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How to define Land Art style?

Land art, also known as earth art, is created directly in the landscape by sculpting it or by building natural-material structures there. Land art was a protest against the "ruthless commercialization" of art in America throughout the 1960s and 1970s. However, photographic documentation was frequently displayed in conventional gallery spaces. During this time, proponents of land art rejected the museum or gallery as the setting for artistic activity and created monumental landscape projects that were outside the scope of traditional transportable sculpture and the commercial art market. Minimalist and conceptual art, as well as contemporary trends like De Stijl, Cubism, minimalism, and the works of Constantin Brâncuși and Joseph Beuys, served as inspiration for Land art.

The art movement's main concerns were its opposition to the commercialization of the arts and its enthusiasm for the newly emerging ecology movement. The prevalence of the anti-urban sentiment and its countervailing passion for country life coincided with the art movement. Spiritual aspirations for the Earth to serve as humanity's home were among these impulses.

A process-based method of creating art where the artist would go on excursions into the surrounding environment to either collect objects or carry out site-specific interventions quickly evolved from what had initially started as a trend in sculpture to incorporate natural materials like dirt, rocks, and plants. While some artists created temporary, limited interventions in the landscape, others used mechanical earthmoving equipment to create their earthworks. For presentation in galleries, artists frequently used photographs, films, and maps to document their earthworks. Additionally, by combining organic elements from the environment into sculptures and installations, land artists created land art in the galleries.

The first American museum to present an exhibition of Earth art, simply titled Earth Art, was the Herbert F. Johnson Museum of Art at Cornell University in February 1969. The artworks were on view at the museum as well as all over Cornell University's Ithaca campus, providing a venue for pieces that would later continue to challenge the status of art as a commodity, particularly those installations that blurred the lines between an object's context and its surroundings.

Land Art Sculpture

Through the materials they employed and the locations of their works, Land Artists explored the limits of art, frequently actively altering the landscape to create their sculptures and installations. These works of art were frequently carved directly from the earth or transformed into Earthwork art by the artist utilizing the available natural resources. The use of these elements honored the uniqueness of the location and included dirt, plants, rocks, gravel, stones, twigs, and water, which were often found on-site.

The Earth art that was produced introduced the idea of location specificity to the art world. Due to the fact that these works of art were not always accessible to visitors and that artists were occasionally the only people aware of their existence, these sculptures put artists at the center of their creations. As a result, artists frequently chronicle their work through photographs, which they subsequently use to display in place of their actual works at art galleries.

As the Land Art movement opposed the brutal commercialization of art throughout the 1960s, this change in setting challenged the notion that art exists solely as something to be observed. These works investigated a return to nature, which sparked the growth of the environmental movement that recognized Earth as the real home of humanity. As a result, Land artists started to create Earth art that glorified this ideal and showed a complete rejection of metropolitan life.

As the traditional places for artistic activity, museums and galleries, were abandoned, artists were given the opportunity to create monumental sculptures that were outside the scope of traditional transportable artworks. Land artists were compelled to rely on the system they hated to support their pricey ideas in order to produce sculptures and installations outside of conventional gallery and museum locations. Huge landscape installations frequently required the purchase of land and the use of earthmoving tools; wealthy patrons and private foundations frequently provided funds for these extravagant projects.

Land Art Sculptors

Robert Smithson (1938-1973)

American artist Robert Smithson was probably one of the most significant pioneers of this movement. As a response to Modernism's disengagement from social issues, his 1968 essay "The Sedimentation of the Mind: Earth Projects" offered a critical framework for the movement. In order to create three-dimensional sculptural compositions, he started combining various materials. This led to a series of "non-sites" works, in which sculptures made of earth and rocks that were brought back from expeditions were placed inside of galleries. These sculptures frequently included maps, bins, mirrors, glass, and neon. Smithson's earthworks Spiral Jetty (1970), Broken Circle/Spiral Hill (1971), and Amarillo Ramp (1973) are his most famous creations (1973). By completely removing art from the gallery context and integrating it into the natural terrain, he forever altered preconceived concepts of sculptural form in contemporary art.

Walter De Maria (1935-2013)

In his sculptures, installations, and land works, Walter de Maria employed geometric forms to produce a succession of repetitions that explored the link between the relative and the absolute. Lighting Field (1977), his best-known piece of land art, is a grid of one-mile by one-kilometer squares that was put in a remote part of the New Mexico desert. Four hundred poles made of polished stainless steel that are over twenty feet tall and have pointed tips that define a horizontal plane - the point of attraction for lightning strikes - make up the grid. The visitor can enter the grid physically or observe it from a distance, in a series of powerful optical illusions that vary with time and space, art, landscape, and nature collide.

Dennis Oppenheim (1938-2011)

Oppenheim's early interventions into the natural world, in contrast to those of many of his contemporaries, took the form of removal, going back to the traditional sculptural principle of carving by, in the artist's own words, "taking away rather than adding." Geopolitical boundaries, time zones, and natural degradation are only a few examples of the social and natural systems that are referenced and highlighted in Annual Rings (1968), a site-specific work. Reproducing the map serves to demonstrate how mapping plays a part in creating unnatural and frequently violent borders between states and the river, a natural border, serves as a tool for these international borders.

Oppenheim questioned "the relative values of the ordering systems by which we live" by juxtaposing natural elements with artificial ideas such as nationhood and time zones. At the same time, earth artists like Robert Smithson and Walter de Maria were also producing site-specific Earthworks where natural environments were put in conflict with artificial interventions.

Nancy Holt (1938 - 2014)

The public sculptures, installation art, and Land Art that Holt created throughout the course of her career are what are best known, along with some of her experimental video and photography. In order to carry on the inventive and curious spirit of both her and her husband's (Robert Smithson) works, Holt founded the Holt/Smithson Foundation in 2017. Through their sculptural practice, they created new approaches to explore our relationship to the world.

Richard Long (born 1945)

A well-known British sculptor involved with the Land Art movement was Richard Long. In the late 1960s, the artist began his direct interaction with nature by using his stroll as a medium, motivated by a desire to use the landscape in new ways. Long attempted to subvert the language and aspirations of art and bring it to a more basic, intimate, and fundamental level through a sequence of repetitive gestures or protracted solo walks. His goal was to exemplify in himself the possibilities of an unadulterated conversation between man and environment. Time, space, and distance are the subjects of this groundbreaking conceptual land art project, and they are expanded to a massive scale.

Andy Goldsworthy (born 1956)

Andy Goldsworthy is a well-known land art sculptor and photographer who works in and with nature. His output can be classified into permanent and temporary projects. The latter are designed to vanish at the end of the life cycle and are constructed from organic and transient components. He creates a number of repetitive designs, including spirals, circles, and snaking lines, out of branches, leaves, rocks, and ice. The ephemerality at the center of these initiatives is a reflection of a fragile ecology and a continually changing natural environment.

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