Editing Land art (section)

==Form==
[[File:Tylicki Natural Art 506.jpg|thumb|upright=1.3|Museum paper board left on the bank of the river for 4 days. By [[Jacek Tylicki]], S.W. of [[Lund]], [[Sweden]], 473 X 354 mm. 1981]]
[[File:You Yangs Bunjil geoglyph crop.JPG|thumb|upright=1.3|''Bunjil'', a geoglyph at the [[You Yangs]], [[Lara, Australia]], by Andrew Rogers. The creature has a wing span of 100 metres and 1500 tonnes of rock were used to construct it.]]
[[File:Roden.jpg|thumb|upright=1.3|Satellite view of [[Roden Crater]], the site of an Earthwork in progress by [[James Turrell]], outside [[Flagstaff, Arizona]]]]
[[File:Meteorite milton becerra.png|thumb|upright=1.3|''Meteorite'' by [[Milton Becerra]] in [[Ibirapuera Park]], XVIII Biennial of São Paulo, [[Brazil]] (1985).]]
[[File:Eberhard Bosslet Intervention Begleiterscheinung XI Era Lanzarote 2008.jpg|thumb|upright=1.3|''Side Effect XI'', by [[Eberhard Bosslet]], [[Tias, Las Palmas|Tias]], Lanzarote, (2008)]]
[[File:Cretto di Burri - Gibellina.JPG|thumb|upright=1.3|''[[Cretto di Burri|Grande Cretto]]'', by [[Alberto Burri]], [[Gibellina]], (1984–1989)]]
[[File:Charles Ross StarAxis.jpg|thumb|upright=1.3|''[[Star Axis]]'', looking north toward the entrance to the Star Tunnel: By [[Charles Ross (artist)|Charles Ross]], New Mexico, (1971–in progress)]] 

The art form gained traction in the 1960s and 1970s as land art was not something that could easily be turned into a commodity, unlike the "mass produced cultural debris" of the time.<ref name="Kastner" /> During this period, proponents of land art rejected the [[museum]] or [[Art museum|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. Land art was inspired by [[Minimalism (visual arts)|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]].<ref name="Weilacher"/> One of the first earthworks artists was [[Herbert Bayer]], who created Grass Mound in [[Aspen, Colorado]], in 1955.<ref>{{Cite web |title=Grass Mound {{!}} AspenModern |url=http://www.aspenmod.com/places/grass-mound/ |access-date=2024-05-04 |language=en-US}}</ref><ref name="Kastner" />

Many of the artists associated with land art had been involved with minimal art and [[conceptual art]]. [[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". His influence on contemporary land art, [[landscape architecture]] and [[environmental sculpture]] is evident in many works today.<ref name="Weilacher">Udo Weilacher, ''Between Landscape Architecture and Land Art''. Birkhäuser, 1999, Basel Berlin Boston 1999 {{ISBN|3-7643-6119-0}}</ref>

[[Alan Sonfist]] used an alternative approach to working with [[nature]] and [[culture]] by bringing historical nature and [[sustainable art]] back into New York City. His most inspirational work is ''Time Landscape'', an indigenous forest he planted in New York City.<ref name="Weilacher" /> He created several other ''Time Landscapes'' around the world such as ''Circles of Time'' in [[Florence, Italy]] documenting the historical usage of the land, and at the [[deCordova Sculpture Park and Museum]] outside Boston. According to critic [[Barbara Rose]], writing in ''[[Artforum]]'' in 1969, he had become disillusioned with the commodification and insularity of gallery bound art. Dian Parker wrote in [[Artnet|ArtNet]], "The artist’s ecological message seems more timely now than ever, noted Adam Weinberg, the director emeritus of the Whitney Museum of American Art. 'Since the ’60s, [Sonfist has] continued to push forward his ideas about the land, particularly urgent right now with global warming all over the world. We need solutions to climate change not only from scientists and politicians but also from artists, envisioning and realizing a greener, more primordial future.'" <ref name=artnet>Parker, Dian. [https://news.artnet.com/art-world/artist-alan-sonfist-2482215 "Earth Art Pioneer Alan Sonfist on Galvanizing a New Generation of Land Artists." ''ArtNet''.] Retrieved 11 October 2024.</ref>

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]].<ref name="nyt-1967">{{cite news |last1=Glueck |first1=Grace |title=Roland Penrose, Picasso Persuader |url=https://nyti.ms/2PMrxJ6 |access-date=9 April 2021 |work=The New York Times |date=15 October 1967}}</ref> The sudden appearance of land art in 1968 can be located as a response by a generation of artists mostly in their late twenties to the heightened political activism of the year and the emerging [[Natural environment|environmental]] and [[women's liberation]] [[Social movement|movement]]s.

One example of land art in the 20th century was a group exhibition called "Earthworks" created in 1968 at the Dwan Gallery <!--"Dwan" is not a typo--> in New York.<ref>{{cite web|url=http://www.leftmatrix.com/earthworks.html|title=Leftmatrix|publisher=leftmatrix.com|access-date=February 8, 2011|archive-url=https://web.archive.org/web/20110107121106/http://www.leftmatrix.com/earthworks.html|archive-date=January 7, 2011|url-status=dead}}</ref> In February 1969, [[Willoughby Sharp]] curated the "Earth Art" exhibition at the [[Andrew Dickson White House|Andrew Dickson White Museum of Art]] at [[Cornell University]], Ithaca, New York. The artists included were [[Walter De Maria]], [[Jan Dibbets]], [[Hans Haacke]], [[Michael Heizer]], [[Neil Jenney]], [[Richard Long (artist)|Richard Long]], [[David Medalla]], [[Robert Morris (artist)|Robert Morris]], [[Dennis Oppenheim]], [[Robert Smithson]], and [[Gunther Uecker]]. The exhibition was directed by Thomas W. Leavitt. Gordon Matta-Clark, who lived in Ithaca at the time, was invited by Sharp to help the artists in "Earth Art" with the on-site execution of their works for the exhibition.

Perhaps the best known artist who worked in this genre was [[Robert Smithson]] whose 1968 essay "The Sedimentation of the Mind: Earth Projects" provided a critical framework for the movement as a reaction to the disengagement of [[Modernism]] from social issues as represented by the critic [[Clement Greenberg]].<ref>[https://books.google.com/books?id=QTq8AAAAIAAJ&dq=%22land+art%22%2C+%22Clement+Greenberg%22%2C+smithson&pg=PA142 Francis Frascina, ''Art, Politics and Dissent: Aspects of the Art Left in Sixties America''], Manchester University Press, 1999, p. 142, {{ISBN|0719044693}}</ref> His best known piece, and probably the most famous piece of all land art, is the ''[[Spiral Jetty]]'' (1970), for which Smithson arranged rock, earth and [[algae]] so as to form a long (1500&nbsp;ft) spiral-shape [[jetty]] protruding into [[Great Salt Lake]] in northern [[Utah]], [[United States|U.S.]] How much of the work, if any, is visible is dependent on the fluctuating water levels. Since its creation, the work has been completely covered, and then uncovered again, by water. A steward of the artwork in conjunction with the Dia Foundation,<ref>{{cite web|url=http://umfa.utah.edu/land_art_jetty_partnership|title=UMFA: Utah Museum of Fine Arts|first=Utah Museum of Fine|last=Arts|access-date=2016-09-15|archive-url=https://web.archive.org/web/20161018010058/http://umfa.utah.edu/land_art_jetty_partnership|archive-date=2016-10-18|url-status=dead}}</ref> the [[Utah Museum of Fine Arts]] regularly curates programming around the Spiral Jetty, including a "Family Backpacks" program.<ref>"[http://umfa.utah.edu/backpacks Family Backpacks] {{Webarchive|url=https://web.archive.org/web/20161018010115/http://umfa.utah.edu/backpacks |date=2016-10-18 }}". Utah Museum of Fine Arts. umfa.utah.org. July&nbsp;30, 2017.</ref> 

Smithson's ''Gravel Mirror with Cracks and Dust'' (1968) is an example of land art existing in a [[art gallery|gallery]] space rather than in the natural environment. It consists of a pile of gravel by the side of a partially mirrored gallery wall. In its simplicity of form and concentration on the materials themselves, this and other pieces of land art have an affinity with [[minimalism]]. There is also a relationship to [[Arte Povera]] in the use of materials traditionally considered "unartistic" or "worthless". The Italian [[Germano Celant]], founder of Arte Povera, was one of the first curators to promote land art.<ref>{{cite web|url=http://obsart.blogspot.fr/2012/05/conceptual-art-arte-povera-land-art-it.html|title=Observatoire du Land Art|date=24 May 2012 |publisher=obsart.blogspot.fr|access-date=June 2, 2012}}</ref>

"Land artists" have tended to be American,<ref name="Kastner" /> with other prominent artists in this field being [[Carl Andre]], [[Alice Aycock]], [[Walter De Maria]], [[Hans Haacke]], [[Michael Heizer]], [[Nancy Holt]], [[Peter Hutchinson (artist)|Peter Hutchinson]], [[Ana Mendieta]], [[Dennis Oppenheim]], [[Andrew Rogers (sculptor)|Andrew Rogers]], [[Charles Ross (artist)|Charles Ross]], [[Alan Sonfist]], and [[James Turrell]]. Turrell began work in 1972 on possibly the largest piece of land art thus far, reshaping the earth surrounding the extinct [[Roden Crater]] [[volcano]] in [[Arizona]]. Perhaps the most prominent non-American land artists are the [[United Kingdom|British]] [[Chris Drury (artist)|Chris Drury]], [[Andy Goldsworthy]], [[Richard Long (artist)|Richard Long]] and the Australian [[Andrew Rogers (sculptor)|Andrew Rogers]].<ref>{{cite web|url=http://www.seeleyart.com/earthworks.htm|title=Monumental Land Art of the United States|publisher=seeleyart.com|access-date=August 22, 2023}}</ref>
In 1973 [[Jacek Tylicki]] begins to lay out blank canvases or paper sheets in the natural environment for the nature to create art.

Some projects by the artists [[Christo and Jeanne-Claude]] (who are famous for wrapping monuments, buildings and landscapes in [[textile|fabric]]) have also been considered land art by some, though the artists themselves consider this incorrect.<ref>{{cite web|url=http://christojeanneclaude.net/errors.html|archive-url=https://web.archive.org/web/20030208060629/http://christojeanneclaude.net/errors.html|url-status=dead|archive-date=2003-02-08|title=Common Errors|author1=Christo |author2=Jeanne-Claude |publisher=Christojeanneclaude.net|access-date=2008-11-07}}</ref> [[Joseph Beuys]]'s concept of "[[social sculpture]]" influenced "land art", and his *[[7000 Eichen]]* project of 1982 to plant 7,000 Oak trees has many similarities to land art processes. [[Andrew Rogers (sculptor)|Rogers]]' “Rhythms of Life” project is the largest contemporary land-art undertaking in the world, forming a chain of stone sculptures, or [[geoglyph]]s, around the globe – 12 sites – in disparate exotic locations (from below sea level and up to altitudes of 4,300 m/14,107&nbsp;ft). Up to three geoglyphs (ranging in size up to 40,000 sq m/430,560 sq ft) are located in each site.

Land artists in America relied mostly on wealthy [[patron]]s and [[private foundation]]s to fund their often costly projects. With the sudden economic downturn of the mid-1970s, funds from these sources largely stopped. With the death of Robert Smithson in a plane crash in 1973, the movement lost one of its most important figureheads and faded out. Charles Ross continues to work on the ''[[Star Axis]]'' project, which he began in 1971.<ref name="Hass18">Hass, Nancy. [https://www.nytimes.com/2018/09/18/t-magazine/longterm-art-projects.html "What Happens When a Single Art Project Becomes a Decades-Long Obsession?,"] ''The New York Times'', September 18, 2018. Retrieved January 27, 2022.</ref><ref name="BQ21">Beachy-Quick, Dan. [https://www.artforum.com/slant/dan-beachy-quick-on-charles-ross-s-star-axis-87061 "Cosmic Dancer: Dan Beachy-Quick on Charles Ross’s Star Axis,"] ''Artforum'', October 28, 2021. Retrieved June 10, 2022.</ref> 

Michael Heizer in 2022 completed his work on ''[[City (artwork)|City]]'', and James Turrell continues to work on the ''[[Roden Crater]]'' project. In most respects, "land art" has become part of mainstream [[public art]] and in many cases the term "land art" is misused to label any kind of art in nature even though conceptually not related to the [[avant-garde]] works by the pioneers of land art.

The Earth art of the 1960s were sometimes reminiscent of much older land works, such as [[Stonehenge]], the [[Pyramids]], [[Mound Builders|Native American mounds]], the [[Nazca Lines|Nazca Lines in Peru]], [[Carnac stones]], and [[List of burial mounds in the United States|Native American burial grounds]], and often evoked the spirituality of such archeological sites.<ref name="Micucci" /><ref name="Dempsey" />