![]() In 1967, the art critic Grace Glueck writing in The New York Times declared the first Earthwork to be done by Douglas Leichter and Richard Saba at the Skowhegan School of Painting and Sculpture. According to critic Barbara Rose, writing in Artforum in 1969, he had become disillusioned with the commodification and insularity of gallery bound art. He also created several other Time Landscapes around the world such as Circles of Time in Florence, Italy documenting the historical usage of the land, and recently at the deCordova Sculpture Park and Museum outside Boston. His most inspirational work is Time Landscape, an indigenous forest he planted in New York City. Īlan Sonfist used an alternative approach to working with nature and culture by bringing historical nature and sustainable art back into New York City. His influence on contemporary land art, landscape architecture and environmental sculpture is evident in many works today. Isamu Noguchi's 1941 design for Contoured Playground in New York City is sometimes interpreted as an important early piece of land art even though the artist himself never called his work "land art" but simply "sculpture". Many of the artists associated with land art had been involved with minimal art and conceptual art. Land art was inspired by minimal art and conceptual art but also by modern movements such as De Stijl, Cubism, minimalism and the work of Constantin Brâncuși and Joseph Beuys. During this period, exponents of land art rejected the museum or gallery as the setting of artistic activity and developed monumental landscape projects which were beyond the reach of traditional transportable sculpture and the commercial art market, although photographic documentation was often presented in normal gallery spaces. In the 1960s and 1970s land art protested "ruthless commercialization" of art in America. Side Effect XI, by Eberhard Bosslet, Tias, Lanzarote, (2008) Grande Cretto, by Alberto Burri, Gibellina, (1984-1989) Star Axis, looking north toward the entrance to the Star Tunnel: By Charles Ross, New Mexico, (1971–in progress) Satellite view of Roden Crater, the site of an Earthwork in progress by James Turrell, outside Flagstaff, Arizona Meteorite by Milton Becerra in Ibirapuera Park, XVIII Biennial of São Paulo, Brazil (1985). The creature has a wing span of 100 metres and 1500 tonnes of rock were used to construct it. 1981 Bunjil, a geoglyph at the You Yangs, Lara, Australia, by Andrew Rogers. Form Museum paper board left on the bank of the river for 4 days. Included in these inclinations were spiritual yearnings concerning the planet Earth as home to humanity. The art movement coincided with the popularity of the rejection of urban living and its counterpart, an enthusiasm for that which is rural. Ĭoncerns of the art movement centered around rejection of the commercialization of art-making and enthusiasm with an emergent ecological movement. Though sometimes fairly inaccessible, photo documentation was commonly brought back to the urban art gallery. The materials used were often the materials of the Earth, including the soil, rocks, vegetation, and water found on-site, and the sites of the works were often distant from population centers. As a trend, "land art" expanded boundaries of art by the materials used and the siting of the works. Land art, variously known as Earth art, environmental art, and Earthworks, is an art movement that emerged in the 1960s and 1970s, largely associated with Great Britain and the United States but that also includes examples from many countries. A form of art creation Spiral Jetty by Robert Smithson from atop Rozel Point, Utah, in mid-April 2005 Time Landscape by Alan Sonfist, at LaGuardia and Houston Streets in Manhattan, 1965-present
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