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Robert Morris, Observatorium, Netherlands. The growth of environmental art as a "movement" began in the late 1960s and early 1970s. In its early phases it was most associated with sculpture—especially Site-specific art, Land art and Arte povera—having arisen out of mounting criticism of traditional sculptural forms and practices that were increasingly seen as outmoded and potentially out ...
Environmental sculpture is sculpture that creates or alters the environment for the viewer, as opposed to presenting itself figurally or monumentally before the viewer. A frequent trait of larger environmental sculptures is that one can actually enter or pass through the sculpture and be partially or completely surrounded by it.
Public art is art in any media whose form, function and meaning are created for the general public through a public process. It is a specific art genre [1] with its own professional and critical discourse. Public art is visually and physically accessible to the public; it is installed in public space in both outdoor and indoor settings.
The term "arts-based environmental education" (AEE) was first coined by Finnish art educator Meri-Helga Mantere in the 1990s. Mantere describes AEE as a form of learning that aims to develop environmental understanding and responsibility “by becoming more receptive to sense perceptions and observations and by using artistic methods to express personal environmental experiences and thoughts ...
Ecological art is an art genre and artistic practice that seeks to preserve, remediate and/or vitalize the life forms, resources and ecology of Earth. Ecological art practitioners do this by applying the principles of ecosystems to living species and their habitats throughout the lithosphere, atmosphere, biosphere, and hydrosphere, including wilderness, rural, suburban and urban locations.
Land art, variously known as Earth art, environmental art, and Earthworks, is an art movement that emerged in the 1960s and 1970s, [1] largely associated with Great Britain and the United States [2] [3] [4] but that also includes examples from many countries. As a trend, "land art" expanded boundaries of art by the materials used and the siting ...
Sustainable art adopts, according to these authors, a critical position towards some key practitioners in the land art movement of the 1960s, who showed little concern for the environmental consequences of treating the landscape like a giant canvas with a bulldozer for a brush. [4]
James Wille Faust's The Herron Arch 1 in the IUPUI Public Art Collection. In 2009, the IUPUI Public Art Collection added four new sculptures lent by the Indianapolis Museum of Art: Sasson Soffer’s East Gate/West Gate (1973), Will Horwitt’s Spaces with Iron (1972), Shan Zou Zhou’s Portrait of History (1997), and John Francis Torreano’s Mega-Gem (1989).