Monumenti di paesaggio
DOI:
https://doi.org/10.13136/2281-4582/2018.i11.329Keywords:
photography, Land Art, landscapeAbstract
Land Art is one of the art avant-gardes that had its most prominent development in the United States (1967/8). Land artists share many elements in common, but mainly they are identified by their use of natural materials and their site-specific installations which take shape in remote locations, far from urban centers. It is a revolution that means to take art out of its industrial interpretation as a commodity object, in order to propose a revaluation of the spiritual essence of artistic practices, rejecting the system of traditional galleries. Photographic documentation has played a fundamental role for Land Art works. The camera has carried out the task of witnessing the existence of those temporary works by recording objects and events that did not arise for a specific audience, but were to be understood as "temporary monuments" (Robert Smithson) suitable for interpreting the complex weaving of those vast deserted areas. Through the photographic image the precarious integration between art and nature took form. My contribution will analyze the key role of photography with relation to some significant installations of Land Art, in order to highlight its substantial role as an art form that produced monuments out of the American landscape, recovering the etymological origin of the word landscape itself: "landschap", a word born with the Dutch landscape painters (1598).References
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Boetzkes, Armanda. The Ethics of Earth Art. Minnesota: University of Minnesota Press, 2010.
Brown, Julia, a cura di. Michael Heizer: Sculpture in Reverse. Los Angeles: The Museum of Contemporary Art, 1984.
Burke, Edmund. “A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful.” The Philosophy of Edmund Burke: A Selection of his Speeches and Writings. A cura di Louis I. Dredvold e Ralph G. Ross. Ann Arbor, Michigan: University of Michigan Press, 1967. 256-57.
Capasso, Angelo. Opere d’arte a parole. Roma: Meltemi, 2007.
Celant, Germano, a cura di. Walter De Maria. Milano: Fondazione Prada, 1999.
Celant, Germano. Dennis Oppenheim. Milano: Charta, 1997.
Cummings, Paul, a cura di. “Oral History: Interview with Walter De Maria.” 4 ottobre, 1972. Archives of American Art / Smithsonian Institution. www.aaa.si.edu/collections/interviews/oral-history-interview-walter-de-maria-12362. Visitato il 29 maggio 2018.
De Maria, Walter. “Some Facts, Notes, Data, Information, Statistics and Statements.” Artforum 18:8 (April 1980).
De Kroon, Pieter-Rim e Marteen de Kroon. Dutch Light (Film). 2003.
Greenberg, Clement. “The Camera’s Glass Eye: Review of an Exhibition of Edward Weston.” Clement Greenberg, Collected Essays and Criticism. Vol. 2. A cura di John O’Brian. Chicago: University of Chicago Press, 1986.
Hickey, Dave. “Earthscapes, Landworks and Oz.” Art in America September-October 1971. 45.
Holt, Nancy, a cura di. The Writings of Robert Smithson. New York: New York University Press, 1979.
Jacob, Michael. Il paesaggio. Bologna: Il Mulino, 2009.
Jury, Louise. “Fountain Most Influential Piece of Modern Art.” The Indipendent 2 December 2004. https://www.independent.co.uk/news/uk/this-britain/fountain-most-influential-piece-of-modern-art-673625.html. Visitato il 29 maggio 2018.
Kastner, Jeffrey. The God Effect: An Interview with John Cliett. Cabinet Magazine Online. Summer 2001.
http://www.cabinetmagazine.org/issues/3/god.php. Visitato il 29 maggio 2018.
Marcoci, Roxana. The Original Copy: Photography of Sculpture. 1839 to Today. New York: Museum of Modern Art, 2010.
“Michael Heizer, Dennis Oppeneim, Robert Smithson. Interview with Avalanche.” The Writings of Robert Smithson. A cura di Nancy Holt. New York: New York University Press, 1979. 242-252.
Otto, Rudolf. Il sacro. L’irrazionale nell’idea del divino e la sua relazione al razionale. Milano: Feltrinelli, 1994.
Potts, Alex. “The Minimalist Object and the Photographic Image.” Sculpture and Photography: Envisioning the Third Dimension. A cura di Geraldine A. Johnson. London: Cambridge University Press, 1998. 181-198.
Sharp, Willoughby e William C. Lipke, a cura di. Earth Art. Ithaca: The Andrew Dickson White Museum of Art, Cornell University, 1970.
Smithson, Robert. “The Spiral Jetty.” The Writings of Robert Smithson. A cura di Nancy Holt. New York: New York University Press, 1970. 143-55.
Stein, Ben P. “45 Years Ago: How the 1st Photo of Earth From the Moon Happened.” Space 23 August 2011. www.space.com/12707-earth-photo-moon-nasa-lunar-orbiter-1-anniversary.html. Visitato il 29 maggio 2018.
Stevanin, Federica. Fotografia, film e video nella Land Art. Padova: Cleup, 2017.
Young, La Monte. An Anthology of Chance Operations. New York: La Monte Young & Jackson Mac Low, 1963.
Valentini, Valentina, a cura di. Cominciamenti. Fernsehgalerie Gerry Schum. Taormina: Taormina Arte, 1988.
Verhagen, Erik. Jan Dibbets: The Photographic Work. Paris: Editions du Panama, 2007.
Zevi, Adachiara, a cura di. Sol Le Witt, Testi critici. Roma: Editrice Inonia, 1994.
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2018-06-01
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