Introduction by Bill Gilbert and Kathleen Shields. Essays by Lucy Lippard, William L. Fox, Nancy Marie Mithlo and MaLin Wilson.
196 pp., 70 color illustrations, 11½x10½".
The “land art” movement emerged in the 1970s when some adventurous artists departed the New York gallery scene to make art in the open landscapes of the American West. Some of the most famous examples include Robert Smithson’s Spiral Jetty, James Turrell’s Roden Crater in Arizona, and Walter De Maria’s The Lightning Field in New Mexico. Since then, the land art genre has been subsumed under the more general term “environmental art,” which recognizes that what we now think of as the “environment” has broadened to include the global community, the microscopic world, cyber space and suburban sprawl as well as wilderness and the urban environment. It also includes ecological activism, reclamation and remediation projects, and ephemeral site-specific performances, among many other approaches, all of which have in common art and artists that respond to features of our natural environment.
In the summer and fall of 2009 a group of New Mexico arts organizations are joining together to present LAND/ART, which explores the relationship between land, art, and community through exhibitions, site-specific art works, and lectures. Focusing on “environmental” or “Land” art, the collaboration seeks to address our changing relationship to nature, and to offer a new or previously unconsidered understanding of the places in which we live. This book is the culmination and documentation of the exhibition, and features the work of over 40 artists including Michael Berman, Erika Blumenfeld, David Taylor, Basia Irland, Patrick Dougherty, Catalina Delgado Trunk, and Shelley Niro.