The traditional landscape genre was radically transformed in the 1960s whenany artists stopped merely representing the land and made their markirectly in the environment. Drawn by the vast uncultivated spaces of theesert and mountain as well as post-industrial wastelands, artists such asichael Heizer, Nancy Holt or Robert Smithson moved earth to create colossalrimal symbols. Others punctuated the horizon with man-made signposts, suchs Christo's qRunning Fenceq or Walter de Maria's qLightning Fieldq. Journeysecame works of art for Richard Long whilst Dennis Oppenheim and Ana Mendietammersed their bodies in the contours of the land.;This text traces earlyevelopments to the present day, where artists are exploring eco-systems andhe interface between industrial, urban and rural cultures. Alongsidehotographs, sketches and project notes, Kastner compiles an archive oftatements by all the featured artists alongside related texts by artistorians, critics, philosophers and cultural theorists including Jeanaudrillard, Edmund Burke, Guy Debord, Michael Fried, Dave Hickey, RosalindOn the right, however, is - at first sight - a purely graphic configuration of lines. ... retrieving a type of sensibility most appropriate to it at a time when landscape has become the stake of so many competing agencies and interests. ... That leaf hanging a pendant to the whole of Europe seems to indicate the living strength and sap ofthe thing it derives froma#39;. ... a#39;The Map as Index of the Real : Land Art and the Authentication of Travel a#39; , Imago Mundl , no 46, British Library, London, 1994, pp.
|Title||:||Land and environmental art|
|Author||:||Jeffrey Kastner, Brian Wallis|
|Publisher||:||Phaidon Inc Ltd - 1998-10-29|