Environmental sculpture

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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. Also, in the same spirit, it may be designed to generate shadows or reflections, or to color the light in the surrounding area. [1]

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Sculpture as environment

Eberhard Bosslet construction drawing La Restinga II, El Hierro, 1983 Eberhard Bosslet Intervention Bauzeichnung La Restinga II voll El Hierro 1983.jpg
Eberhard Bosslet construction drawing La Restinga II, El Hierro, 1983

Julia M. Bush emphasizes the nonfigurative aspect of such works: "Environmental sculpture is never made to work at exactly human scale, but is sufficiently larger or smaller than scale to avoid confusion with the human image in the eyes of the viewer." [2] Ukrainian-born American sculptor Louise Nevelson is a pioneer of environmental sculpture in this sense. Busch (p. 27) also places the sculptures of Jane Frank, as well as some works by Tony Smith and David Smith, in this category. Some environmental sculpture so encompasses the observer that it verges on architecture.

George Segal, Duane Hanson, Edward Kienholz, Robert Smithson, Christo, and Michael Heizer are well known practitioners of the genre, although Segal and Hanson's work is figural. Many figurative works of George Segal, for example, do qualify as environmental, in that—instead of being displayed on a pedestal as presentations to be gazed upon—they occupy and perturb the setting in which they are placed. A well known instance of this is the pair of Segal figures that sit on and stand next to one of the public benches in New York City's Sheridan Square; anyone can sit amongst them.

A less known but more appropriate example is Athena Tacha's 2-acre (8,100 m2) park Connections in downtown Philadelphia (between 18th St. and 19th St. two blocks north of Vine St.), created as a landscape art environment after her winning a competition in 1980 (where Segal was actually one of the finalists). It was the first park designed entirely by an artist "sculpting the land" with planted terraces, rock clusters and paths (completed in 1992).

Sculpture created for an environment

Lumen Poem, by Jean-Max Albert, 1985 Lumen Poem 1985.jpg
Lumen Poem, by Jean-Max Albert, 1985

A second sense of the term "environmental sculpture", with a somewhat different emphasis, is sculpture created for a particular set of surroundings. Thus, contemporary sculptor Beth Galston writes: "An environmental sculptor plans a piece from the very beginning in relationship to its surroundings. The site is a catalyst, becoming part of the creative process." [3] This is quite different from a Nevelson sculpture, which can usually be moved from place to place, like a conventional sculpture, without losing its meaning and effectiveness.

By Galston's definition, an environmental sculpture is not merely site-specific art as many conventional, figurative, marble monuments were created for specific sites. Galston stresses that environmental sculpture entails the idea that the piece also functions to alter or permeate the existing environment or even to create a new environment in which the viewer is invited to participate: "The finished sculpture and site become one integrated unit, working together to create a unified mood or atmosphere," she writes. [3] Many of the large, site-specific, minimalist sculptures of Richard Serra also qualify as environmental sculpture, in both senses described here. Much of what is called "land art" or "earth art" could also be termed environmental sculpture under this definition. Andrew Rogers and Alan Sonfist are among notable current practitioners of land art.

Since the mid-seventies, French artist Jean-Max Albert worked with trellis structures, deconstructing and re-arranging the elements of surrounding architecture or including the site into the sculpture [4] with Sculptures Bachelard.

Since 1983, German artist Eberhard Bosslet makes interventions on ruins, so-called "Reformations and Side Effects"; he refers to the conditions of industrial and residential buildings by white painted lines or black painted color fields. [5]

In 1999 the artist Elena Paroucheva created her concept for pylons, integrating energy networks with sculptures. [6]

Site-specific art and environmental art

Spiral Jetty by Robert Smithson from atop Rozel Point, in mid-April 2005 Spiral-jetty-from-rozel-point.png
Spiral Jetty by Robert Smithson from atop Rozel Point, in mid-April 2005

The term "site-specific art" is sometimes used interchangeably with "environmental art". Louise Nevelson, for instance is a pioneer American environmental artist with sources disagreeing on classifying her work as "environmental sculpture". The terms "environment sculpture", "site-specific art", and "environmental art" have not yet completely stabilized in their meanings.

A reason for blurred definitions is that much of site-specific and environmental art was created from 1970 on for public spaces all over the United States, sponsored by federal (GSA and NEA) or state and city Percent for Art competitions, and many of the artists were women trying to succeed outside the established art-gallery world. Younger art historians will have to sort out the development of this marginalized "movement" and the importance of artists such as Olga Kisseleva, Patricia Johanson, Athena Tacha, Mary Miss, Alice Adams, Elyn Zimmerman, Merle Temkin and others who, from the early 1970s on, won and executed large outdoor public art commissions with new formal, kinesthetic and social underpinnings. Many of these artists were also ecologically conscious and created works that could offer a further definition of "environmental sculpture": art that is environmentally friendly and cares for the natural environment.

See also

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Related Research Articles

The following outline is provided as an overview of and topical guide to sculpture:

<span class="mw-page-title-main">Installation art</span> Three-dimensional work of art

Installation art is an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called public art, land art or art intervention; however, the boundaries between these terms overlap.

<span class="mw-page-title-main">Land art</span> Art movement of the 1960s and 1970s

Land art, variously known as Earth art, environmental art, and Earthworks, is an art movement that emerged in the 1960s and 1970s, largely associated with Great Britain and the United States but that also includes examples from many countries. As a trend, "land art" expanded boundaries of art by the materials used and the siting of the works. The materials used were often the materials of the Earth, including the soil, rocks, vegetation, and water found on-site, and the sites of the works were often distant from population centers. Though sometimes fairly inaccessible, photo documentation was commonly brought back to the urban art gallery.

<span class="mw-page-title-main">Site-specific art</span> Artwork created for a certain place

Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. Site-specific art is produced both by commercial artists, and independently, and can include some instances of work such as sculpture, stencil graffiti, rock balancing, and other art forms. Installations can be in urban areas, remote natural settings, or underwater.

<span class="mw-page-title-main">Louise Nevelson</span> American sculptor (1899–1988)

Louise Nevelson was an American sculptor known for her monumental, monochromatic, wooden wall pieces and outdoor sculptures. Born in the Poltava Governorate of the Russian Empire, she emigrated with her family to the United States in the early 20th century. Nevelson learned English at school, as she spoke Yiddish at home.

<span class="mw-page-title-main">Storm King Art Center</span> Outdoor museum of sculptures

Storm King Art Center, commonly called Storm King and named for nearby Storm King Mountain, is an open-air museum in New Windsor, New York. It contains perhaps the largest collection of contemporary outdoor sculptures in the United States. Founded in 1960 by Ralph E. Ogden as a museum for Hudson River School paintings, it soon became a major sculpture venue with works from some of the most acclaimed artists of the 20th century. The site covers about 500 acres, and is located about a one-hour drive north of Manhattan.

<span class="mw-page-title-main">George Segal (artist)</span> American painter and sculptor (1924–2000)

George Segal was an American painter and sculptor associated with the pop art movement. He was presented with the United States National Medal of Arts in 1999.

<span class="mw-page-title-main">Sculpture of the United States</span>

The history of sculpture in the United States begins in the 1600s "with the modest efforts of craftsmen who adorned gravestones, Bible boxes, and various utilitarian objects with simple low-relief decorations." American sculpture in its many forms, genres and guises has continuously contributed to the cultural landscape of world art into the 21st century.

<span class="mw-page-title-main">Eberhard Bosslet</span> German contemporary artist

Eberhard Bosslet is a German contemporary artist who has been producing site-specific art and architectural-related works, such as sculpture, installation, light art and painting, all indoors and outdoors, since 1979.

<span class="mw-page-title-main">Environmental art</span> Genre of art engaging nature and ecology

Environmental art is a range of artistic practices encompassing both historical approaches to nature in art and more recent ecological and politically motivated types of works. Environmental art has evolved away from formal concerns, for example monumental earthworks using earth as a sculptural material, towards a deeper relationship to systems, processes and phenomena in relationship to social concerns. Integrated social and ecological approaches developed as an ethical, restorative stance emerged in the 1990s. Over the past ten years environmental art has become a focal point of exhibitions around the world as the social and cultural aspects of climate change come to the forefront.

<span class="mw-page-title-main">DeCordova Sculpture Park and Museum</span> Contemporary art museum in Lincoln, Massachusetts

The DeCordova Sculpture Park and Museum is a sculpture park and contemporary art museum on the southern shore of Flint's Pond in Lincoln, Massachusetts, 20 miles northwest of Boston. It was established in 1950, and is the largest park of its kind in New England, encompassing 30 acres.

<span class="mw-page-title-main">Donald M. Kendall Sculpture Gardens</span>

The Donald M. Kendall Sculpture Gardens is a collection of 45 pieces of outdoor sculpture at the PepsiCo world headquarters in Purchase, New York. The collection includes work from major modern sculptors including Auguste Rodin, Henry Moore, Alexander Calder, and Alberto Giacometti.

<span class="mw-page-title-main">Athena Tacha</span>

Athena Tacha, is a multimedia visual artist. She is best known for her work in the fields of environmental public sculpture and conceptual art. She also worked in a wide array of materials including stone, brick, steel, water, plants, and L.E.D. lighting. photography, film, and artists’ books. Tacha's work focused on personal narratives, and often plays with geometry and form.

<span class="mw-page-title-main">Time Landscape</span> Living art display

Time Landscape is a landscape artwork by American artist Alan Sonfist. Proposed in 1965, it consists of plants that were native to the New York City area in pre-colonial times. Those planted were replanted here until 1978, on a rectangular plot of 25' x 40' situated in lower Manhattan at the northeast corner of La Guardia Place and West Houston Street. The New York City Department of Parks and Recreation describes the artwork: "When it was first planted, Time Landscape portrayed the three stages of forest growth from grasses to saplings to grown trees. The southern part of the plot represented the youngest stage and now has birch trees and beaked hazelnut shrubs, with a layer of wildflowers beneath. The center features a small grove of beech trees and a woodland with red cedar, black cherry, and witch hazel above groundcover of mugwort, Virginia creeper, aster, pokeweed, and milkweed. The northern area is a mature woodland dominated by oaks, with scattered white ash and American elm trees. Among the numerous other species in this miniforest are oak, sassafras, sweetgum, and tulip trees, arrowwood and dogwood shrubs, bindweed and catbrier vines, and violets." Sonfist's intention was to create a natural memorial akin to war memorials.

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. Ecological art is a distinct genre from Environmental art in that it involves functional ecological systems-restoration, as well as socially engaged, activist, community-based interventions. Ecological art also addresses politics, culture, economics, ethics and aesthetics as they impact the conditions of ecosystems. Ecological art practitioners include artists, scientists, philosophers and activists who often collaborate on restoration, remediation and public awareness projects.

<span class="mw-page-title-main">Modern sculpture</span> Era of sculpture beginning with Auguste Rodin

Modern sculpture is generally considered to have begun with the work of Auguste Rodin, who is seen as the progenitor of modern sculpture. While Rodin did not set out to rebel against the past, he created a new way of building his works. He "dissolved the hard outline of contemporary Neo-Greek academicism, and thereby created a vital synthesis of opacity and transparency, volume and void". Along with a few other artists in the late 19th century who experimented with new artistic visions in sculpture like Edgar Degas and Paul Gauguin, Rodin invented a radical new approach in the creation of sculpture. Modern sculpture, along with all modern art, "arose as part of Western society's attempt to come to terms with the urban, industrial and secular society that emerged during the nineteenth century".

<span class="mw-page-title-main">Mary Miss</span> American environmental artist (born 1944)

Mary Miss is an American artist and designer. Her work has crossed boundaries between architecture, landscape architecture, engineering and urban design. Her installations are collaborative in nature: she has worked with scientists, historians, designers, and public administrators. She is primarily interested in how to engage the public in decoding their surrounding environment.

<i>Sky Gate, New York</i> Sculpture by Louise Nevelson

Sky Gate, New York was a sculpture by the artist Louise Nevelson, located in the mezzanine of the North Tower of the World Trade Center in New York, from 1978 until its 2001 destruction in the collapse of the buildings during the September 11 attacks.

<span class="mw-page-title-main">Louise Nevelson Plaza</span> Public art installation and park

Louise Nevelson Plaza, is a public art installation and park in Lower Manhattan, New York City, which includes an arrangement of large abstract sculptures designed by the American 20th-century female artist Louise Nevelson. Described as an "outdoor environment", the triangle-shaped plaza is bounded by Maiden Lane, Liberty Street and William Street, adjacent to the building of the Federal Reserve Bank of New York.

<i>Chapel of the Good Shepherd</i> (Louise Nevelson) Sculptural environment by Louise Nevelson

Chapel of the Good Shepherd is a sculptural environment installation by the American 20th-century artist Louise Nevelson located at the St. Peter's Lutheran Church in New York City. The chapel, commissioned in 1975 and dedicated in 1977, was donated by Erol Beker. Nevelson designed the five-sided sanctuary space by incorporating various abstract sculptural elements such as reliefs, columns, and an altarpiece made with materials that included found objects from New York City streets.

References

  1. Britannica Online: "20th-century art form intended to involve or encompass the spectators rather than merely to face them; the form developed as part of a larger artistic current that sought to break down the historical dichotomy between life and art."
  2. (Busch, p. 27)."A Decade of Sculpture: the New Media in the 1960s" (1974)
  3. 1 2 "Environmental Art".
  4. Bruno Suner,Les sculptures de visées du Parc de La Villette, Urbanisme no 215, 1986
  5. Gisborne, Mark (2012-10-30). "BETWEEN PERCEPTION AND THE SIGN". Art in Berlin by german artist Eberhard Bosslet. Retrieved 2024-07-20.
  6. "Landscape sculptures :: elena paroucheva :: аrt and environment, pylons sculptures". elena paroucheva. 2018-08-10. Retrieved 2024-07-20.

Sources