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Gotowe bibliografie tematyczne / Earthworks (sculpture)

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Gotowa bibliografia na temat „Earthworks (sculpture)”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 5 lipca 2025

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Artykuły w czasopismach na temat "Earthworks (sculpture)"

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Orion, Ezra. "Sculpture in the Solar System: From Geologically Based Earthworks to Astro-Sculpture." Leonardo 18, no. 3 (1985): 157. http://dx.doi.org/10.2307/1578045.

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Cruise, Wilma. "On curating Earthworks/Claybodies: an exhibition of ceramic sculpture." de arte 38, no. 68 (2003): 57–58. http://dx.doi.org/10.1080/00043389.2003.11877015.

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홍임실. "Study on Art Administration of Earthworks: Land Reclamation as Sculpture (1979-1982) in King County." Journal of History of Modern Art ll, no. 41 (2017): 67–94. http://dx.doi.org/10.17057/kahoma.2017..41.003.

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Doyle White, Ethan. "Saxon Kent versus Roman London? Presenting Borderland Heritage at the Faesten Dic in Joyden’s Wood, Kent." Offa's Dyke Journal 2 (August 10, 2020): 1. http://dx.doi.org/10.23914/odj.v2i0.272.

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Standing on Kent’s western border with Greater London, the Faesten Dic in Joyden’s Wood is one of Britain’s less-well known linear earthworks. There has been speculation as to its origins since the late nineteenth century, although as of yet no conclusive dating evidence has been revealed. This article reviews the archaeological and historical evidence for the site, before exploring the ways in which the heritage of this earthwork has been presented to the public by the Woodland Trust, a charity which own Joyden’s Wood, focusing on how both information boards and installed sculptures have foregrounded the narrative of the earthwork as a fifth-century defensive barrier between ‘Roman London’ and ‘Saxon Kent.’ This, in turn, has interesting connotations regarding the current administrative divisions between Greater London and Kent.

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Iorga, Rozalia. "Land-Art, Ecologie, Politică şi Societate." Hiperboreea A2, no. 1 (2013): 15–27. http://dx.doi.org/10.5325/hiperboreea.2.1.0015.

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Abstract The Land-Art was integrated to Postmodernism by the most art historians, having as arguments the important affinities presented by the two artistic phenomena, both at the expressing modalities level but, especially, at the level of principles and, of the ideological sphere. The Postmodernism intended, as it is well-known, to parody or to interpret, in a proper way, a cultural tradition whose authority had become disturbing the Land-Art also started an innovating programme in the 60s -70s of the 20th century, through which the millenary art of the landscape was questionable, trying this way, a new and radical art-like approach of nature. The Art-Land was given various other names, syntagms which points out the work modalities or the materials used in the creation art: “Sociological Art”, “Earth Art”, “Works Art”, “Environmental Art”, “Earthworks”, “The Art of Landscape”, “The Sculpture of Landscape”, “The Walking Art”. The Land Art borrowed, in a great measure, the own means of expression of other tendencies which were performing on the artistic stage in the same time, such as the technique of installation, some of the principles experienced by Process-Art, by the Environmental Art or by Happening. The most representative land artists knew to integrate all the borrowings to a new vision, an original one, which, for the first time, was turning the nature into the support of the artistic creation. Apart from the point of view through which the Land Art is understood as an integral part of Postmodernism, there are also opinions, supported by well-known specialists, through which the Modernism of the 60s from the past century is seen as a possible origin of the Land-Art, especially if we have in mind the works of some great modern artists, such as Henry Moore, Robert Morris, Anthony Caro, Yves Klein and Tony Smith. Land Art presents two different ways of demonstration, hostile from the point of view of attitude towards nature and public: on the one hand some of the land artists look for the privacy of the act of artistic creation in the natural environment (one example this way is Richard Long), others, on the contrary, are guided by an art with clear social implications (e.g. the typical case of Christo). The ecological position of the tendency is underlined by the artists ' spokesman, Robert Smithson, who thinks that it should be adopted a committed, fighting attitude, pragmatically sheltered itself towards future.

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Taylor, Kristin Vanderlip. "Building school community through cross-grade collaborations in art." International Journal of Education Through Art 16, no. 3 (2020): 351–70. http://dx.doi.org/10.1386/eta_00038_1.

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This qualitative study examines multiple collaborative art experiences across ages and classrooms during two years at a suburban public school in one of the largest school districts in the United States. Students in two middle-school elective art courses engaged in contemporary art education projects to strengthen visual and verbal communication skills as they partnered with younger peers in primary grades, including the following activities: collaborative earthworks, toy designs and mixed-up animal sculptures. These multi-age socially-constructive art experiences provided students with opportunities to build community across campus while interacting with each other and the artwork co-created. Observations and noted responses via reflection from students indicated positive impact on both communication and collaboration through bidirectional teaching and learning, with students in each age group requesting more opportunities for cross-grade collaborative experiences.

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Rozprawy doktorskie na temat "Earthworks (sculpture)"

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Martin, Timothy Daniel. "Robert Smithson : writings, sculptures, earthworks." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324920.

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Moos, Sarah. "Analyzing the interconnectedness between space, place, and human interaction with the natural environment: "Ecological reawakening: Organic DNA and evolution"." Scripps College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,51.

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I have organized this paper into four chapters: "The Environmental Situation," "Space and Place," "Art and the Natural Environment," and "Creating Work of My Own." Chapter 1 explains human beings' intrinsic interconnection to the natural environment, outlining why humans should be concerned about the current degraded state of the natural world. Chapter 2 discusses the concepts of space and place. It analyzes how human beings interact with and experience spaces, developing their sense of place - within physical, theoretical, and spiritual realms. It finally illustrates the importance that spaces and places have in humans' lives. Chapter 3 describes the Land Art phenomenon: its development, the different forms within it, and artists producing Land Artworks. The forms and artists included are those that have been inspirational for the development of my own work. It also emphasizes Land Art as a fundamental form for improving humans' relationship with the natural environment and the new realm of eco-feminism that resonates with Land Art ideals. Chapter 4 recounts the development of my art throughout my college career. It describes my work as site-specific, sculptural installations that use natural materials. It also states why this format is the most effective for my senior art thesis project. Focusing mainly on "Ecological Reawakening: organic DNA," it explains the mentality in designing, creating, installing, and completing the work. Overall, Chapter 4 emphasizes the work's two main goals: to demonstrate a new avenue for comprehending humankind's place within earth's environmental spaces, and to advocate for an environmental paradigm shift during the twenty-first century. Finally, Chapter 5 describes the transformation of "Ecological Reawakening: organic DNA" as it developed over time during the spring honors senior thesis course. It details my mentalities in adding living plant matter to the structure, incorporating a stool into the piece, and creating "Evolution," the digital photography composition that documents "Ecological Reawakening" and was included in the Scripps Senior Art Exhibition in the Ruth Chandler Williamson Gallery from May 1 – May 17, 2009.

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Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /." Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.

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Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.<br>Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.

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Książki na temat "Earthworks (sculpture)"

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Nucera, Marc. À l'écoute des arbres. Actes sud, 2009.

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L, Reinhardt Debra, and Goell Suzanne, eds. Laumeier Sculpture Park: Perfect unity--sculptors and living forms : works in progress, 1990-1994. Laumeier Sculpture Park, 1992.

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Nelson, Felix, Naves, Rodrigo, 1955- compiler, writer of added text, Palhares, Taisa Helena P., writer of added text, Perrota-Bosch, Francesco, writer of added text, and São Paulo (Brazil : State). Pinacoteca do Estado, eds. Nelson Felix: Ooco. Pinacoteca do Estado, 2015.

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Glória, Ferreira, Salzstein Sônia, and Brissac Nelson, eds. Nelson Felix. Editora Casa da Palavra, 2001.

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editor, Facchini Luciana, ed. Nelson Felix: Berceuse. WMF Martins Fontes, 2020.

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Studio, Ensamble. Architecture of the Earth: Daichi no kenchiku. TOTO Publishing, 2021.

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Felix, Nelson. Nelson Felix: Camiri. Museu Vale do Rio Doce, 2006.

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Erwan, Le Bourdonnec, ed. Ciel - piege - pieces, Erwan Le Bourdonnec. Lienart Ed., 2010.

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Park, Laumeier Sculpture, ed. Perfect unity: Sculptors and living forms, 1990-1994. Laumeier Sculpture Park and Museum, 1996.

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Beardsley, John. Earthworks and beyond: Contemporary art in the landscape. 3rd ed. Abbeville Press, 1998.

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Części książek na temat "Earthworks (sculpture)"

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"8. Monumental Sculpture in the Wilderness." In Earthworks. University of California Press, 2002. http://dx.doi.org/10.1525/9780520407961-008.

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"2. The Ground of Earthen Sculpture." In Earthworks. University of California Press, 2002. http://dx.doi.org/10.1525/9780520407961-002.

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Pashman, Susan. "Landscape, Earthworks, and Site-Specific Sculpture." In A Walk in the Park: Kinesthesia in the Arts of Landscape. BRILL, 2024. http://dx.doi.org/10.1163/9789004697591_030.

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Renfrew, Colin. "Sculpture as Landscape: Archaeology and the Englishness of Henry Moore." In Communities and Connections. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199230341.003.0027.

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The interplay in English thought between archaeology and landscape has been a long-standing one. Even before the notion of ‘landscape’ was well defined as an artistic genre, antiquaries like John Leland became topographers, and topographers such as William Camden became antiquaries. Stuart Piggott was one of the twentieth century archaeologists acutely aware of these links, well analysed in his Ruins in a Landscape (1976), and Barry Cunliffe has certainly been another. Like Piggott, he is a graphic artist of distinction himself, often preferring to draw his own plans and sections for his final excavation reports. As an able illustrator he has taken special pleasure in the work of another notable Wessex countryman, topographer and archaeologist, Heywood Sumner. Born in Hampshire, Sumner (1853–1940) became first an artist and then, on his retirement, a Weld archaeologist. The publication by Cunliffe (1985) of Heywood Sumner’s Wessex reflects again this enduring sympathy between the Weld archaeologist and the artist sensitive to the earthworks and the rolling contours of the English countryside. Sumner was not a great artist, nor did his work add significantly to the development of British archaeology, yet he captured a quality in his archaeological illustrations and in his vision of the earthworks of Wessex which looks back to those earlier antiquaries, Stukeley and Colt Hoare, and forward to such consummate artists of the English landscape as Paul Nash and Henry Moore. He was also a close friend of another significant Weld archaeologist, noted lover of the landscape and pioneer of landscape archaeology, O. G. S. Crawford. Barry Cunliffe, an internationally celebrated figure who has initiated several significant Weld projects overseas, has likewise undertaken some of his most distinguished work in Wessex, from Fishbourne to Hengistbury Head, and in the landscape of Wessex, most notably at Danebury. His treatment of Sumner’s work, for instance in his chapter ‘Landscape with people’, shows great sympathy with the human scale of the English landscape, a quality which is also an important feature in the work of Henry Moore. To regard a sculptor as a landscape artist as I have done in this paper, would, until recently, have seemed rather paradoxical. For it is true that the ostensible subject of most of Moore’s sculptures was the human figure.

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