The focus of mass culture "pop art" shifted to more philosophical and therapeutic forms.
Land Art was a form of art that respond to that reflection. Nature has always been a kind of safe place for people who have turned their backs against industrialization and mass culture. To the social discontent that prevailed in the seventies, was expressed by land art artists. Artists were against capitalism. American artists compared the Vietnam War with capitalism and capitalism in the art. They wanted to escape the world of urban bustle, technologies, profit and pollution to start a dialogue with nature.
Nature as exhibition space was a way to break away from becoming involved with commercial galleries or space in a museum. Not just on principle, but also because Land art artists felt that a painting or other artwork that was added to an existing space was seen as unnecessary, the room was in fact already finished.
It is clear that there was a romantic and mystical aspect of this art form , engaged in nature was a kind of meditation for the artists.
Like a composer who reads the notes he hears, the game character is important in the work of artists like Opperheim, Walter de Maria and Richard Long, which is only happening on the surface of the landscape. These artists are more interested in conventional characters used as the true dimensions of allowing time and space . These are also the artists who haven't done any physically large interventions in the landscape , which I am interested in.
It is striking how both British and American land art around 1970 show similar signs of a new romantic relationship with the landscape.
Simultaneously embody both traditions, however, a radically different approach.
Long used the landscape as an alternative for the city and visualizes it as a 'pure ' state of virgin nature.
In addition, he uses a camera, pencil and paper.
He takes an honest attitude towards the wilderness as he has just discovered and temporarily takes possession. The myth of the landscape remains maintained.
By Maarten Donders `` Traces in Time &; Space``
Land Art was a form of art that respond to that reflection. Nature has always been a kind of safe place for people who have turned their backs against industrialization and mass culture. To the social discontent that prevailed in the seventies, was expressed by land art artists. Artists were against capitalism. American artists compared the Vietnam War with capitalism and capitalism in the art. They wanted to escape the world of urban bustle, technologies, profit and pollution to start a dialogue with nature.
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| Walter de Maria ``The Lightning Field`` (1977) |
Nature as exhibition space was a way to break away from becoming involved with commercial galleries or space in a museum. Not just on principle, but also because Land art artists felt that a painting or other artwork that was added to an existing space was seen as unnecessary, the room was in fact already finished.
It is clear that there was a romantic and mystical aspect of this art form , engaged in nature was a kind of meditation for the artists.
Like a composer who reads the notes he hears, the game character is important in the work of artists like Opperheim, Walter de Maria and Richard Long, which is only happening on the surface of the landscape. These artists are more interested in conventional characters used as the true dimensions of allowing time and space . These are also the artists who haven't done any physically large interventions in the landscape , which I am interested in.
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| Richard Long Midday Muezzin Line 2006 |
Simultaneously embody both traditions, however, a radically different approach.
Long used the landscape as an alternative for the city and visualizes it as a 'pure ' state of virgin nature.
In addition, he uses a camera, pencil and paper.
He takes an honest attitude towards the wilderness as he has just discovered and temporarily takes possession. The myth of the landscape remains maintained.
By Maarten Donders `` Traces in Time &; Space``
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