Final Project: Foundations, Thoughts, Inspirations

When I first began thinking about what to do for my final project, I wasn't sure exactly as to what type of mode of artwork or motif of earth art to pursue. I did know that I was hoping to continue along with the pseudo sub-theme of my blog, conservation environmentalism. Aside from that, I remembered that it was requested that we put a lot of personal emphasis into our piece as well, highlighting aspects of our lives that would be reflective of us in some manner. Being sort of lost, but keeping these ideas in mind, I flipped through the Lucy Lippard's Overlay text to see what forms and inspirations some of the artists she had highlighted. Randomly flipping through, I stopped at a page that had what looked like large X's etched into the land, as well as to find Richard Long, a familiar name we've discussed attached to two of the works. One of the pieces was similar to the one we talked about earlier in class, where Long had taken a picture of a path he'd created in the grass simply by walking it up and down. This I found interesting, because as we had discussed in class, a lot of Long's work dealt with creating in nature, as well as leaving in nature, followed by a documentation of the work (which he would illustrate in galleries). Keeping this idea in mind, I peddled on with the project planning.


Upon returning to my neighborhood, it came to my attention that the large forest surrouding the area (the woodland my neighborhood is named for) had actually been cleared earlier in the year. It was a significant strike to me personally, because the woods behind our neighborhood used to be a place where I'd go play and hang out with the other neighborhood kids. It was one of those places where you'd go to, spend the entire afternoon playing, only to come home to infuriated parents who wanted to know where you had been all that time. Needless to say, I was pretty bummed to find instead of a dense thicket, a paved emergency driveway into what was going to be developed into another branch of suburbia. After scouting the cleared land, I had noticed that a lot of wild grass had grown up, but most of the soil remained soft from the recent upheaval of the trees. The newly paved roads cutting through the land were jet-black, and connected to unpaved stone driveways for land-lots that weren't selling; considering our economic state, and the sluggish housing market, some smart-ass made the wrong choice of building a new sub-division. Anyways, I figured this would be the perfect site to create a piece that would pay homage to the great land I used to venture out during my childhood.


The idea of using the religious symbol of the Cross came to me as a reflex of my Christian upbringing/beliefs. I felt it would be an appropriate way to honor the land because the cross is an important symbol you find at almost any Christian funeral or grave. The idea of the grass flattening came from what I had seen from Long, Dennis Oppenheim, and Robert Morris in the "Feminism and Prehistory" section of Overlay. I decided to fashion a few other Crosses to give a sort of transitioning effect where I wanted to portray going from the actual land, to the deadwood belonging to the forest that had been removed, to actual pieces of construction that I placed in the construction area (which I felt was where the point of complete disconnection with the land could be illustrated). Furthermore, after being inspired by seeing Brad's Site Seer piece, I felt pictures in video would be an effective medium. Also, I felt that the pictures needed some sort of supplement to generate the solemn tone I wanted the project to have. The song by The Album Leaf was an old track I had and thought could provide that, as well as the "glue" (for lack of a better term) to tie the project together. I left the pieces standing, and have not had the chance to see get an update on how they were fairing, but it's something I plan on doing when I return for the holidays. I hope you all enjoyed it and if you have any questions please feel free to ask!

For Magruder

Here's my final piece titled, For Magruder. Background and research information to follow soon. I plan on uploading this to YouTube so you guys can get a bigger view of it, but for now, enjoy the show.

Early American Photographer documents Earth Art

Ansel Adams (1902-1984) was a famous American photographer, renowned not only for his prints, but also his environmental conscious attitude. His pictures of the American West and Yosemite National Park are among the most famous documenting the contents of nature. Adams often focused on the landscape of the land, however, he did also snap a few close ups that resonate some of the works we've recently seen.

Petroglyphs, Monument Valley, Utah 1958


He often documented with his photographs, as seen with the ancient writings above, however in some instances, he became the artist as seen to the right.

Rose and Driftwood, San Francisco, California, 1932

Blog Post Interlude: Plans for the Finale

So, I suppose some of you may have noticed that a lot of I have put up center an environmentalist perspective. I honestly can say that I did not plan out that my selections would strictly come from that point of view, but I think unlike the artists, like those we've studied in Overlay, focus on revitalizing or reinterpreting ancient themes, perspectives, and events in their contemporary works, whenever I think of nature, I tend to think of it in a more literal sense, which leads me into more contemporary themes concerning the environment. I don't think of it as something I do on purpose, but I naturally associate idea of preservation when the outdoor world comes to mind.


With that, I worked on my project over the break and found myself again stressing a topic that concerning developments that affected an ecosystem. I'll be studying away through the text to find a few instances where perhaps an artists may have used a work to represent a political statement, or concern of the ancient world. As I do recall, there are a few who might fit the bill. Stay tuned kids.

The Spires of the Presidio

I hate to do so many posts on this artist, but it turns out that despite my recent posts regarding Andy Goldsworthy, I did not notice that some of his most recent work was featured in the New York Times (early November). The Presidio Forest, found in San Francisco, originally a Spanish fort during the late 18th century, was taken over by the US Army in the mid 1800's, eventually becoming a federally sanctioned park. Although the Presidio is a maintained public forest, the forest is ecologically plagued by deteriorating cypress, eucalyptus, and pine trees--a plan is now underway to replant 25,000 trees among 150 acres for the next 30 years. Goldsworthy came into play after drawing inspiration from the spires of old churches and buildings, two of which can be seen from the Presidio in San Francisco. The Spire was creating by pressing about 40 of the dying Montery cypress logs together, creating a single trunk like spike spanning nearly 100 feet in height. Goldsworthy noted in the article that his intention was to build something that for now, may be an extroverted site in the Presidio, but overtime with the reforestation project, will become overrun by the rest of the trees surround the "Inspiration Point Outlook" as the site has been named.

This is a common theme we have discussed, with the ability of nature to take over what once was placed by an artist. For more information, click here. There are also some other great pictures on Flickr, if you just search "Presidio Forest Spires." CHECK IT OUT!

"Photographs Become Artifacts"--

Also, I meant to mention as a comment to Brad's discussion about the vitality of works in nature--

As mentioned in class, a lot of interest can further generate about a piece that the artist has chosen to allow nature to reclaim. Goldsworthy acknowledges this idea, and relates to the idea that Photographs become artifacts idea discussed earlier as well. A quote from Goldsworthy illustrates this:

Each work grows, stays, decays – integral parts of a cycle which the photograph shows at its heights, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expressed in the image. Process and decay are implicit.

Photo: Rowan leaves laid around a hole, Yorkshire Sculpture Park, 1987

An Art Novice's Question: Message Necessary or Not?

After my last post about the quirky rock piece by Ed, I was inspired to research art that did not necessarily draw on major philosophical or political themes. I wanted to look up someone that seemed driven to simply produce aesthetic works. With a help of a friend, I was reminded of Andy Goldsworthy, who doesn't necessarily fit the criteria discussed in Overlay (where prehistoric art themes are revisited by a contemporary means). According to my research, Goldsworthy's works, are essentially guided by his relationship with nature. The materials he uses and the types of works he produces he says are governed by the seasons-he uses what nature gives him. I think a good deal of his work comes is inspired by particular attributes of the materials he finds in the wild, such as colors of leaves, or the sharpness of stones. He often seems to sculpt to accentuate that particular characteristic of aspects of nature he finds. I've also found that a lot of his work reflects the repetitive approach we've discussed several times in class. For another example of this, check out the Rowan Leaves


With that, I just wanted to put out to the class if anyone had a comment about Goldsworthy's take on art versus what we've seen in the text. Does his lack of direct reference to prehistoric themes take away from what he produces? I know how it was mentioned in class that some of Goldsworthy's work found its way to the greetings card markets. I myself am new to looking at art in depth, so I'm curious, when do the critics draw the line when it comes to art being marketed like that? Or yet, does credibility to an artist begin to dissipate when the aesthetic values of his or her work begin to become more the focus than the inspiration behind it?

Photo:

Foxglove leaves split down
centre vein laid around hole
Leeds, Yorkshire
October 1977