these circumstances? The projects have an exhibition component and a performative component of interaction with the social, academic, administrative, institutional or industrial frameworks that surround them (more or less successful depending on the project). They benefited from collaborations with museum institutions, science laboratories, politicians, decision-makers, associations and ordinary citizens. While capital is a major issue for funding these projects and museums represent significant venues where exhibitions were presented, a larger conversation with many of the actors involved was initiated, including the ecosystem itself, which, through the work and beyond it, becomes an agent of its own further dissemination. [ABSTRACT FROM AUTHOR]

This essay reflects on works chosen from the Sonnenfeld Collection at the Katzen Gallery at American University in Washington, DC—it originally accompanied an exhibition at that gallery in early 2021—to comment on the observations of several generations of Israeli artists on the land and its meaning for the culture and politics of Israel’s coming into existence and evolution during the first 70 years of its existence. Beginning with a pair of photographs of pioneers in the land in the fifteen years before statehood—and conceptually re-purposed by a contemporary Israeli artist in 2008—and moving through decade after decade of engagement with the landscape of Israel in both figurative and abstract modes, with and without humans present within these contexts, veering from brightly colored to virtually colorless images, including paintings and photographs, the essay traces a distance between earlier assertions of presence and the gradual emergence of questions regarding presence, absence, and identity. Israel, in its internal development, is both visually and thus verbally interwoven with the issue of its external relationship with its immediate neighbors and to the shifts between what comprises “internal” and “external”—”this” and “other”—as the context has metamorphosized from the 1930s to the 1950s to 1967 to 1993 to 2000 and to the present.

Copyright of ECR- Studies in Conservation & Restoration / Estudos de Conservação e Restauro is the property of ECR- Studies in Conservation & Restoration 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.)

This photo essay explores inter and intraspecies markmaking through various approaches to fine art. [ABSTRACT FROM AUTHOR]

The article does not cover in detail and exhaustively the processes of contemporary fine art. An attempt is made to present the individual trends and phenomena, analyzing their specifics and peculiarities. The development is made on the basic of theoretical analysis and explores the huge variety of forms of manifestation in art, focusing on some of them: kinetic art, op art, pop art, conceptual art, land art, anti-art, unconventional art, ready-made, happening and action, performance, installation, assemblage. The choice was dictated based on personal experience and interest of students studying contemporary art. Through the research it is aimed that the mentioned creative manifestations become more understandable and familiar, to awaken curiosity for new and deeper developments, and why not creative interpretations.