Land Art From The 1960s And 1970s

Early Landscape photography used the same principles as painters in order to create pieces of art. Before the 18th Century, artists used landscapes as backdrops and as a frame for the principal subject. Towards the later part of the century, however, artists such as Nicolas Poussin started to romanticize the environment, instead using it as a principle subject in paintings.

In the second half of the twentieth century, artistic movements made pushes in order to move beyond the traditional gallery space, changing the terrain of displaying and making art. An artist’s body of work no longer needed to reside inside of a gallery or art collection, and artists became free to explore other ways of creating and displaying work. In this vein, Andy Goldsworthy works sculpturally with natural media, and leaves the sculptures within a particular environment, often expecting his work to decay quickly. Many times, the only evidence of any art he makes is the photographs taken during the process. By more traditional standards, art of this nature is entirely contradictory. What is the point of pieces of visual art that cannot

For many, Fresh Kills conjures up images of the “World’s Largest Landfill” - bulldozers pushing mountains of trash, flocks of seagulls fighting over table scraps, and plastic bags fluttering in the wind. After the closure of the landfill, many hope that this image will be replaced by Fresh Kills as a public park. The international design competition, Fresh Kills: Landfill to Landscape was the first step in transforming this image. Six finalists suggested six different visions of how Fresh Kills could be re-imagined. The winner of the competition, Lifescape by the landscape architecture firm Field Operations, proposes a design that focuses on nature not only as the antithesis of landfill, but as an agent of cultural change. James Corner, founder and director of Field Operations, first asked how might landscape architecture be a force that enriches and informs people’s perception of nature in his 1997 essay Ecology and Landscape as Agents of Creativity. Through Lifescape, Corner proposes an answer to his own question, and the resulting design responds to Fresh Kills landfill past, and it’s post-industrial future as a park.

Urban regeneration is defined as improving an area that has been experiencing a period of decline due to a variety of reasons, such as lack of employment, lack of investment in the CBD, suburbanisation etc. Ways that this can be resolved include property led regeneration, prestige project developments and partnership development schemes. These have all been carried out in the UK recently due to urban decline in some areas, and some have been more successful in others, in terms of its effectiveness on the location, effectiveness on problems that existed beforehand and the effect on the local community. Most importantly, the

When Americans think of nature images of the wild west, wide open plains, and majestic landscapes spring forth. Nature is part of the American heritage; a site of beauty set aside for preservation outside the industrial cities that encompasses daily life. Because of this segregation between nature and man, it is easy to forget that everything on the planet is nature, not simply the parks set aside for preservation and egos. Throughout American history, dating as far back as the indigenous people, this connection between man and the natural world has been prevalent. By examining the the conservationist movement of the twentieth century and the impact Americans have had on the environment, there is a chance to close the chasm that now exists

In chapters two and three titled “Sites” and “Movements” respectively, Howard makes the case that there is a “dialectical” relationship between the subject and the landscape (both social and physical) and

The aim and intentions of this essay is to compare and contrast how the three artists (Michelle Lougee, Andy Goldsworthy, and Hermannsburg Potters) use their materials to communicate ideas about the natural environment.

Robert Smithson’s Spiral Jetty is a 3ft. 6 in. x 15 ft. x 1,500 ft. Earthwork located in Great Salt Lake, Utah. It was created in April 1970. Located where the rails of the first transcontinental railroad met, it sits near the Golden Spike monument; making it an actual landscape. It’s a giant counterclockwise spiral sculpture made of black rock, earth, algae, and salt crystals. It is said that Smithson used dump trucks and bulldozers to haul in 6,650 tons of earth and rocks to complete the Spiral Jetty. In a 32-minute short color film, he recorded the construction of the Spiral Jetty. Smithson had to acquire land rights, before completing it. Virginia Dwan Gallery of New York gave Smithson a $9,000 grant for a part of the Spiral Jetty’s construction. The rest was financed over a 20 years lease at payments of $100 annually. The first phase of building the Spiral Jetty took about 6 days to complete. Smithson was not completely satisfied with it initially and spent another 3 days changing the shape. 7,000 tons of rock had to be moved during these 3 additional days of work. Smithson died 3 years after completing the Spiral Jetty. It is now owned by the state of Utah, who acquired it in 2011.

Robert Smithson’s, “Spiral Jetty,” is an example of earthwork art. In Smithson’s 1972 essay, “The Spiral Jetty,” he explains his first impression of the area where he created one of his best earthwork projects. Throughout this essay, Smithson recounts how his work was built and explains some of his artistic intentions behind the piece. Earthwork art is a type of process art that is also related to minimalism due to its nature of the aggressive character and makeup of bold, “unitary” forms. His essay placed a strong emphasis on how the integration of literature and visual art can develop the perception, interpretation, understanding, and sensory experience for viewers.

I find this artwork to be the most captivating because the artist made the land his subject matter and that makes it subject to the variations of the environment which calls into question if Smithson is the only artist, as nature also plays a role in the formation of the coil over time. His concern with its structural

1.While working at Selah Landscape Corporation my colleagues and I have had some fun and interesting projects, yet the one I remember the most was the recreation of the Taj Mahal garden. This project was my favorite because I thought it was a cute gesture from our client to his deceased wife. The client name was Henry Pope (a character from Prison Break, who does have a wife who loved the Taj Mahal, so he remade a model of it for her on their anniversary) and he had wanted to make a recreation of his wife’s favorite landscape before she pass away. Within the landscape there were two layers both representing different ideas; the bottom layer represented during life and the top layer represented after life. The landscape was symmetrical and

It is the first modern landscape in Western art. Though the humans seem to be the main focus, the landscape is just as important.

* Old sites, such as the Garden festival site has been which had now been derelict for 20 years has been purchased for re - re development. This shows continued investment and development in the area highlighting the success of the scheme.

In Nature & Landscape: An Introduction to Environmental Aesthetics, Allen Carlson proposes that scientific knowledge can enhance our aesthetic appreciation of the natural world. He draws a connection between technical know-how used in the context of natural landscapes and art history or criticism in the context of conventional art forms. In either case, the viewer would find relatively more meaningful experiences of aesthetic appreciation than if one looked at a painting or landscape without any prior knowledge about it. Carlson endorses this point within his larger Natural Environmental Model, which asserts that though the environment is not entirely of our creation, it does not mean that we have to approach it without any prior understanding.

To test the research question, “how can the elements of art (line, shape, form, space, texture, value, and color) applied to mixed media drawings in visual communication be used strategically to teach the public about the ecological functions of a designed landscape?” different methodologies must be used to collect data. In this proposal I have picked several different methodologies most of which are qualitative that would effectively answer the question. I choses to use qualitative methodologies because the question focuses on what humans perceive. Qualitative data would have more meaning than quotative data. These methodologies are basic qualitative research, narrative inquiries, and case studies. By using a case study and qualitative research I will be able to learn if the public can understand a project better through my approach to graphic communication. To test the research question, I would pick one case study and learn about the project until I fully understand how it works. The study of the site involves performing research, site inventory, site analysis, mapping, measuring, and observation. Possible case studies include Alumnae Valley Restoration at Wellesley College, Wellesley, MA by MVVA, the Meadow at Kansas State University, Old Stadium Green Roof at Kanas State University, Engineering rain garden at Kansas State University, Citygarden in St. Louis Missouri by Nelson Byrd Woltz Landscape Architects, and Greensburg, Kansas sustainable plan. I have tried to pick