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Titre:
Archisable 2

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Résumé:
L’acte de construire le plus simple est sûrement de poser deux pierres l’une sur l’autre, ou, pour l’arpenteur des bords de mer, de faire des châteaux de sable. C’est à un retour vers cette joie pure et ces gestes instinctifs de bâtisseur d’éphémère que Tina Bloch, commissaire d’exposition, a convié 34 architectes ou duo d’architectes européens. Sur les plages de Deauville et de Benerville, d’étonnants monuments se sont élevés entre ciel et mer, des mandalas et des labyrinthes à perte de vue ont connu une existence fugace mais intense. À la fois land art et sand painting, les propositions, mûrement élaborées ou improvisées selon l’inspiration de l’instant, sont d’une étonnante diversité. Creuser, édifier, sculpter, mouler, scarifier, ratisser, dessiner, modeler… le sable se prête à toutes les inventions poétiques.Entre deux marées, le photographe Michel Denancé a capturé leur éphémère beauté, mêlant les perspectives à hauteur d’œil et les vues aériennes pour un résultat d’une grande force esthétique.

Titre:
Second site. Point essays on architecture

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In the decades after World War II, artists and designers of the land art movement used the natural landscape to create monumental site-specific artworks. Second Site offers a powerful meditation on how environmental change and the passage of time alter and transform the meanings—and sometimes appearances—of works created to inhabit a specific place. James Nisbet offers fresh approaches to well-known artworks by Ant Farm, Rebecca Belmore, Nancy Holt, Richard Serra, and Robert Smithson. He also examines the work of less recognized artists such as Agnes Denes, Bonnie Devine, and herman de vries. Nisbet tracks the vicissitudes wrought by climate change and urban development on site-specific artworks, taking readers from the plains of Amarillo, Texas, to a field of volcanic rock in Mexico City, to abandoned quarries in Finland.

Titre:
Ends of the earth: Land art to 1974

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The illustrated catalogue documents the history of Land art from its emergence during the early 1960s through 1974. A companion volume to the first large-scale exhibition on Land art, this book traces the emergence of the artistic impulses to use the earth as material, land as medium, and to locate works in remote sites, beyond familiar art contexts.

Titre:
The last freedom : from the pioneers of land art in the 60's to nature in cyberspace

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This book considers the development of Land Art from the 1960s to the present, charting its earliest expressions among those New York artists who made the genre's earliest masterpieces in the wide-open expanses of the west to recent manifestations with young artists manipulating the artificial world of cyberspace. Exploring historical positions and material approaches with the aid of sketches, artifacts, documents, models, photographs and film, and focusing mainly on achievements in America and Europe, the publication includes work by seminal as well as emerging figures operating in the extended field: Adam Berg, Christo and Jeanne-Claude, Agnes Denes, Florian Dombois, Walter de Maria, Toshikatsu Endo, Jan Dibbets, Hamish Fulton, Andy Goldsworthy, Hans Haacke, Michael Heizer, Nancy Holt, Peter Hutchinson, Richard Long, Glenn Marshall, Robert Morris, David Nash, Dennis Oppenheim, Jaume Plensa, Charles Ross, Robert Smithson and James Turrell.

Titre:
Landraum: Beyond rural design

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Rural space is something of a blank spot on the map of contemporary architecture. Led by Matthias Reichenbach-Klinke and his colleagues at the Chair of Planning and Construction, Landraum proposes research projects and artistic interventions in rural areas.

Titre:
Stickwork

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Using minimal tools and a simple technique of bending, interweaving, and fastening together sticks, artist Patrick Dougherty creates works of art inseparable with nature and the landscape. This publication features thirty-eight of his organic, dynamic works that twist the line between architecture, landscape, and art. Constructed on-site using locally sourced materials and local volunteer labor, Dougherty's sculptures are tangles of twigs and branches that have been transformed into something unexpected and wild, elegant and artful, and often humorous.

Titre:
Andy Goldsworthy (En las entranas del arbol)

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Goldsworthy's oeuvre is made entirely of natural materials such as leaves, wood, stone or snow, resulting mainly in site-specific installations linked to a certain place. The forms and structures he creates blend in with the landscape, striving to find a balance with their setting and the effects of light and atmosphere. The resulting work interacts with its surroundings, changing and growing as time goes by. This fleeting, variable essence drives him to photograph many of his works in order to record them and their evolution for posterity. The installation Goldsworthy prepared especially for the Crystal Palace is one of the artist's most ambitious wood dome projects so far, enlarging upon the vaulted spaces he used previously in London and Yorkshire. The form of the wooden structures blends in with the architecture of the palace which becomes its glass epidermis.

Titre:
The ethics of earth art

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Résumé:
Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. In this book, Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. Boetzkes contends that in basing their works’ relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their work—film footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation grows—earth artists articulate the dilemma of representation that nature presents. Revealing the fundamental difference between the human world and the earth, Boetzkes shows that earth art mediates the sensations of nature while allowing nature itself to remain irreducible to human signification.

Titre:
Christo and Jean-Claude: Remembering the running fence

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In September 1976, a curtain of shimmering white was unfurled across the hills of rural northern California, running unbroken for 24.5 miles from Sonoma County to the Pacific Ocean. The artistic vision of Christo and Jeanne-Claude's Running Fence was 18 feet high and traversed the private properties of 59 ranchers. Although it remained in place for just two weeks, the process of planning it consumed nearly four years, and the installation required helicopters, barges, lawyers, and more than 300 Bay Area students and workers. Illustrated throughout with graphic representations and photographs, Christo and Jeanne-Claude recounts how two artists who were complete strangers to the area gradually enlisted the support of entire communities in order to make their vision a reality.

Titre:
Field studies: the new aesthetics of urban agriculture

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$60.00
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Résumé:
Agricultural areas in industrial and urban regions will in the future no longer be seen merely as functional space but rather as islands of the beautiful and the useful. This publication presents exemplary concepts for the cooperation of landscape architecture, agriculture and Land Art.