![\"Bildschirmfoto](\"http:\/\/archiv.artsafiental.ch\/wp-content\/uploads\/2016\/03\/Bildschirmfoto-2015-12-30-um-22.33.30.png\")
Robert Smithson: Spiral Jetty, 1970 (Great Salt Lake, Utah)<\/em><\/p>\nLand Art began as an American phenomenon, represented by artists such as Michael Heizer, Nancy Holt, Robert Smithson, and Walther De Maria, only later spreading to Great Britain and continental Europe. As a way of avoiding traditional painting or sculpture, Land artists turned to the medium of landscape, replacing canvas for the earth and exploring caterpillars and bulldozers as artistic tools. Unlike its direct predecessor Arte Povera and Minimalism, Land Art privileged natural habitat rather than the space of a conventional gallery. These early artworks \u2014 trenches, mounds, rocks, and excavations \u2014 demanded an open space and sense of scale unachievable in the city.<\/p>\n
While Land artists understood themselves as explorers, remote, vast landscapes of American deserts became sites of their art, questioning the established perceptions of locality, objecthood, density, mass, and scale. Both historic and present Land Art engages with the understanding of landscape not only as the earth\u2019s physicality but also with the physiology and psychology of the viewer\u2014a beholder and participant. (Text: Hanna H\u00f6lling)<\/p>\n Literature: <\/p>","protected":false},"excerpt":{"rendered":" Land Art What is Land Art? Named interchangeably Earthworks, Earth Art and Land Art, in the 1960s and 70s, there emerged an aggregation of novel artistic practices keyed to the natural landscape. Located outside the mainstream art making and institutions, these practices challenged the ideas associated with art making, aesthetic categories and location. Robert Smithson: […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":6,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-26","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/pages\/26","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/comments?post=26"}],"version-history":[{"count":17,"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/pages\/26\/revisions"}],"predecessor-version":[{"id":1712,"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/pages\/26\/revisions\/1712"}],"up":[{"embeddable":true,"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/pages\/6"}],"wp:attachment":[{"href":"http:\/\/archiv.artsafiental.ch\/en\/wp-json\/wp\/v2\/media?parent=26"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Bildschirmfoto](\"http:\/\/archiv.artsafiental.ch\/wp-content\/uploads\/2016\/03\/Bildschirmfoto-2016-03-09-um-02.52.33.png\")
Richard Long: Sculpture, England, 1968<\/em><\/p>\n
\n– John Beardsley,\u00a0Earthworks and Beyond: Contemporary Art in the Landscape<\/em>.\u00a0Abbeville Press, New York, 1998.
\n– Philipp Kaiser and Miwon Kwon, Ends of the Earth: Land Art to 1974<\/em>, Prestel M\u00fcnchen, 2012.
\n– Jeffrey Kastner and Brian Wallis,\u00a0Land and Environmental Art,\u00a0<\/em>Phaidon, Boston, 1998.
\n– Michael Lailach,\u00a0Land Art,\u00a0<\/em>Taschen Verlag, K\u00f6ln, 2007.
\n– Gilles A. Tiberghien,\u00a0Land Art,<\/em>\u00a0Princeton Architectural Press, New York, 1995.
\n– Land Art @ Tate online resources<\/a><\/p>\n![\"Signer\"](\"http:\/\/archiv.artsafiental.ch\/wp-content\/uploads\/2016\/03\/Signer.png\")
Roman Signer: Haus mit Raketen, 1981 (Gonten, Appenzell)<\/em><\/p>\n