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Environmental art generally refers to a form of art in which the artist engages with his or her surroundings and that helps improve their relationship with the natural world. Depending on how you look at its definition, earlier examples of environmental art originate from landscape painting and representation. When artists painted outside with nature as their muse they developed a deep connection with the surrounding environment and its weather and brought these close observations into their canvases. Exemplary artist Monet said “For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life, the air and the light, which vary continually for me, it is only the surrounding atmosphere that gives subjects their true value. “[2]As you can notice artists such as Monet took deep interest in their work and their raw passion for environmental art allowed them to flourish.

Moreover, It is possible to trace the growth of environmental art as a “movement”, beginning in the late sass or the 1 9705. In its early phases it was most associated with sculpture-?especially Site-specific art and Land art-?These arouse out of mounting criticism of traditional sculptural forms and practices which were increasingly seen as outdated and potentially out of harmony with the natural environment.

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In October 1968 Robert Smithson organized an exhibition at Dawn Gallery in New York titled Simply “Earthworks”. All of the works posed an explicit challenge to conventional notions of exhibition and sales, in that they were either too large or too unwieldy to be collected; most were presented only by photographs, further emphasizing their resistance to acquisition. 3] For these artists escaping the confines of the gallery and modernist theory was achieved by leaving the cities and going out into a nature rich environment ‘They were not depicting the landscape, but engaging it; The work challenged the conventional means to create sculpture, but also defied the high art modes of dissemination and exhibition of the work, such as the Dawn Gallery show mentioned earlier. This shift opened up a new space and in doing so expanded the ways in which work was commented and conceptualized.

While this earlier work was mostly done in the deserts of the American west, the end of the sass and the beginning of the sass saw works moving into the public landscape. Artists like Robert Morris began engaging county departments and public arts commissions to create works in public spaces such as an abandoned gravel pit. [5] Herbert Brayer used a similar approach and was selected to create his Mill Creek Canyon Earthworks in 1982. The project served functions such as erosion control, a place to serve as a reservoir during high rain periods, and a 2. Cree park during dry seasons. [6] The expanding term of environmental art also encompasses the scope of the urban landscape. Just as the earthworks in the deserts Of the west grew out Of notions Of landscape painting, the growth Of public art stimulated artists to engage the urban landscape as another environment and also as a platform to engage ideas and concepts about the environment to a larger audience.

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