Land Art History

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

A primary objective in measuring productivity is to improve operations either by using fewer inputs to produce the same output, or to produce:

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

I remember the first time I saw it. I recall the corkscrew shape carved in the center of a dilapidated stone, slowly letting my eyes move with the coil, as it guided me outward towards the edges of the boulder and then eventually guided my awareness to my surroundings. I never expected my first impression of the spiral symbol to be so profound. Ever since that day, so many years ago, the spiral symbol has shadowed my existence in the most unexpected ways and in the most peculiar places. I have seen this symbol in my travels immersed in many vibrant cultures, far from one another. These recurring observations led me to ask a paramount question.

The relationship between people and their environment in A Land Remembered is one where the profit from land exploitation is naturally corrupting and exponentially increases the exploiters lust for larger profit, leading to the exploiter planning larger scale endeavors in the future. The author, Patrick D. Smith (1984), suggests the idea that communities naturally grow in a hedonic cycle to crave more resources to fuel loftier endeavors that require even more resources from the environment, an idea that is also discussed by Aldo Leopold in the Land Ethic as wholly negative, and that is also part of my world view that is rather more optimistic.

Throughout history the unique and changeable Australian landscape has inspired a diverse array of artistic responses. Impressios of its power and beauty, expressions of individuals' responses, symbolic religious orientation, the range of landscape art works extends onwards. A great example of the vast variations of styles can be seen in the artworks of Glover, Drysdale, Berkowitz and Reid.

The earliest known inhabitants of the area were Waccamaw and Winyah Native Americans. They called the area "Chicora", meaning "the land", and the term is frequently used by locals.1

In the mid-1700’s, not many people were granted the rights that they deserved. Of these rights, only few could vote and few could be educated. It was typical that white men were allowed to vote and were given the opportunity to become educated. This angered those who lacked these rights, which resulted in uproars within the nation. In an essay from a Maryland newspaper, a discussion of the injustice between owning land and having the right to vote is debated. Benjamin Rush wrote thoughts about giving women the chance at education. Living in the New World meant having rights as citizens and expressing instances of disagreement.

Every individual has a cultural heritage. Each culture views the world differently. Culture is an inherited characteristic and includes knowledge, beliefs, customs, skills, likes and dislikes. The fundamental role of cultural heritage is uniting, respecting the diversities and brings people together to face the future by informing, perceiving and give importance to the understanding of the past (need a reference) Heritage assessment tool was introduced for collecting information about different cultures, nationalities and build cultural competencies among health care professionals. It is used to investigate

It is believable that John Vanderlyn, in his painting Landing of Columbus, was trying to portray the success of Columbus and his crew. Columbus heroic stance and elegant expression are made all the more impressive in comparison to the native people who witness the event. The Native Americans are naked, fearful or subservient, bowing down before the explorer in awe and reverence. The symbols of empire are shown in the heroic explorer with his Christian crosses and steel swords symbolizing the significance in the power of civilization. In 1836 of June, Congress had commissioned John Vanderlyn to paint the Landing of Columbus. About eleven years later the painting was

In the early nineteenth century landscape artists painted scenes of America’s east side near the Hudson River, but by the mid-nineteenth century Landscape artists tended to paint portraits of the newly explored western territory and the South American tropics to show a more extravagant side of the United States.

The Arts and Craft movement was a social and artistic movement, which began in Britain in the second half of the nineteenth century and continued into the twentieth spreading to continental Europe and the USA. Its adherents-artists, architects, designers and Craftsmen sought to reassert the importance of and craftsmanship in all arts in the face of increasing industrialization, which they felt was sacrificing quality in the pursuit of quantity. Its supporters and practioners were united not so much by a style rather than the common goal- a desire to break down the hierarchy of the arts and to revive traditional handicrafts and make art that could be affordable to all.

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

During the first week of observation the cube had begun to weather and collapse. A rainstorm caused several branches to snap and fall. The new form consisted of three large branches leaning on each other and clinging to life. Scattered around the monolithic branches, reeds on the ground framed the structure of the sticks. Weather shaped the land art in a way that man could not. Natural elements created a unique and organic art piece. As the weeks went on I began to notice how the light affected the form of the lard art installation. The light revealed and hid certain aspects of the art. It showed curves in the morning and hide the same curves in the evening. The light exposed various amounts on texture through the course of the day. The texture

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.