Land art, Earthworks, or Earth art is an art movement which emerged in the United States in the late 1960s and early 1970s, in which landscape and the work of art are inextricably linked. Sculptures are not placed in the landscape; rather the landscape is the very means of their creation. The works frequently exist in the open, located well away from civilization, left to change and erode under natural conditions. Many of the first works, created in the deserts of Nevada, New Mexico, Utah or Arizona were ephemeral in nature and now only exist as video recordings or photographic documents.
Postmodern art is a term used to describe art which is thought to be in contradiction to some aspect of modernism, or to have emerged or developed in its aftermath. In general movements such as Intermedia, Installation art, Conceptual Art and Multimedia, particularly involving video are described as postmodern. The traits associated with the use of the term postmodern in art include bricolage, use of words prominently as the central artistic element, collage, simplification, appropriation, depiction of consumer or popular culture and Performance art
Robert Shmithson; In 1970 Robert Smithson (1938-1973), one of the most innovative and provocative artists of the twentieth century, created the landmark earthwork Spiral Jetty at Rozel Point on Utah's Great Salt Lake. This dramatic and highly influential work forms a coil 1,500 feet long and 15 feet wide and stretches out counterclockwise into the lake's translucent red water. Composed of black basalt rocks and earth, the sculpture comprises the materials of its location: mud, salt crystals, rocks, water.
The contributors to this comprehensive publication consider the sculpture in relation to its eponymous companions—a text work and a film. These essays situate this renowned series of works alongside Smithson's critical writings, proposals, drawings, sources, and models. Amply illustrated with archival and new photographs of the Jetty and many comparative illustrations, this book makes evident why Smithson's art and writings have had such a powerful impact on art and art theory for over thirty years.
Michael Heizer; (b Berkeley, CA, 4 Nov 1944). American sculptor, painter and printmaker. He studied painting at the San Francisco Art Institute from 1963 to 1964 and moved to New York in 1966. His early imagery showed an awareness of Minimalist ideals. In 1967, however, he temporarily renounced painting and pursued what became a lasting interest in LAND ART. His 'excavations' in the desert of the American Southwest were prefigured by childhood travels to Pre-Columbian and Egyptian archaeological sites with his father, anthropologist Robert Heizer. The earthworks of the late 1960s and early 1970s consisted of moving vast, yet precise quantities of soil in regions of virtual inaccessibility, a strategy he shared with other artists such as Walter de Maria, Robert Smithson and James Turrell. Double Negative (1969-70; Los Angeles, CA, Mus. Contemp. A.) exemplifies his concern for juxtaposing the monumental with the ephemeral. The work displaced c. 250,000 tonnes of desert rock, while cutting a horizontal shaft across the lip of an eroding precipice, thus poising the artist's heroic gesture against the imminent forces of nature. Works produced for museum and gallery exhibitions, for example Windows/Matchdrop (1969; D?sseldorf, St?dt. Ksthalle), where a sidewalk is incised according to the dictate of several fallen matchsticks, demonstrate also his debt to earlier modernist questionings of the creative context and authority of the artist. Heizer incorporated the role of chance in his work's design.
Richard Long (born June 2, 1945) is an English sculptor, photographer and painter, one of the best known British land artists.
Several of his works were based around walks that he has made, and as well as land based natural sculpture, he uses the mediums of photography, text and maps of the landscape he has walked over.
In his work, often cited as a response to the environments he walked in, the landscape would be deliberately changed in some way, as in A Line Made by Walking (1967), and sometimes sculptures were made in the landscape from rocks or similar found materials and then photographed. Other pieces consist of photographs or maps of unaltered landscapes accompanied by texts detailing the location and time of the walk it indicates.
Christo and Jeanne-Claude are a married couple who create environmental installation art. Their works include the wrapping of the Reichstag in Berlin and the Pont Neuf bridge in Paris, the 24-mile-long curtain called Running Fence in Marin and Sonoma counties in California, and most recently The Gates in New York City's Central Park.
Coincidentally Christo and Jeanne-Claude were born on the same date — 13 June 1935.
Although their work is visually impressive and often controversial as a result of its scale, the artists have repeatedly denied that their projects contain any deeper meaning than their immediate aesthetic. The purpose of their art, they contend, is simply to make the world a "more beautiful place" or to create new ways of seeing familiar landscapes. Art critic David Bourdon has described Christo's wrappings as a "revelation through concealment." To his critics Christo replies, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the sketches are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain."
Andy Goldsworthy (born 26 July 1956) is a British sculptor, photographer and environmentalist living in Scotland who produces site-specific sculpture and land art situated in natural and urban settings. His art involves the use of natural and found objects, to create both temporary and permanent sculptures which draw out the character of their environment.
The materials used in Andy Goldsworthy's art often include brightly-coloured flowers, icicles, leaves, mud, pinecones, snow, stone, twigs, and thorns. He has been quoted as saying, "I think it's incredibly brave to be working with flowers and leaves and petals. But I have to: I can't edit the materials I work with. My remit is to work with nature as a whole." Goldsworthy is generally considered the founder of modern rock balancing. For his ephemeral works, Goldsworthy often uses only his bare hands, teeth, and found tools to prepare and arrange the materials; however, for his permanent sculptures like "Roof", "Stone River" and "Three Cairns", "Moonlit Path" (Petworth, West Sussex, 2002) and "Chalk Stones" in the South Downs, near West Dean, West Sussex he has also employed the use of machine tools. To create "Roof", Goldsworthy worked with his assistant and five British dry-stone wallers, who were used to make sure the structure could withstand time and nature.
Photography plays a crucial role in his art due to its often ephemeral and transient state. According to Goldsworthy, "Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its heights, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expressed in the image. Process and decay are implicit."
Goldsworthy produced a commissioned work for the entry courtyard of San Francisco's De Young Museum called "Drawn Stone", which echoes San Francisco's frequent earthquakes and their effects. His installation included a giant crack in the pavement that broke off into smaller cracks, and broken limestone, which could be used for benches. The smaller cracks were made with a hammer adding unpredictability to the work as he created it.
English photographer and conceptual artist. He studied sculpture at St Martin's School of Art, London, from 1966 to 1968, at the same time as Jan Dibbets, Barry Flanagan, Gilbert and George, John Hilliard, Richard Long and Bruce McLean, and at the Royal College of Art, London, from 1968 to 1969. Basing his work on long-distance walks lasting from one day to several weeks, Fulton recorded his physical and emotional experience of the landscape by photographing it in black-and-white with a 35 mm camera; in typical works such as Slioch Hilltop Cairn/Circling Buzzards
(2 photographs, each 118.1*87.6 mm, 1980; London, Tate), he then presented a single photograph or sequence of photographs, usually printed on a large scale and in a rich tonal range, often in conjunction with printed captions. These texts sometimes describe prosaic matters, such as the length, duration or date of the walk or the weather conditions under which the walk was made; in other cases a sequence of words evokes a poetic mood particular to the walk, enabling the spectator to bring to the work his or her own feelings, glimpses, memories and encounters with landscape. While his work has been linked both to conceptual art and land art, Fulton saw himself as heir to British traditions of landscape painting. His work was perhaps most widely disseminated in his books.