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Pioneered in U.S., and international, mid-160s
Site-specific or Environmental art refers to an artist’s intervention in a specific locale, creating a work that is integrated with its surroundings and that explores its relationship to the topography of its locale, whether indoors or out, urban, desert, marine, or otherwise. In its largest sense it applies to a work made by an artist in the landscape, either by radically manipulating the terrain in a remote area to produce an “earthwork” (such as Robert Smithson’s Spiral Jetty) or by creating ephemeral or removable tableaux along particular pathways so that the terrain is not permanently altered (Richard Long’s circles or lines of stones, Christo’s fabric walls or umbrellas). Other artists known for such work include Walter De Maria, Michael Heizer, Nancy Holt, Mary Miss, Robert Morris, Dennis Oppenheim, and James Turrell. The term also applies to an environmental installation or sculpture created especially for a particular gallery space or public site, by such artists as Joseph Beuys, Daniel Buren, Dan Flavin, Joseph Kosuth, Jannis Kounellis, Mario Merz, Claes Oldenburg, and many others. No matter which approach an artist takes, Site-specific art is meant to become part of its locale, and to restructure the viewer’s conceptual and perceptual experience of that locale through the artist’s intervention.
“The world has changed less since the time of Jesus Christ than it has in the last thirty years.”
Charles Peguy 11
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This is to provide students with a critical springboard for viewing and understanding contemporary art practices. You will recognise the importance of the explicit knowledge learnt in the first half of the case study (Order Modernism). The reference to chaos is fitting in terms of the forceful shift in aesthetic brought about in postmodernity. With the development of new theories and technologies a new system of codes and conventions inhabits contemporary society. This part of the article attempts to go beyond the rhetoric of particular artistic strategies such as “appropriation” “stylistic quotation” and “irony”. It is an attempt to trace the genealogy of both modern and postmodern practices by revealing possible sites of investigation through the use of the frames.
Both movements and classification used in catalogues, periodicals and textbooks will be used to map out trends within art practice.
“ ...To think the expanded field was felt by a number of artists...(they) had entered a situation, the logical conditions can no longer be described as modernist. In order to name this historical rapture and the structural transformation of the cultural field that characterises it, one must have recourse to another term. The one already in use in other areas of criticism is postmodernism”
Rosalind Krauss. p87 The Originality of Avant-Garde.
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