"Wrapped Trees." Christo and Jeanne-Claude.

Christo and Jeanne-Claude worked for 32 years to make this installment. After being denied in Missouri for the project in 1969, but had it in Switzerland instead, near the German border, from 1997 to 1998. They refuse to accept sponsorship for any of their works and fund their own projects, this one being no different. The bags were made from the same material the Japanese use to keep trees warm in the winter, and the materials were recycled after the project was done.

Christo, 2015. Web. <http://christojeanneclaude.net/projects/wrapped-trees#.Vjk6W6Q4Kd5>

 

 

Long, Richard. "Small White Pebble Circles 1987." TATE.org.

Richard Long sought to create a sense of balance. This was not his first time using this pattern. Since 1967, he has built these from plywood to large stones, still following the circular pattern. The works are about man and his interaction with nature. Human's abstract ideas versus the form of nature using simple materials that you can find anywhere.

Tate.org, Oct. 2001. Web. 2015. <http://www.tate.org.uk/art/artworks/long-small-white-pebble-circles-t07160>.

 

 

Molinaro, Mary. Art Documentation: Journal of the Art Libraries Society of North America

Turrell was admitted to the University of California graduate program, which is when he began to experiment with light. His workspace became more than his workspace, but an actual work of art, cutting off light sources, turning the space white, experimenting with color and light and sound on the perception of space.

10.3(1991): 157–157. Web...

 

 

Deitsch, Dina. “Maya Lin's Perpetual Landscapes and Storm King Wavefield”. Woman's Art Journal

Maya Lin has been experimenting with earth art for years, beginning with her most notable Vietnam Veterans Memorial, which she envisioned to be like a cut from the earth. The Wave Fields series was influenced by a photograph of frozen waves in time. She was highly influenced also by the Spiral Jetty

by Robert Smithson, and sought to use the Stormking Wave Field to reclaim nature, which remained a theme through her work.

30.1(2009): 3–10. Web...

 

 

Campagnolo, Kathleen Merrill. “Spiral Jetty Through the Camera's Eye”. Archives of American Art Journal

The Spiral Jetty was the unofficial beginning og the theory of earth works. It took three years to complete and was documented photographically by Gianfranco Gorgoni, which allowed him to experiment in Site-Nonsite dialectic, which uses maps and photographs to make representations of the site itself. The Spiral Jetty shortly disappeared after it's creation, making the nonsite the most accesible way to the site and the work itself.

47.1/2 (2008): 16–23. Web...   

 

 

Hobbs, Robert. “Earthworks: Past and Present”. Art Journal

Art has gone more mathematical and analytical, but artists have ventured into earth works, giving them living and moving parts, making them capable of change and growth, even some reclaiming that earth. Turrell and Scully are more like engineers in how they make their art, but the hope for these interactive art structures will be regarded more as art.

42.3(1982): 191–194. Web...

 

 

GINSBURGH, V., and A.-F. PENDERS. “Land Artists and Art Markets”. Journal of Cultural Economics

Land art began in the sixties and with people like Smithson and Oppenheim who made site specific art, which makes them hard to market or sell or even display, making it a difficult movement to sell. The sketches and photographs of the art became what was readily sold and displayed in museums, which wasn't really seen as art by the original artist. Selling the art was difficult, but artists like Christo and Openheim easily sold their art through auction. The difficulty of selling the Land Art at markets suggest that they were not for sale, but to avoid markets. They are pure and are to be free from galleries or markets in the traditional sense.

21.3(1997): 219–228. Web...

 

 

Beardsley, John. “Traditional Aspects of New Land Art”. Art Journal

Land Art was not made to be sold or displayed in a gallery. No, instead, they were about the conversation between man and nature, much like Smithson's Spiral Jetty. Some require certain factors in be in place to happen, like De Maria's Lightning Field, which doesn't give the full effect, making it a circumstantial piece. Or artist's, like Knight, that uses aesthetics to mostly make the art to give both a poetic and surreal feel to the landscape. All Land Art seeks to be picturesque, to reflect the landscape, and to evoke emotion. The art is about discovery and not about invention, according to Pierce, this reflects the emblems of change this art looks for.

42.3 (1982): 226–232. Web...    

 

 

Hogue, Martin. “The Site as Project: Lessons from Land Art and Conceptual Art”. Journal of Architectural Education (1984-)

Land Art challenged the preconceptions about architecture and art. Smithson insisted with his nonsites, that the work in the gallery was just a representation, and that the site where his project was is the actual art. The site of the work is more than the meaning behind the site, but the actual physical site itself. Burns, by clearing land, insisted that it's the premeditation of creation, enough to bring forward the meaning. Richard Long made it more abstract by performing these works, walking the sites, and using certain conditions to inform the work. This gives meaning to the walk itself, and also makes it hard to be represented in a gallery physically, but only with a map and directions. Turrell used the Roden Crater to control the light and pieces of the sky seen from the crater and surround area. This control of the sky combats the idea of the site being the work itself. De Maria's work is confined to an area, but is only truly experienced when lightning strikes, so it is rarely experienced the way it was intended. The work is the place. The work is the experience of the place itself.

57.3 (2004): 54–61. Web.

 

 

Beveridge, Patrick. “Color Perception and the Art of James Turrell”. Leonardo

Turrell began early on studying the effects of light on environment. By positioning lights, having moving partitions, and even removing parts of walls and ceilings, he sought after a certain affect with each experimentation. His most famous being the Ganzfield works, which were brightly projected shapes on dark walls that allowed for the illusion of the shapes being removed from the wall, and the light source coming from elsewhere. These kinds of disconcerting affects of altering the environment with light is what became his forte and his life's work.

33.4(2000): 305–313. Web...

 

 

Walker, Stephen. “Gordon Matta-clark: Drawing on Architecture”. Grey Room 
Matta-Clark began with a property he purchased in Queens deemed "inaccessible." The idea of a space being created only to be space that cannot be used fascinated him. He challenged the conventional word of "useful" and "waste" by displaying these "useless" properties near their "useful" neighbors, giving new meaning to the spaces, and bringing them the connotation of useful, though to an unknown purpose. He had these spaces given a random arrangement showing concrete evidence of their existence, but no real purpose as to why, but giving them life gave them meaning in Reality Properties:Fake Estates. He plays with space as a concept with Splitting, slicing a house in two, causing the individual to think of the house both vertically and horizontally. He used photographs with space, to try to bring an all over view of one area, giving it a different context, which shows the whole, but dissects it. Human activity and the production of space was always directly related for Matta-Clark, and he used his art to convey those truths.

18 (2004): 108–131. Web...

 

 

Beasley, Sandra. “RAISE HIGH THE ROOF”. The American Scholar

Goldsworthy sought to make his work Roof in the nation's capital after spending nine days in an abandoned quarry, where he collected the stones of Virginia slate to make this piece of nine dome structures. These pieces were inspired by the little sculptures he made of leaves, twigs, and icicles on the Goverment Island in Stafford, Virginia, and knowing they were temporary, designed these structures much the same way, to not last.

74.2(2005): 16–17. Web...