Walking art

Last updated

Walking art refers to a variety of artistic practices that position walking as the central process, experience or outcome. [1] [2] [3] [4] Walking artists have diverse interests and it 'has gathered practitioners from nearly every field'. [5] :43 Despite emerging from a variety of artistic and literary traditions, a 'common feature [of walking art] is the engagement of the body in a process of walking through a landscape based on a specific artistic design.' [4] :161 Some artists consider walking an artistic end in itself, while others use walking as a means of mark-making, storytelling, social practice, or to create work in other artistic media. [6] [7] [8]

Contents

Origins

In her influential book Wanderlust, Rebecca Solnit traces the origins of walking as an artistic practice to the 1960s, when 'a new realm of walking opened up [ . . . ] walking as art.' [1] :267 Other scholars, such as Francesco Careri and Blake Morris, highlight the importance of the Dada excursion of 1921, when the French contingent of the Dada movement led a walk at the Church of Saint-Julien-le-Pauvre in Paris. [2] [4] :34 Scholars also note the strong connection between writing, walking, and philosophy, from the peripatetic school of the Ancient Greeks to the walks of Romantic poets and artists, to the phenomenological works of Husserl and Merleau-Ponty. [1] [9] [10] [11]

Literary precedents

The Romantics

Scholars cite the British Romantics as exercising 'an outsized influence on contemporary considerations of walking' in the Western world. [4] :24 For example, Solnit suggests that Romantics such as John Clare, Samuel Taylor Coleridge, Thomas De Quincey, John Keats, and William and Dorothy Wordsworth, helped establish walking as 'an expressive medium'. [1] :101 In the United States, Henry David Thoreau, Ralph Waldo Emerson, and Walt Whitman were influential in establishing the relationship between writing and walking. [9]

The flâneur

The French figure of the flâneur — a 'passionate spectator', typically male, [12] :40 who goes on detached strolls through urban environments — is another important precedent. Fiona Wilkie argues it is one of the 'standard positions from which to theorize one's walking'. [13] :19 The concept was popularised through the writings of Charles Baudelaire, [14] who himself was inspired by Edgar Allen Poe's short story, 'The Man of the Crowd', [5] :8 and Walter Benjamin's subsequent theorisations of those writings. [15] [16]

Eastern traditions

Eastern literary traditions have influenced the development of walking as an artistic practice. The seventeenth-century Japanese poet Matsuo Bashō was a peripatetic poet who is credited for formalizing haiku, and for whom the aesthetics of poetry and walking were closely linked. [17] Hamish Fulton has cited Bashō as an influence on both his walking and writing practices. [18] Bashō is also an inspiration for Alec Finlay, as seen in his 2011 work The Road North, which draws on Bashō's journals. [19]

Historical avant-garde

Dadaism

Numerous scholars have agreed that the Dada excursion of 1921 was the first work where the act of walking itself was the art. [2] [4] [5] :13 The excursion was organized by artists who would go on to found the Surrealist art movement, such as André Breton and Louis Aragon, as well as important members of the Dada movement, including Tristan Tzara and Francis Picabia. [4] :34

Surrealism

Walking is a core element of canonical Surrealist texts, such as Aragon's Le Paysan de Paris (1926), Breton's Nadja (1928) and Philippe Soupault's Last Nights of Paris (1928). [1] For the Surrealists, walking was 'a medium through which to enter into contact with the unconscious part of the territory.' [2] :79 From 'unplanned group walks through Paris to Meret Oppenheim's fabled walks on high ledges', [4] :36 walking played a central role in surrealist practice. [16]

Surrealist deambulations aimed for 'the achievement of a state of hypnosis by walking, a disorienting loss of control.' [2] :79 In one ill-fated deambulation, André Breton, Louis Aragon, Max Morise, and Roger Vitrac traveled to Blois, a town selected at random from a map, and set off for a walk in the countryside, during which they made observations and experimented with automatic writings. [4] :36 The walk ended in 'mounting hostility, fatigue, and disorientation', though for the Surrealists this was 'hardly disappointing, no matter how narrow its range, because it probed the boundaries between waking life and dream life'. [16]

The Letterist and Situationist Internationals

Guy Debord and Asger Jorn, The Naked City: Illustration de l'hypothese des plaques tournantes en psychogeographique, 1957. Marshrutizatsiia.jpg
Guy Debord and Asger Jorn, The Naked City: Illustration de l'hypothèse des plaques tournantes en psychogéographique, 1957.

The Situationist International was formed in 1957 by members of the Letterist International, The International Movement for an Imaginist Bauhaus and the London Psychogeographical Society. [4] :29 These groups, and particularly the Letterists, had started to explore the potential of walking as a revolutionary and artistic practice. [20] The Situationist International, which cited the Dadaists and Surrealists as key influences, [21] :181 continued to develop walking tactics that have been influential to contemporary artists and activists. [1] [3] [22]

Essential to their programme was the development of the Letterist practice of the dérive . [2] [23] Dérive, which literally means drift in French, is an intentional method of exploring, understanding and participating in the urban landscape. [9] Unlike the absurdity of the Dada excursion, or the aimlessness of Surrealist deambulations, the dérive follows certain procedures in order to understand and intervene in the urban environment. [2] The Situationists were interested in both the internal and external effects of the dérive: the walker was meant to study the world around them and experience an internal sense of emotional disorientation. [16] In many cases, disorientation was achieved with the aid of alcohol. [16] In this way, it is essential to the development of psychogeography. [3] [10] [24]

Neo-avant-garde

Fluxus

For Fluxus, walking fit into a larger strategy of making art out of everyday experiences. [16] Fluxus artists defamiliarized the everyday by calling attention to overlooked details and emphasised simplicity, presence in time, and the unity of art and life. [16] Art historian and critic Lori Waxman contrasts the psychoanalytical individualism of Surrealism and overt politics of the Situationists with a more experimental, collective ethos in Fluxus. [16] By creating participatory works and scores for other artists to follow, Fluxus expanded how walking could be considered as an art practice.[ citation needed ] Benjamin Patterson exemplifies this approach with a piece called Stand Erect in his artists' book Methods and Processes (1961). The text piece describes the process of walking in a set of instructions that are both accurate and all but impossible to follow. [16] One particularly influential piece is La Monte Young's 1960 Composition 1960 #10: 'Draw a straight line and follow it.' [16]

Dematerialization and Sculpture in the Expanded Field

Richard Long's A Line Made by Walking (1967) — a photograph depicting 'a patch of grass Long trampled underfoot through a repetitive walking practice' — is 'routinely cited as the first work of walking art'. [4] :5 [25] [26] :26 Rosalind Krauss includes Long's work in her discussion of sculpture in the expanded field. [27]

Lucy Lippard identifies A Line Made by Walking as part of the dematerialization of art. Lippard and John Chandler identify two strains of dematerialized art: art as idea and art as action. [28] Walking art often falls into the latter category — art as action. Lippard cites Stanley Brouwn as an artist whose walking art stems from the dematerialization of conceptual art. The following piece from 1962, quoted in its entirety, illustrates Brouwn's approach: 'a walk from a to b.' [28] She also includes Vito Acconci, whose Following Piece (1969), saw Acconci executing the following instructions for nearly a month:

Each day I pick out, at random, a person walking in the street. I follow a different person every day; I keep following until that person enters a private place (home, office, etc) where I can’t get in. [29]

The same year Yoko Ono created Rape (1969), a 'candid recording' in which a camera crew pursues a foreign woman through London, following her into her apartment until she collapses, terrified, in the corner. [30] The well-known photographs that comprise the work were re-staged after the fact. [31]

Contemporary Practices

Since the early 2000s there has been an increased interest in walking as an artistic practice. [3] [4] [26] This has been exemplified by the establishment of a variety of walking networks, for example, the Walking Artists Network. [4]

Major themes and motifs

Psychogeography

Merlin Coverly has argued that the playful, avant-garde origins of the dérive ultimately resisted Debord's call for rigor, with the vague definition of psychogeography allowing numerous artists to identify with the practice without yielding many tangible results. [10] Other scholars have identified tangible results, for example Morag Rose identifies 'three brands of contemporary psychogeography: literary, activist and creative', which overlap and intersect. [24] [4] :81

Examples of contemporary psychogeography include Manchester's Loiterers Resistance Movement, which Rose founded in 2006 and is 'the most consistently active psychogeography group in the United Kingdom.' [4] :81 Paul Harfleet's Pansy Project, in which the artist plants pansies at locations where he has been subjected to homophobic slurs and documents them online. [9] [32] Artist Blake Morris has created site-specific memory palaces, such as his Former Fresnans project in Fresno, California, to record memories of walks. [3] [22]

Pilgrimage

Pilgrimage continues to inform aesthetic and spiritual interpretations of walking and artists take advantage of these strong associations. [10] [1] [33] Hamish Fulton followed an ancient route from Winchester to Canterbury for his 165-mile walk, The Pilgrim's Way (1971). [34] Fulton has also explored non-Western spiritual walking, as in Kora (2009), which references the Tibetan Kora — a circumambulatory meditation or pilgrimage. [35]

Protests and processions

Protests and processions are a frequent reference point for walking artists, whether walking solo or with a group. [36] For The Modern Procession (2002), Francis Alÿs borrowed the trappings of an elaborate religious procession to ritually move works from MoMA in Manhattan to Queens. [8] Following a Peruvian brass band, palanquins bearing (replica) works from MoMA's collection were carried by over 150 volunteers through the streets of New York City and across the Queensboro Bridge. [37]

In 2011, Hamish Fulton staged Slowalk (In support of Ai Weiwei) as a protest against the artist's imprisonment. Slowalk was a collective piece in which ninety-nine participants attempted to silently traverse Turbine Hall at the Tate Modern in precisely thirty minutes. [8] The protest coincided with Ai Weiwei's exhibition Sunflower Seeds, also at the Tate. [38]

In 2012, Clare Qualmann devised Perambulator, a 'mass processional' of people pushing strollers and prams through the streets of London, in order to highlight 'the inhospitable environment for pram walking' in London. In 2014, she created another version of the walk in Scotland, as part of Deveron Project's Slow Marathon in Huntly, Scotland. [4] :121

Regina José Galindo's Who Can Erase the Traces? (2003) protests an unconstitutional election, but does so with a track of bloody footprints between government buildings.[ citation needed ]

Following

Following is another strategy used by walking artists. As Debbie Kent points out,

The idea of artists following strangers has a long heritage, as well as a natural affinity with the city, where anonymity is the rule and it is easy to hide in the crowds. Its ancestor can be found in The Man of the Crowd, an 1840 short story by Edgar Allan Poe, in which the narrator pursues a mysterious stranger through the streets of London – then the biggest city in the world – for no apparent reason. [29]

in 1980, Sophie Calle followed a man for thirteen days in Venice and noted his movements like a detective. [29] Eventually she is discovered, but continues the project, which becomes the artists' book Suite Vénitienne in 1983 and an exhibition in 1996. [39]

Artist Alisa Oleva applies following as a strategy in a variety of works. In one piece she 'mapped her explorations of one of Moscow’s “sleeping districts” (the residential zones where the vast majority of the city’s workers live) by following commuters home from a metro station.' [29]

Endurance

Endurance is a component of many walking artists' practice. Guido van der Werve is an artist and marathon runner whose work explores repetition, endurance, and exhaustion. [31] In 2011 he completed Nummer dertient, effugio C: you're always only half a day away, in which he ran laps around his house for twelve hours. [31] Other artists test their endurance over great distances. This is the case in Two Lovers — the Great Wall Walk (1988) by performance artists Marina Abramović and Ulay. [8] The two walked from opposite ends of the Great Wall of China and, after ninety days, met in the middle, embraced, and then parted ways to complete their journey from end to end. [40]

Pushing and pulling

Pushing and pulling often accompany walking, especially for artists interested in endurance or absurdity. David Hammons walked down the streets of New York City, kicking a metal bucket, in his work Phat Free (1995–1999). [31] [6] Alÿs pushed an ice block down the streets of Mexico City until it melted in Sometimes Making Something Leads to Nothing (1997). [31] [41] In House and Universe (2012–2013), Mary Mattingly bundled all of her belongings into a massive ball, which she then dragged through the streets behind her. [31]

Migration and borders

Migration and borders are frequent themes for walking artists since they represent extreme cases of mobility and its limit. Janine Antoni and Paul Ramirez-Jonas explore politics and power dynamics in their piece Migration (1999). The video piece shows the barefoot artists following literally in one another's footsteps on a beach, obliterating the other's footprint with each step. Francis Alÿs created The Green Line (Sometimes Doing Something Poetic Can Become Political, and Sometimes Doing Something Political Can Become Poetic) (2004) by dripping green paint from a can while he walked the green line that separates Jewish and Arab quarters of Jerusalem. [41] [6]

Deveron Project's Slow Marathon, a 'mass participation walk of twenty-six miles', has been examining borders and migration since Mihret Kebede and Claudia Zieske developed it in 2013. [4] :108 Kebede originally wanted to walk from her home in Addis Ababa, Ethiopia to Scotland, but 'the combination of visa restrictions, harsh desert terrain, and the dangerous landscape' made the journey impossible. Instead she developed Slow Marathon: A 5,850 Miles Walk from Addis to Scotland and Back (2013), 'an accumulative marathon and shoelace exchange that combined the steps of a variety of participants from Huntly, Addis Ababa and other locations throughout the world to walk the 5,850 miles that make up the journey.' The project 'set up an intercultural exchange that interrogated borders and boundaries – physical, bureaucratic and imagined – through the act of walking'. [42] The project has since occurred seven times with different artists. In 2018 it occurred simultaneously in Gaza and Huntly, a collaboration between artists May Murad in Palestine and Rachel Ashton in Scotland. Murad was unable to leave Palestine, and the limited terrain her group was able to walk, highlighted the different 'experiences of boundaries, borders, and access to land.' [4] :120

Mapping

Mapping serves as a reference point as well as a form of documentation for many walking artists. John Baldessari's California Map Project (1969) imagines that the text on a map is actually a feature of the landscape, as if viewed from above. The artist walked the land to spell CALIFORNIA in large letters made from ephemeral materials in the geographic locations where those letters appeared on a map. [31] The Naked City: Illustration de l'hypothèse des plaques tournantes en psychogéographique (1957) by Guy Debord and Asger Jorn fragments and reconfigures a map of Paris to convey the experience of walking, or drifting, through the city. The map reflects what Debord found interesting rather than the city's actual geography. [16] Richard Long sometimes traces his (often circular) walks onto conventional maps, as in Cerne Abbas Walk (1975). [43] Long also makes experimental maps like Wind Line (1985) [44] and Dartmoor Wind Circle (1988) which spatially represent the direction of the wind during his walk.

Hamish Fulton, Seven Paces, detail. Skulpturenufer Remagen. Hamish Fulton.JPG
Hamish Fulton, Seven Paces, detail. Skulpturenufer Remagen.

Footprints

Footprints are a direct way for artists to leave a visible trace of their walking activity. Rudolf Stingel left his footprints in a Styrofoam slab by treading in boots soaked with acetone. Stuart Horodner comments that the untitled work from 2000 recalls the iconic images of the first footprints on the moon. [6] In a series called Dirt Events, Curtis Mitchell fixes his footprints by caking dirt onto a store-bought rug and then walking on it until the rug reemerges. [6] Gutai artist Akira Kanayama's 1956 work Ashiato (footprints) was a continuous sheet of vinyl with uniform painted footprints, [8] running nearly 100 meters through the Outdoor Gutai Art Exhibition in Ashiya Park. [45]

Footwear

Footwear has also been used by artists to represent walking or to stand in for an absent walker. In her series 100 Boots (1971–1973), Eleanor Antin photographed formations of empty boots to reference the Vietnam War. [6] In his score,Taking a Shoe for a Walk 1989, Allan Kaprow calls for 'pulling a shoe on a string through the city' and bandaging one's own shoes as the shoe being dragged wears out. [31] The art collective GRAV invited passers-by to wear spring-loaded shoes during their event, A Day in the Street (1966), [46] which was designed to encourage more active engagement with the city. Marcus Coates made custom footwear for his 1999 piece Stoat, for which each shoe is a short wooden board balanced on two wooden pegs, which Coates lashed to his feet. Video shows the artist wobbling and shuffling down a gravel path. [8]

Hamish Fulton leads a public walk in September, 2013. Public Art Walk mit Hamish Fulton.jpg
Hamish Fulton leads a public walk in September, 2013.

Group walks and guided walks

Carmen Papalia, a blind artist who creates participatory art, developed the work Blind Field Shuttle (2017) in which participants walk in a single-file line with their eyes closed, maintaining physical contact with one another, to follow Papalia on a guided walk. [31] Simon Pope brings along one walker at a time for his series Memorial Walks (2007–2012). Participants were asked to view a landscape painting before walking and then to envision a particular tree from the painting on their walk, mentally transplanting it into the countryside. [8] [47] Mowry Baden creates interactive sculptures that guide the way the viewer walks through them. His work K Walk (1969) is a set of metal bars that perfectly match the gait of Baden's wife but impede anyone else who tries to walk through the sculpture. [6]

Documenting walking art

Artists often use walking as a process for creating work in other media, or present their walks through documentation, rather than the walk itself. [1] [3] [4] Francis Alÿs, who often uses walking as part of his artistic process, has noted that

any work a visual artist is likely to produce, I would say more than 90% of its perception will happen through documentation and not the live event, documentation being a film, a photograph, a text, any possible media. [4] :7

Richard Long and Hamish Fulton, artists that helped establish walking as an art form, are particularly known for their use of walking to produce work in other artistic media. [48] [4] :5 Fulton, however, has argued that any document or artwork based on a walk 'will contradict the spirit of the walk', noting, '[e]ither you completed the walk or you didn't, and if two people make the same walk they will experience it in different ways.' [49] :192 Other artists use video to capture the duration of their walks, like David Hammons.[ citation needed ] Janet Cardiff and her partner George Bures Miller also work in video, but they are especially known for sound pieces, including audio walks. [50] [6]

Notable walking artists

See also Category:Walking artists.

Organizations

Exhibitions

Related Research Articles

<span class="mw-page-title-main">Situationist International</span> International organization of social revolutionaries (1957–72)

The Situationist International (SI) was an international organization of social revolutionaries made up of avant-garde artists, intellectuals, and political theorists. It was prominent in Europe from its formation in 1957 to its dissolution in 1972. The intellectual foundations of the Situationist International were derived primarily from libertarian Marxism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism. Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism.

<span class="mw-page-title-main">Psychogeography</span> Creative view of the built environment that emphasizes playfulness and dérive

Psychogeography is the exploration of urban environments that emphasizes interpersonal connections to places and arbitrary routes. It was developed by members of the Letterist International and Situationist International, which were revolutionary groups influenced by Marxist and anarchist theory as well as the attitudes and methods of Dadaists and Surrealists.

<span class="mw-page-title-main">Erotic art</span> Visual art created to incite sexual arousal and activity

Erotic art is a broad field of the visual arts that includes any artistic work intended to evoke arousal. It usually depicts human nudity or sexual activity, and has included works in various visual mediums, including drawings, engravings, films, paintings, photographs, and sculptures. Some of the earliest known works of art include erotic themes, which have recurred with varying prominence in different societies throughout history. However, it has also been widely considered taboo, with either social norms or laws restricting its creation, distribution, and possession. This is particularly the case when it is deemed pornographic, immoral, or obscene.

<span class="mw-page-title-main">Tatsumi Hijikata</span> Japanese choreographer (1928–1986)

Tatsumi Hijikata was a Japanese choreographer, and the founder of a genre of dance performance art called Butoh. By the late 1960s, he had begun to develop this dance form, which is highly choreographed with stylized gestures drawn from his childhood memories of his northern Japan home. It is this style which is most often associated with Butoh by Westerners.

<span class="mw-page-title-main">Textile design</span> Creation of designs for the manufacturing of woven, knitted or printed fabrics

Textile design, also known as textile geometry, is the creative and technical process by which thread or yarn fibers are interlaced to form a piece of cloth or fabric, which is subsequently printed upon or otherwise adorned. Textile design is further broken down into three major disciplines: printed textile design, woven textile design, and mixed media textile design. Each uses different methods to produce a fabric for variable uses and markets. Textile design as an industry is involved in other disciplines such as fashion, interior design, and fine arts.

<span class="mw-page-title-main">McKenzie Wark</span> Australian-born writer and scholar (born 1961)

McKenzie Wark is an Australian-born writer and scholar. Wark is known for her writings on media theory, critical theory, new media, and the Situationist International. Her best known works are A Hacker Manifesto and Gamer Theory. She is a professor of Media and Cultural Studies at The New School.

<span class="mw-page-title-main">Hamish Fulton</span> British photographer (born 1946)

Hamish Fulton is an English walking artist. Since 1972 he has only made works based on the experience of walks. He translates his walks into a variety of media, including photography, illustrations, and wall texts. His work is contained in major museums' collections, such as the Tate Britain and MoMA. Since 1994 he has been creating group walks for the public. Fulton argues that "walking is an artform in its own right" and argues for wider acknowledgement of walking art.

Afterall is a nonprofit contemporary art research and publishing organisation. It is based in London, at Central St Martins College of Art & Design. It publishes the journal Afterall; the book series Readers,One Works and Exhibition Histories.

<span class="mw-page-title-main">Phyllida Barlow</span> British artist (1944–2023)

Dame Phyllida Barlow was a British visual artist. She studied at Chelsea College of Art (1960–1963) and the Slade School of Art (1963–1966). She joined the staff of the Slade in the late 1960s and taught there for more than forty years. She retired from academia in 2009 and in turn became an emerita professor of fine art. She had an important influence on younger generations of artists; at the Slade her students included Rachel Whiteread and Ángela de la Cruz. In 2017 she represented Great Britain at the Venice Biennale.

<span class="mw-page-title-main">Sacha Craddock</span> British art critic and curator

Sacha Craddock is an independent art critic, writer and curator based in London. Craddock is co-founder of Artschool Palestine, co-founder or the Contemporary Art Award and council member of the Abbey Awards in Painting at the British School at Rome, Trustee of the Shelagh Cluett Trust, and President of the International Association of Art Critics AICA UK. She was chair of the Board of New Contemporaries and selection process from 1996 until December 2021.

Walkwalkwalk (2005–2010) is a British artist collective consisting of Gail Burton, Serena Korda and Clare Qualmann. Based in London, their work focused on routine walks in the Bethnal Green neighborhood of East London, as well as overlooked and forgotten spaces. Through their work they looked to create a new "'archaeology of the familiar and the forgotten' in London's East End".:50 Scholars have discussed walkwalkwalk's works in a variety of contexts, including psychogeography, walking as an artistic medium, Live Art, and criminology.

Karin Margareta Kjellsdotter Hansson is a Swedish artist and researcher.

Marina Vishmidt was an American writer, editor and critic. She lectured at the Centre for Cultural Studies at Goldsmiths, University of London in the MA program Culture Industry, and taught Art Theory in the MA Art Praxis at the Dutch Art Institute in Arnhem. Her research mainly concerned the relationship between art, value and labour. She further explored this through works on debt, social reproduction and artistic entrepreneurialism. In 2013, she completed her PhD entitled Speculation as a Mode of Production in Art and Capital at the Queen Mary University of London. In the Summer Semester, 2022, Vishmidt was the Arnheim Visiting Professor at the Institut für Kunst- und Bildgeschichte at the Humboldt-Universität zu Berlin. Vishmidt died on April 26, 2024.

The Loiterers Resistance Movement (2006–present) is a 'Manchester-based collective of artists and activists interested in psychogeography and public space.' The Loiterers Resistance Movement (LRM) are core contributors to what Tina Richardson has identified as the 'new psychogeography', and a variety of scholars have cited the LRM as key to the development of contemporary British psychogeography.

<i>Index: Incident in a Museum</i> Series of paintings by Art & Language

Index: Incident in a Museum is an extensive series of paintings produced between 1985 and 1988 by Michel Baldwin and Mel Ramsden, members of the British conceptual artists' collective Art & Language.

<i>The Passage of the Delaware</i> Painting by Thomas Sully

The Passage of the Delaware is a large, Neoclassical 1819 oil-on-canvas painting by Thomas Sully. With attention to historical accuracy, the painting depicts George Washington on horseback observing the troops of the American Revolutionary Army in the process of crossing the Delaware River prior to the surprise attack on Hessian troops on the night of December 25 and 26, 1776, at the Battle of Trenton. The image is intended to capture the moment prior to George Washington dismounting his horse and joining his army in crossing the Delaware River.

Jean-Luc Moulène is a French contemporary artist based in Paris, France. Spanning a wide variety of media, such as photography, drawings, and sculptures, Moulène's practice examines the relationship between systems and orders. Moulène has stated that he subscribes to the notion of a 'disjunction,' whereby he follows a principle of discrepancies as a way to "find new dialectical knowledge." His interests include the "symbolic position of the author" and authorship; processes of production, repetition, and accumulation; labor and social space; and the intersection of advanced technology and contemporary material culture, among others. Moulène identifies himself as a "technicien libertaire", who transforms "the process of perception as an aesthetic end in itself to one that incorporates everyday life" in his work.

<i>Spring</i> (novel) 2019 novel by Ali Smith

Spring is a 2019 novel by Scottish author Ali Smith, first published by Hamish Hamilton. It was long-listed for the Orwell Prize (2020).

Bokujinkai is a Japanese calligraphy collective, research group, and exhibition society. It was founded by the calligraphers Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Yoshimichi Sekiya, and Bokushi Nakamura.

<span class="mw-page-title-main">Maria Lind</span> Swedish art historian, art critic and curator

Maria Lind is a Swedish curator, art writer and educator. Since 2020, she has been the Counsellor of Cultural Affairs at the Embassy of Sweden in Moscow.

References

  1. 1 2 3 4 5 6 7 8 Solnit, Rebecca (2000). Wanderlust : a history of walking. New York: Viking. pp. 14–29. ISBN   0-670-88209-7. OCLC   42021426.
  2. 1 2 3 4 5 6 7 Careri, Francesco (2017). Walkscapes : walking as an aesthetic practice. Christopher Flynn, Gilles A. Tiberghien, Steven Piccolo. Ames, IA. ISBN   978-1-68315-008-4. OCLC   1025334343.{{cite book}}: CS1 maint: location missing publisher (link)
  3. 1 2 3 4 5 6 Smith, Phil (2015). Walking's New Movement. Axminster: Triarchy Press. ISBN   978-1-909470-70-5. OCLC   990412123.
  4. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Morris, Blake (2019-11-05). Walking Networks: The Development of an Artistic Medium. Rowman & Littlefield. ISBN   978-1-78661-022-5.
  5. 1 2 3 O'Rourke, Karen (2013). Walking and mapping : artists as cartographers. Cambridge, Massachusetts. ISBN   978-0-262-01850-0. OCLC   794624721.{{cite book}}: CS1 maint: location missing publisher (link)
  6. 1 2 3 4 5 6 7 8 9 Walk ways. Stuart Horodner, Stephen Robert Frankel, Portland Institute for Contemporary Art, Western Gallery, Dalhousie Art Gallery, Oakville Galleries. New York. 2002. p. 39. ISBN   0-916365-65-4. OCLC   51030203.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  7. ↑ Pujol, Ernesto (2018). Walking art practice reflections on socially engaged paths (First ed.). Axminster, England. ISBN   978-1-911193-37-1. OCLC   1191043481.{{cite book}}: CS1 maint: location missing publisher (link)
  8. 1 2 3 4 5 6 7 The art of walking : a field guide. David Evans. London, UK. 2012. pp. 66–69. ISBN   978-1-907317-87-3. OCLC   778420197.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  9. 1 2 3 4 Nicholson, Geoff (2008). The lost art of walking : the history, science, philosophy, and literature of pedestrianism. New York: Riverhead Books. pp. 25–32. ISBN   978-1-59448-998-3. OCLC   213308993.
  10. 1 2 3 4 Coverley, Merlin (2012). The art of wandering : the writer as walker. Harpenden [England]: Oldcastle Books. pp. 11–16. ISBN   978-1-84243-370-6. OCLC   778327400.
  11. ↑ Appels, Jonathon (2011), Tymieniecka, A-T. (ed.), ""Dance: Walking and Self-Moving in Husserl and Merleau-Ponty"", Phenomenology/Ontopoiesis Retrieving Geo-cosmic Horizons of Antiquity: Logos and Life, Dordrecht: Springer Netherlands, pp. 659–663, doi:10.1007/978-94-007-1691-9_48, ISBN   978-94-007-1691-9 , retrieved 2022-12-13
  12. ↑ Wolff, Janet (1985). "The Invisible Flâneuse. Women and the Literature of Modernity". Theory, Culture & Society. 2 (3): 37–46. doi:10.1177/0263276485002003005. ISSN   0263-2764. S2CID   144714965.
  13. ↑ Wilkie, Fiona (2015). Performance, Transport and Mobility. London: Palgrave Macmillan UK. doi:10.1057/9781137476890. ISBN   978-1-349-34457-4.
  14. ↑ Baudelaire, Charles (1995). The painter of modern life and other essays. Jonathan Mayne (2nd ed.). London: Phaidon Press. ISBN   0-7148-3365-7. OCLC   33257495.
  15. ↑ Benjamin, Walter (1999). The arcades project. Rolf Tiedemann. Cambridge, Mass.: Belknap Press. ISBN   0-674-04326-X. OCLC   41176710.
  16. 1 2 3 4 5 6 7 8 9 10 11 Waxman, Lori (2017). Keep walking intently : the ambulatory art of the Surrealists, the Situationist International, and Fluxus. Berlin. ISBN   978-3-95679-279-3. OCLC   1019722866.{{cite book}}: CS1 maint: location missing publisher (link)
  17. ↑ Heyd, Thomas (2003). "Bashō and the Aesthetics of Wandering: Recuperating Space, Recognizing Place, and Following the Ways of the Universe". Philosophy East and West. 53 (3): 292. doi:10.1353/pew.2003.0022. ISSN   0031-8221. JSTOR   1400219. S2CID   145307028.
  18. ↑ Personal structures : time, space, existence. Peter Lodermeyer, Marina Abramović. Cologne: DuMont. 2009. ISBN   978-3-8321-9279-2. OCLC   502424634.{{cite book}}: CS1 maint: others (link)
  19. ↑ Laplace, Philippe (2020). Environmental and ecological readings : nature, human and posthuman dimensions in Scottish literature & arts (XVIII-XXI c.). Jessica Aliaga Lavrijsen, Marion Amblard, Christian Auer, Jean Berton, Danièle Berton-Charrière, Cyril Besson. Besançon. ISBN   978-2-84867-749-1. OCLC   1227076879.{{cite book}}: CS1 maint: location missing publisher (link)
  20. ↑ Wark, McKenzie (2011). The beach beneath the street : the everyday life and glorious times of the Situationist International. London. ISBN   978-1-78168-940-0. OCLC   907532538.{{cite book}}: CS1 maint: location missing publisher (link)
  21. ↑ Marcus, Greil (2009). Lipstick traces : a secret history of the twentieth century. Cambridge, Mass.: Belknap Press of Harvard University Press. ISBN   978-0-674-03480-8. OCLC   699007676.
  22. 1 2 New directions in radical cartography : why the map is never the territory. Philip Cohen, Mike Duggan. Lanham, Maryland. 2021. ISBN   978-1-5381-4721-4. OCLC   1266200199.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  23. ↑ Debord, Guy (1958). "Theory of the Derive". www.bopsecrets.org. Retrieved 2022-11-19.
  24. 1 2 Rose, Morag (2017). Women Walking Manchester: Desire Lines through the "Original Modern" City. Doctoral Thesis: University of Sheffield.
  25. ↑ "Richard Long: 'It was the swinging 60s. To be walking lines in fields was a bit different'". the Guardian. 2012-06-15. Retrieved 2022-11-16.
  26. 1 2 Lorimer, Hayden (2016), "Walking: New Forms and Spaces for Studies of Pedestrianism", Geographies of Mobilities: Practices, Spaces, Subjects, pp. 31–46, doi:10.4324/9781315584393-6, ISBN   9781315584393 , retrieved 2022-11-16
  27. ↑ Krauss, Rosalind (1979). "Sculpture in the Expanded Field". October. 8: 31–44. doi:10.2307/778224. ISSN   0162-2870. JSTOR   778224.
  28. 1 2 Lippard, Lucy R. (1997). Six years : the dematerialization of the art object from 1966 to 1972 ... Berkeley: University of California Press. pp. vii. ISBN   0-520-21013-1. OCLC   35777423.
  29. 1 2 3 4 Kent, Debbie (2018-09-21). "'I follow a different person every day': using strangers to explore the city". The Guardian. ISSN   0261-3077 . Retrieved 2023-11-09.
  30. ↑ "Yoko Ono and John Lennon's controversial 1969 film 'Rape'". faroutmagazine.co.uk. 2020-11-27. Retrieved 2022-11-20.
  31. 1 2 3 4 5 6 7 8 9 10 Wanderlust : actions, traces, journeys, 1967-2017. Rachel Adams, Rebecca Solnit, Lori Waxman, Jane McFadden, UB Art Galleries, Des Moines Art Center. Buffalo, New York. 2017. pp. 22–24. ISBN   978-0-262-03705-1. OCLC   978286138.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  32. ↑ "The Pansy Project". The Pansy Project. Retrieved 2022-04-26.
  33. ↑ Gros, Frédéric (2014). A philosophy of walking. London. pp. 107–120. ISBN   978-1-78168-270-8. OCLC   856977651.{{cite book}}: CS1 maint: location missing publisher (link)
  34. ↑ Fulton, Hamish (2002). Hamish Fulton : walking journey. Ben Tufnell, Andrew Wilson, Bill McKibben, Doug Scott, Tate Britain. London. ISBN   1-85437-411-7. OCLC   49920788.{{cite book}}: CS1 maint: location missing publisher (link)
  35. ↑ Fulton, Hamish (2008). Kora : Tibetan Kora - circumambulation of a sacred place. Galleri Riis. Oslo: Galleri Riis. ISBN   978-3-89790-300-5. OCLC   317752575.
  36. ↑ Smith, Phil (2009-01-01). "Theatrical-political possibilities in contemporary procession". Studies in Theatre and Performance. 29 (1): 15–31. doi:10.1386/stap.29.1.15_1. ISSN   1468-2761. S2CID   143341965.
  37. ↑ "The Modern Procession - Public Art Fund". www.publicartfund.org. Retrieved 2022-04-21.
  38. ↑ Tate. "Hamish Fulton Ai Weiwei Public Event at Tate Modern – Press Release". Tate. Retrieved 2022-04-21.
  39. ↑ Tate. "'Venetian Suite', Sophie Calle, 1980, 1996". Tate. Retrieved 2022-04-21.
  40. ↑ Bramwell, David (2020-04-25). "The bittersweet story of Marina Abramović's epic walk on the Great Wall of China". the Guardian. Retrieved 2022-04-21.
  41. 1 2 Schweizer, Nicole (2021). Francis Alÿs : As Long as I'm Walking. Nicole Schweizer, Elisabeth Jobin, Francis Alÿs, Bryan-Wilson Julie, Rodenbeck Judith, Pérez-Oramaz Luis. Genève. pp. 22–23. ISBN   978-3-03764-572-7. OCLC   1290912354.{{cite book}}: CS1 maint: location missing publisher (link)
  42. ↑ Morris, Blake (2018-11-14). "The Walking Institute: a reflexive approach to tourism". International Journal of Tourism Cities. 4 (3): 316–329. doi:10.1108/IJTC-11-2017-0060. ISSN   2056-5607. S2CID   158172657.
  43. ↑ Tate. "'Cerne Abbas Walk', Richard Long, 1975". Tate. Retrieved 2022-04-26.
  44. ↑ "Jean Fisher on Richard Long". www.artforum.com. Retrieved 2022-04-26.
  45. ↑ "Manzoni's Line: From the Roll to the Infinite Painting". The Courtauld. Retrieved 2022-04-26.
  46. ↑ Woodruff, Lily (2014). "The Groupe de Recherche d'Art Visuel against the Technocrats". Art Journal. 73 (3): 18–37. doi:10.1080/00043249.2014.993277. ISSN   0004-3249. JSTOR   43188653. S2CID   191398417.
  47. ↑ "Simon Pope et al | art work with others - The Memorial Walks". sites.google.com. Retrieved 2022-04-21.
  48. ↑ Moeglin-Delcroix, Anne (2015). Ambulo ergo sum : nature as experience in artists' books = L'expérience de la nature dans le livre d'artiste. Richard Sadleir. Köln: Verlag der Buchhandlung Walther König. ISBN   978-3-86335-655-2. OCLC   932125376.
  49. ↑ Fulton, Hamish (2000). Wild life : walks in the Cairngorms. Edinburgh: Morning Star Publications. ISBN   0-7486-6282-0. OCLC   45767721.
  50. ↑ Miller, Janet Cardiff & George Bures. "Janet Cardiff & George Bures Miller". Janet Cardiff & George Bures Miller. Retrieved 2022-04-26.
  51. ↑ "Walking And Thinking and Walking". Museum of Walking. Retrieved 2022-11-19.
  52. ↑ Les figures de la marche : un siècle d'arpenteurs ... Musée Picasso, Centro cultural Koldo Mitxelena, Impr. Trulli). Paris: Réunion des musées nationaux. 2000. ISBN   2-7118-3860-9. OCLC   466529677.{{cite book}}: CS1 maint: others (link)
  53. ↑ Morrison-Bell, Cynthia (2013). Walk on : from Richard Long to Janet Cardiff : 40 years of art walking. Mike Collier, Cynthia Morrison-Bell, Janet Ross, PM Gallery and House. Sunderland. p. 116. ISBN   978-1-906832-08-7. OCLC   889663066.{{cite book}}: CS1 maint: location missing publisher (link)
  54. ↑ "The Persistence of Peripateticism: Artists' Walks by JessicaThompson - Issuu". issuu.com. Retrieved 2022-11-19.
  55. ↑ "AIRSPACE". www.airspacegallery.org. Retrieved 2022-04-20.
  56. ↑ Sullivan, Lexi Lee (2015). Walking sculpture, 1967-2015. Cole Swensen, Helen Mirra, deCordova Sculpture Park and Museum. Lincoln, Massachusetts. ISBN   978-0-300-21243-3. OCLC   894310507.{{cite book}}: CS1 maint: location missing publisher (link)
  57. ↑ "WALKING WOMEN (2017)". LADA Live Art Development Agency. Retrieved 2022-11-19.
  58. ↑ Museum, Queens. "Queens Museum | Saunter Trek Escort Parade (S.T.E.P.) A two part exhibition of walk-based work with Flux Factory". Queens Museum | Saunter Trek Escort Parade (S.T.E.P.) A two part exhibition of walk-based work with Flux Factory. Retrieved 2022-11-19.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.