In the early 1960s some artists abandoned the wall, the gallery and the museum for altering the landscape outside. That's what human beings had done to the Earth for millennia-left their mark, indelible or not. This may signal ownership, dominance, or an attempt to connect or infuse nature's power into the human creature. Or it may be a form of creative play, now augmented by machines. However, a question arises these days about how environmentally aware and conscientious are land- or Earth artists? Four major figures and four key works help us assess the evolving role of environmental consciousness in Earth art. And two recent events in Los Angeles prompt me to make such an assessment: the installation of Michael Heizer's rock, Levitating Mass, at the Los Angeles County Museum of Art, and a complementary retrospective, Ends of the Earth: Land Art to 1974 at the Los Angeles Museum of Contemporary Art (MOCA). In this and the following three issues of American Scientist I explore these works and attempt to answer that question. [from article]
...MoreDescription On the impact of environmentally aware land and Earth artists upon scientific and popular culture during the 1970s.
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La civiltà delle acque tra Medioevo e Quattrocento
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Dean, Dennis R.;
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Romantic Landscapes: Geology and Its Cultural Influence in Britain, 1765--1835
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Narin Hassan;
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“A Perfect World of Wonders”: Marianne North and the Pleasures and Pursuits of Botany
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Jeff Spencer;
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Cultural Sustainability: Industrialism, Placelessness, and the Re-animation of Place
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Under the Lawn: Engaging the Water Cycle
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Hagen, Joel B.;
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Teaching Ecology during the Environmental Age, 1965--1980
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Deadly Dingoes: “Wild” or Simply Requiring “Due Process”?
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