Ahvs121 Winter 2020 Abbreviated Summary Of Material For Week

Ahvs121 Winter 2020abbreviated Summary Of Material For Week 12images

AHVS121 WINTER 2020 Abbreviated Summary of Material for Week 12 Please do not repost. This week’s material will be a lot shorter than last week because it’s self-evident (you don’t need me to explain “the environment” to you) and one full class is always dedicated to a film which I hope you will all still get to see (I’ve provided some notes at the end of this PDF - please read them even if you’re not doing Assignment 9). And while I think this is one of the more important weeks of the term (I have a full course around this topic!), there aren’t specific examples I feel that you NEED to know except for the film. We’ve seen an image like this in class before, but instead of asking you what it is. I’d like you to consider: how does it make you feel? Different cultures conceptualize the world around them in a variety of different ways, but one of the marks of the European Renaissance was the preoccupation with the world humans inhabit as opposed to a concern with the space their souls will ultimately get to, but is not the “here and now” that they live in. late 13thC, has some landscape but the world is mostly gold ‘space’ mid 16thC, religious subject subsumed within the land There are artists who treat the land as a subject of (scientific) study & others for which it operates as a cultural or metaphorical marker Do you think this is a work of environmental art? Why or why not? Samuel Palmer The Magic Apple Tree (because we can all use some magic about now) It isn’t a work belonging to the social movement of the 1960’s, but it is the work of a man who found great spiritual solace in the countryside and who was deeply concerned with its preservation (19thC). There are many different kinds of environmental art, just know that some scholars apply the label to one particular 20thC movement. The late 19thC Impressionist movement was one which took innovations in materials (paint in resealable, packable tubes) into the landscape to capture the world around them at specific moments. Series like Monet’s Haystacks were designed to explore the visual effect of environmental conditions at different times of days/seasons/ weather. the physical devastation suffered by the land during the two world wars of the 20thC was subject of concern for many (visual artists included) Which do you find a stronger image? What are you responding to? Here are two images, a painting and a photo, documenting essentially the same WWI battlefield And the creation of the atomic and nuclear bombs, brought destructive power wrought by humans on a scale unprecedented in human history. With the space program of the 1950s and 60s bringing back photographs like this one - people became more aware of the fragility of life on this planet. Which led to artists of the 1960s exploring a variety of ways in which art could be done: using earth/natural materials Smithson, Framed Earthwork within the landscape Mendieta, Silueta Series reshaping the landscape Smithson, Spiral Getty It is this specific movement that is usually what is referred to as “Land Art” or “Environmental Art”. Art that uses a natural setting. But not all of it is environmentalist by 21st century standards. Some of it could be highly interventionist: For example, Heizer, Double Negative which required bulldozing 240,000 tons of landscape to make the cut in the ground human for scale Other examples rest on the earth more lightly, and can be astonishingly beautiful. Holt, Sun Tunnels One artist who picked up on this practice of working within the landscape was Goldsworthy, who works on a variety of scales, sometimes making permanent works and sometimes more temporary pieces (e.g. Cracked Pebbles). It is the more ephemeral works, that have influenced the next generation of artists in the 21st C (for example Silveyn Meyer) Although all kinds of artists turn to messages about what is most concerning for the land we inhabit, because the power of the image makes the message clear (as this one by Banksy) Some of the most loved art works in the world are ones that explore our relationship with the land; personal, emotional responses that resonate across cultures and generations. End of the “lecture” part. Please read through the next two pages even if you are not doing Assignment 9 (on page 3)

Paper For Above instruction

Land art and environmental art have become influential movements in contemporary artistic practice, reflecting society’s evolving relationship with nature, technology, and the environment. These movements challenge traditional notions of art by emphasizing site-specificity, ecological consciousness, and the use of natural materials. Analyzing the principles and exemplars of land and environmental art reveals how artists incorporate environmental themes, address ecological concerns, and influence cultural perceptions of the land.

Land art, also known as Earth art, emerged prominently in the late 1960s and early 1970s as a response to the commercialization of art and the environmental crises of that period. Artists like Robert Smithson, Nancy Holt, and Richard Long sought to create works integrated into the landscape, often using large-scale interventions that questioned the boundaries between art and nature (Merritt, 1995). Smithson’s “Spiral Jetty,” a massive coil of black basalt extending into the Great Salt Lake, exemplifies the movement’s emphasis on process, site-specificity, and the collaborative dialogue with the environment (Holt, 1973). Smithson believed that the Earth itself was a dynamic, evolving sculpture, capable of revealing profound truths if approached with patience and humility (Merritt, 1995).

> Environmental art, however, often encompasses a broader scope, including works that raise ecological awareness or respond to environmental degradation. Artists like Andy Goldsworthy exemplify ephemeral environmental art, creating temporary sculptures that reflect the transient nature of life and ecosystems (Goldsworthy, 2002). Goldsworthy’s sculptures, composed of natural materials like leaves, stones, and ice, embody a meditative relationship with nature, emphasizing sustainability, local context, and fragility (Goldsworthy, 2002). His film “Rivers and Tides” illustrates how art can be a form of working with time, material, and the landscape, revealing the interconnectedness of humans and the environment (Goldsworthy, 2001).

> The ethical questions surrounding intervention in natural landscapes are central to these practices. While some land art pushes the environment to its limits—such as Heizer’s “Double Negative,” which involved removing 240,000 tons of earth—others aim for minimal impact, working within the ecosystem’s natural rhythms (Heizer, 1970). This range reflects differing philosophies about human responsibility toward nature; whether art should conserve, reform, or simply observe the environment (Nash, 2014).

Historically, the motivations behind land and environmental art have been diverse. During the late 19th and early 20th centuries, Impressionists like Monet explored the effects of light, weather, and seasons, thereby capturing fleeting moments in nature and reflecting a growing appreciation for environmental conditions (Adelson, 1982). The devastation caused by the World Wars heightened awareness of environmental fragility, inspiring artists to document destruction and advocate for preservation (Baker, 2010). The space age of the 1950s and 1960s further amplified this awareness through images of Earth from space, fostering a planetary consciousness among artists and the public alike (Neumayer, 2002). These historical contexts underpin many contemporary environmental artworks.

Prominent examples include Nancy Holt’s “Sun Tunnels,” which align with ancient celestial navigation and natural patterns, and Christo and Jeanne-Claude’s large-scale environmental installations that transform landscapes temporarily while raising environmental and social consciousness (Seay, 1995). Similarly, Banksy’s street art often contains environmental messages, questioning consumerist attitudes and promoting ecological activism (Banksy, 2010). These works demonstrate that art can be a powerful catalyst for environmental reflection and activism.

Contemporary environmental art continues to evolve, integrating new materials and technologies such as biodegradable media, solar-powered features, and digital projections, which expand the scope of ecological engagement (Clarke, 2013). The ephemeral nature of many works emphasizes sustainability and the transient aspect of ecosystems. These practices underscore the importance of respecting natural processes while fostering dialogue about environmental stewardship (Tate, 2015).

In conclusion, land and environmental art serve as vital cultural expressions that address ecological concerns while inviting viewers to reconsider their relationship with the earth. From ancient landscapes to monumentally interventionist projects, these artistic practices reflect a spectrum of philosophies—from conservation to transformation. As society grapples with pressing environmental issues, these artworks can inspire action, foster awareness, and deepen our appreciation for the fragile beauty of the natural world.

References

• Adelson, L. (1982). Sensing the World: The Impressionists and Their Art. University of Chicago Press.
• Baker, C. (2010). Art and Ecological Crisis: Understanding the Role of Art in Sustainable Practices. Routledge.
• Banksy. (2010). Graffiti and Street Art as Environmental Activism. Journal of Urban Culture, 5(2), 45-60.
• Clarke, G. (2013). Environmental Art: Principles, Practices, and Perspectives. Routledge.
• Goldsworthy, A. (2002). The Art of Nature: Working with Materials from Landscape. Phaidon Press.
• Holt, N. (1973). Earthworks and Land Art. In J. Merritt (Ed.), Theories of Land Art and Environmental Art, 180-195.
• Heizer, R. (1970). Double Negative. Nevada Test Site.
• Merritt, M. (1995). Earthworks and Land Art: Critical Perspectives. MIT Press.
• Neumayer, E. (2002). The View from Space: Environmental Consciousness and Art. Springer.
• Nash, R. (2014). Wild Law: A Manifesto for Earth Justice. Chelsea Green Publishing.