Read Earthworks and Beyond : Contemporary Art in the Landscape 2006 ; Beardsley, John
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Digging & Across is one of the well-nigh lucid, accessible & comprehensive fine art history books I've always read. (I guess I'thousand comparing against the ones I read in college, which were largely bulletproof.) There's too much interesting discussion within to summarize, but suffice to say if all fine art history texts were this expert, I'd have washed art history as a 2d major @ uni instead of cognitive scientific discipline. I kind of wish I had regardless. Would've been so useful in my subsequent life in the outside world. I know, it'due south never too late to learn, just realistically, you demand that field of study of a class west/ required papers and assignments to go through a serious text, even 1 as readable as this.
Ane matter I really like about this book is the way it's laid out. It has some pretty useful sections, in detail
1) geographical index of all the fine art listed in the volume, including directions on how to get at that place. very useful. immediately had me envisioning a roadtrip beyond the US, like in the movies where you the journey visualized equally a dotted line moving beyond a map... god it would exist so slap-up to head off for a month checking out monoliths in the desert and reclaimed quarries and whatnot. Haha I'm sure the kids would love information technology. "Dad I'thou bored tin I play Angry Birds? NO! LOOK AT THE SUN TUNNEL DAMMIT!"
2) collection of "artist'south statements" / "manifestos" from a lot of the artists in the book-- ranging from predictably obtuse to amusingly plainspoken, I constitute them really intriguing. great idea to collect them all
What else... there's a few guys whose art is Walking. I thought that was funny. I totally purchase information technology though. Ane guy takes walks and photographs his steps along the manner , rearranging things. Another simply takes a single photo and labels it (e.one thousand. "Seven Days Walking Through Snow Ending With Full Moon".) You really think about walking differently when you lot imagine yourself doing it as art... what path do you trace out, what trace practice you leave?
Finally, what sparked my interest in all this to begin with was, some friends and I recently made the trip down to the Lightning Field, which, subsequently the Spiral Jetty, is the most iconic slice of land art in existence. Really a magical experience. Wrote up some notes here. Accept to confess I get a chip irritated how everybody upon hearing we went asks, "did you lot meet lightning?" (it strikes me every bit simple minded and overly literal. just this is uncharitable on my function. I hateful it is called the LIGHTNING field, for christ's sake. if you hadn't already read some x page New Yorker commodity virtually it, why wouldn't y'all think it's about lightning?)
Run across also: Rivers and Tides
THE Stop
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In this thoughtful and scholarly volume, John Beardsley explores country art from when Robert Smithson showtime coined the term up to the nowadays 24-hour interval, focusing not only on the archetype works in the genre (De Maria's Lightning Field, Smithson's own Screw Jetty, Heizer's City and Double Negative, Holt'south Sun Tunnels) simply besides explores contemporary expression of land art: public artwork and ecology fine art,
Art happens all the fourth dimension, everywhere. All we have to do is to keep our minds open. - Jacek TylickiIn this thoughtful and scholarly volume, John Beardsley explores land fine art from when Robert Smithson first coined the term upwardly to the present day, focusing not only on the classic works in the genre (De Maria'southward Lightning Field, Smithson's own Screw Jetty, Heizer's City and Double Negative, Holt's Sun Tunnels) but also explores contemporary expression of land art: public artwork and ecology art, both of which share a similar connexion to the country and to the community.
Beardsley also traces land fine art'south antecedents back to the earliest megaliths of Europe and N America, revealing the powerful impact these awe-inspiring works notwithstanding have on artists today.
State art and its related works are not merely limited to the wilderness of the American West but are in our cities and parks, even in the simple act of walking across a field, reclaiming the industrial wastelands and returning them to their former splendour. Beardsley draws the connection between these two way of Land Art and how both seek to better create a more ethical relationship betwixt people and the state.
Scholarly in purview but still accessible, Earthworks and Beyond might not compare with Taschen'southward entry on Land Art in terms of photography, simply its analysis and observations seek to advance the debate on Land Art and its coverage therein is exemplary.
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