Archisable 2
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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(...)
Archisable 2
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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.
Land Art
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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(...)
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.
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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(...)
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.
Land Art
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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.
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.
Land Art
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Robert Smithson: Art In Continual Movement is a seminal compilation of material from different archives in the Netherlands and the US: photographs, film recordings, drawings, texts and letters dealing with the famous land art work Broken Circle/Spiral Hill in Emmen, Drenthe (Netherlands), which Robert Smithson designed in 1971 for the exhibition Sonsbeek buiten de perken.(...)
Robert Smithson : art in continual movement
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Robert Smithson: Art In Continual Movement is a seminal compilation of material from different archives in the Netherlands and the US: photographs, film recordings, drawings, texts and letters dealing with the famous land art work Broken Circle/Spiral Hill in Emmen, Drenthe (Netherlands), which Robert Smithson designed in 1971 for the exhibition Sonsbeek buiten de perken. This is one of only three preserved land art works of Smithson worldwide. The significance of this particular art work has been relatively neglected in the extensive literature on Smithson’s work, nevertheless, it is one of his key works.
Land Art
Gravity
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Included within this publication are forty-five ‘mudworks’ by Richard Long, produced especially for the book and accompanied by text from the artist himself. The artist is an English sculptor, a photographer and a painter closely associated with an art form that emerged in the 1970s, called Land Art.
Gravity
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Included within this publication are forty-five ‘mudworks’ by Richard Long, produced especially for the book and accompanied by text from the artist himself. The artist is an English sculptor, a photographer and a painter closely associated with an art form that emerged in the 1970s, called Land Art.
Land Art
Nancy Holt: Sightlines
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This book and companion book to the exhibition of the same name, is the first comprehensive study of Nancy Holt. Holt's wide-ranging body of work beginning in the late 1960s includes land art--particularly the monumental Sun Tunnels (1973-1976)--major works of sculpture, installations, film, and video. Essays by a diverse and distinguished group of authors--including Lucy(...)
Nancy Holt: Sightlines
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This book and companion book to the exhibition of the same name, is the first comprehensive study of Nancy Holt. Holt's wide-ranging body of work beginning in the late 1960s includes land art--particularly the monumental Sun Tunnels (1973-1976)--major works of sculpture, installations, film, and video. Essays by a diverse and distinguished group of authors--including Lucy Lippard, Matthew Coolidge, and Pamela M. Lee--chart the artist's fascinating trajectory and take us from her initial experiments with sound, light, and industrial materials to the culmination of her development of major site interventions and freestanding environmental sculpture.
Land Art
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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.
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.
Land Art
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(...)
septembre 2010
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.
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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,(...)
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.
Land Art