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Long before the invention of the term art, ancient cultures have been using land, wildlife and earthworks to accomplish their various cult ideas, to express their understanding of the world and to control their spiritual beliefs. In a world we are now, we have to approach the limits of misconception and real life by respecting physical boundaries and perceptions of time and space brought into question. There is so much to share within the limitations and possibilities of our experiences, combining incisive critique with redemptive strategies.

“A bleached and fractured world surrounds the artist. To organize this mess of corrosion into patterns, grids and subdivisions is an aesthetic process that has scarcely been touched.”[5] Robert Smithson

Some of the key notions of Land Art aesthetic:

Commitment to the outside space and time

The state of collapse of suspended (in) time

Repairing of inexperienced feelings

Comprehending (perceiving) of inexplicable

Preliminary sense of control

Deep sense of luck of control

Importance and acceptance of failures

Intensity of the inside quite

INTRODUCTION

Short history of the very beginning

According to early accounts, the whole Land Art movement was a scrappy and faddish set of pranks carried out by a small group of self-described nature nuts, writes Jacob Bronowki in Land and Environmental Art.

That was the time of Vietnam War, of dissatisfaction with current social systems, of civil rights marches, the essential crisis of faith in Western politics and reconsiderations of well established institutions.

Well recognised artists who were socially active and aware of the importance of spiritual regeneration, environmental issues, alternative lifestyles, scientific intervention wi...

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...work entirely depend on changes of seasons of the year and weather conditions could play a big impact on ..

Land Art movement is setting new parameters in art production and reception, changing our common perception and participation, putting emphasis on site-specific outdoor work, using the earth as canvas. Working within the landscape, spectacular earthen sculptures of gigantic proportions has been left as significant traces in the deserted landscapes of America, some of which are still in the process of completion today.

Aesthetic innovations.

“Some of the controversies generated by the massive earthworks of Smithson and Heizer were addressed in quite different forms of ecological art by artists who focused on such natural forces as light energy, growth and gravity. In these works there was no earth moving, there were no scars on the land.” Brian Wallis