Artículos de revistas: "Land-art"

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Pataki, Elisabeta. "Land art". Hiperboreea A1, n.º 4 (1 de enero de 2012): 15–20. http://dx.doi.org/10.5325/hiperboreea.1.4.0015.

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Bann, Stephen. "Land Art". Critique d’art, n.º 3 (1 de abril de 1994): 73–77. http://dx.doi.org/10.4000/critiquedart.104211.

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Bann, Stephen. "Land Art". Critique d’art, n.º 3 (1 de abril de 1994): 73–77. http://dx.doi.org/10.4000/critiquedart.103974.

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Süssekind, Pedro. "Land Art". Rapsódia, n.º 7 (20 de diciembre de 2013): 5. http://dx.doi.org/10.11606/issn.2447-9772.i7p5-5.

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Bae-Dimitriadis, Michelle. "Land-Based Art Criticism: (Un)learning Land Through Art". Visual Arts Research 47, n.º 2 (1 de diciembre de 2021): 102–14. http://dx.doi.org/10.5406/visuartsrese.47.2.0102.

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Abstract This article provides an overview of how land-based settler colonial critique can reorient art criticism and art education to expand the scope of art and art practice to critical considerations of land politics and social justice, particularly in terms of the repatriation of Indigenous lands. In particular, land-based perspectives can help to rethink place/land by offering decolonizing methods for critiquing Western works of art that address place. Art educators’ ability to understand and critique settler colonialism in art has been hindered by Eurocentric art criticism. This article seeks to reveal settler colonial imperatives and ambitions regarding land through a critical analysis of American landscape paintings and land art. This piece further examines contemporary Indigenous artists’ site-specific works through adopting decolonial, land-based inquiry. Land-based art criticism interrupts the dominant mode of art inquiry to more comprehensively analyze art associated with place/land and expand the scope of social, cultural, and political understandings of social equity.

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Somerville, Kristine. "Urban Art Land". Ecotone 7, n.º 2 (2012): 231. http://dx.doi.org/10.1353/ect.2012.0030.

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Battisti, Eugenio. "El significado antropológico de lo colosal: del "Land Art" al "Minimal Art"." Astrágalo. Cultura de la arquitectura y la ciudad, n.º 17 (2001): 17–30. http://dx.doi.org/10.12795/astragalo.2001.i17.03.

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El significado, para quienes contemplan urbanísticamente, y viven las consecuencias de lo colosal en la ciudad y en la arquitectura se percibe en términos de una exaltación estética; ante la pérdida de los valores funcional y social, la exaltación de la cualidad virtual de la urbanidad, la publicidad y la arquitectura escenográfica.

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Yagmur, Onder. "ART OF THE NATURE SHAPING LAND ART". Idil Journal of Art and Language 5, n.º 27 (30 de noviembre de 2016): 1977–88. http://dx.doi.org/10.7816/idil-05-27-08.

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Bulkina, Polina y Hanna Novik. "PHILOSOPHY OF THE ART OF LAND ART". Theory and practice of design, n.º 26 (2022): 268–74. http://dx.doi.org/10.32782/2415-8151.2022.26.32.

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Schmidt, Alex. "Art in the Land". Boom 1, n.º 3 (2011): 62–66. http://dx.doi.org/10.1525/boom.2011.1.3.62.

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This article examines the significance of a growing trend in Southern Californian art, tour art that invites viewers to move through the landscape in unusual ways and perceive their surroundings in new ways. Examples of this trend include the work of the Center for Land Use Interpretation, the LA Urban Rangers, and Kim Stringfellow’s Jackrabbit Homestead project.

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Kulemin, Artemii Eduardovich. "Archaic in the art of place: land art". Культура и искусство, n.º 5 (mayo de 2024): 112–21. http://dx.doi.org/10.7256/2454-0625.2024.5.40918.

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This article is devoted to the study of the manifestations of the artistic language of archaic art in such a direction of modern art as land art. The purpose of the article is to identify some of the prerequisites and goals of the appeal of land art artists to the discourse of archaic art through the visual language of archaic art and to reveal the features, motives and mechanisms of this language on the basis of cultural and art criticism analysis of land art art projects. The subject of the research is the artistic language of archaic art; the object is the artistic works and land art projects of British and American artists: A. Goldsworthy, R. Long, R. Smithson. The scientific novelty is due to the lack of research on land art as an example of the manifestations of the actualization of the archaic discourse in the modern world. As a result of the research, the prerequisites for the relevance of archaic artistic forms in land art are determined in the form of a general actualization of the archaic discourse in culture and the need to develop a new artistic language of interaction between man and nature. Using the example of land art projects, archaic forms are considered as a tool for constructing an artistic space that allows expanding the viewer's emotional interaction with nature. Examples of the use of characteristic archaic archetypal signs and symbols by land art artists in order to create an intuitively readable image of a mythological space are analyzed. The absence of a context of direct appeal to real archaic beliefs and sacred practices is revealed. A parallel is drawn between the method of direct interaction with nature when creating works of art by British land art authors with a minimal presence of a transformative aspect in economic activity in the archaic.

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Al Yahya, Fakhriya y Khaled Alsebani. "Land art: the art of merging with nature". International Journal of Multidisciplinary Studies in Art and Technology 4, n.º 1 (1 de junio de 2021): 244–63. http://dx.doi.org/10.21608/ijmsat.2021.189072.

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Гальчинская, Ольга, Елена Васильева y Калина Пашкевич. "Использование техники плетения из природных материалов в искусстве ленд-арт". Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 44, n.º 1 (2020): 95–106. http://dx.doi.org/10.46727/jshs.2020.v44.i1.p95-106.

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The purpose of the article is to study land-art objects created using the weaving technique from natural materials; the types of techniques and materials used by artists to create installations are identified. The modern trends of this direction of art are investigated. Artists use for land-art objects various techniques: weaving, reed weaving, straw weaving etc. The main trends in modern land-art are the use of environmental, natural materials, reproduction of ethnic techniques and methods create art objects.

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Hao, Jiajing. "Analysis of the Influence of Land Art on Fiber Art". Highlights in Art and Design 3, n.º 3 (17 de agosto de 2023): 16–18. http://dx.doi.org/10.54097/hiaad.v3i3.11159.

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Land art uses nature as a creative medium, combining art and nature to form a visual art form rich in artistic integrity. Land art is integrated with the aesthetic concepts of different periods, broadening people's horizons for exploring art, and allowing people to clearly express the relationship between human beings and nature in their thinking. By analyzing the background of the production of land art, the characteristics and cases of land art, this paper explores the influence of land art on fiber art.

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Defrančeski, Jan. "Environmental Aesthetics and Land Art". Pannoniana 6, n.º 1 (12 de diciembre de 2022): 9–34. http://dx.doi.org/10.32903/p.6.1.1.

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In this paper, the author reflects on the relationship between environmental aesthetics and land art. By considering their historical development, the author first addresses the terminology problem which prompted him to understand land art as a hypernym – i.e. a term that semantically encompasses other art practices (e.g. “Earth art”, “Earthworks”, “Site art”, “Arte Povera”, “Environment(al) art”, and “Ecological art”). Moreover, by considering certain features of land art (e.g. integration, interruption, involvement, implementation, and imagining), the author proposes a thesis according to which land art represents not only a contemporary art movement but also a new form of the aesthetic experience of nature. In the further development of this thesis, the author focuses on two aesthetic principles of land art – participation and entropy – which in the history of aesthetic theory have been almost non-existent, pushed to the margins, or completely neglected. Finally, by finding solid theoretical foundations for this thesis in Ronald W. Hepburn’s ground-breaking essay “Contemporary Aesthetics and the Neglect of Natural Beauty” (1984), as well as some land art projects (e.g. Robert Smithson, Spiral Jetty, 1970), the author emphasises the strong theoretical connection between environmental aesthetics and land art.

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Ehninger, Eva. "Die Land Art als Film". Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, n.º 1 (2010): 109–27. http://dx.doi.org/10.28937/1000106160.

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"Parallel zu ihren monumentalen Außenrauminstallationen, die während der späten 1960er und frühen 1970er Jahre im Westen und Südwesten der USA realisiert wurden, haben einige Vertreter der amerikanischen Land Art auch Arbeiten im filmischen Medium produziert. Die Frage nach dem Stellenwert dieser Filmbeiträge für das jeweilige Œuvre ist in der Forschung ein Streitpunkt. Dieser Artikel bewertet weniger ihren Status als eigenständige Werke oder Dokumentationen, sondern widmet sich einem Thema, das Installationen und filmische Arbeiten gemein haben: die Kritik am klassischen Raumverständnis. Anhand zweier Werkgruppen der Künstler Walter De Maria und Robert Smithson wird die Neuverhandlung der konventionellen Regeln räumlicher Ordnung und perspektivischer Darstellung in beiden Medien diskutiert. Aus den Werkanalysen lässt sich ableiten, daß die filmischen Werke nicht lediglich die veränderte Raumwahrnehmung in den Land Art-Installationen abbilden, sondern eine vergleichbare Kritik am klassischen Raumverständnis mit filmspezifischen Mitteln vollziehen.<br><br>In parallel to their monumental installations, which were built in the Western and South- western deserts of the U.S. in the late 1960s and early 1970s, a number of representatives of American Land Art have also produced works on film. Researchers have held divergent views about the importance of these films for the understanding of the installations and about their character as either independent works or mere documentations. This article takes a different approach and analyses an element common to both installations and films: the critique of conventional constructions of illusionistic space. The repudiation of conventional spatial structures and of the representation of perspective is discussed on the basis of works by Walter De Maria and Robert Smithson. A formal analysis demonstrates that the films go beyond merely showing the conception of space in Land Art installations. Instead, they perform a similar critique of conventional ideas of space with decidedly cinematic techniques."

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Polunin, G. A. y V. V. Alakoz. "The art of land administration". Zemleustrojstvo, kadastr i monitoring zemel' (Land management, cadastre and land monitoring), n.º 9 (1 de septiembre de 2020): 7–17. http://dx.doi.org/10.33920/sel-4-2009-01.

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The article provides recommendations for land administration. With an abundance of productive agricultural land, success in agricultural production and the attractiveness of rural life are achieved by the ability of the population to pay, access to investment resources, the availability of a commodity distribution network, good management, land market infrastructure, a system of information support for agricultural activities, land management, cadastre and land evaluation for making reasonable management decisions and the necessary state support of agriculture.

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18

Jorge Camacho, Cristina. "Land Art vs Landscape Architecture". Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, n.º 4 (1 de mayo de 2016): 117–29. http://dx.doi.org/10.31921/constelaciones.n4a8.

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La descripción de los fenómenos atmosféricos según los grados de intensidad –vientos escala Beaufort 0, 1, 2,…– y su representación mediante diagramas sirven para medir futuras contribuciones energéticas y prevenir sequías e inundaciones a través de programas de simulación meteorológica como Real Flow o Flow Design en el entorno BIM. Como antecedente en el control de estos parámetros, determinados videos de obras de Land Art muestran cómo la acción del viento, la lluvia o los relámpagos potencian los efectos del tiempo sobre dichas obras como Air Art. Actualmente estas mediciones se utilizan en sistemas cerrados como las instalaciones domésticas Interior Weather de Philippe Rahm o Rain de Junya Ishigami o en sistemas abiertos como las redes de instalaciones Infraestructural Urbanism de Stan Allen o Landscape Urbanism de James Corner.

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19

Swenson, Kirsten. "Land Use in Contemporary Art". Art Journal 69, n.º 4 (diciembre de 2010): 14–15. http://dx.doi.org/10.1080/00043249.2010.10791394.

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Green, David. "Land, Art: A Cultural Ecology". International Journal of Environmental Studies 67, n.º 3 (junio de 2010): 473. http://dx.doi.org/10.1080/00207230902888506.

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Fentz, Christine. "Of art and of land". Peripeti 19, n.º 37 (19 de diciembre de 2022): 168–81. http://dx.doi.org/10.7146/peri.v19i37.135201.

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A presentation of the performing artwork of Secret Hotel and the work of Earthwise Residency – both entities work with the more-than-human, and therefore with an innate sustainable set of values. This also applies to the biannual interdisciplinary symposium Earthbound, which is also presented.

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22

Gamaliia, Kateryna y Nataliia Lisova. "PROBLEMS OF TERMINOLOGY WITHIN THE CONCEPT OF «UKRAINIAN LAND ART»". Research and methodological works of the National Academy of Visual Arts and Architecture, n.º 30 (9 de diciembre de 2021): 38–44. http://dx.doi.org/10.33838/naoma.30.2021.38-44.

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Abstract. Fundamental art studies in the field of land art are not yet available in Ukraine, and individual articles in periodicals do not reveal the principles of the formation of the actual Ukrainian art of the environment, its features and differences from abroad land art. To date, the phenomenon of Ukrainian land art has not received its own term and for thirty years in a row uses the borrowed foreign name «land art», while the uniqueness of domestic environmental art is an indisputable fact. The article considers the peculiarities of the formation of land art abroad and in the system of Ukrainian contemporary art. The analysis and clarification of terminology related to land art in Ukraine has been carried out. The author's term for the phenomenon of the Ukrainian land art is offered. The study found that the application of the foreign term «land art» to the domestic art of interaction with the environment is not exhaustive, because it does not reveal the full range of creative communication of artists with the environment and is too narrow in relation to it. At that time, the term «mystectvo dovkillja» («art of the environment»), introduced by P. Bevza, is too wide a range of artistic creativity, where «environment» is used in the sense of «environment» as one that contains the entire surrounding space. Therefore, it isn't inexpedient to apply the foreign term «land art» to the creative practices of Ukrainian artists. At the same time, «art of the environment» is too abstract a concept for the term «land art», which aims at a specific creative interaction with the earth. Environmental art aims to decorate and equip a person's place of residence, which expresses his utilitarianism and may include: both landscape art and landscape design and monumental art, site-specific art, ecological art, as preservation and repair of the Earth's resources, etc. Domestic artists work with natural materials in the natural environment in order to create a new art product. Accordingly, instead of the term «Ukrainian land art» it is appropriate to use the term «pryrodotvorche mystectvo» («natural creative art»), because the context of the Ukrainian art form is characterized by creative interaction with the natural environment and materials as a way to create a new art product. Theoretical research of the work is the basis for further in-depth scientific development of the problem, namely, the phenomenon of land art in the system of contemporary art of Ukraine.

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Iorga, Rozalia. "Land-Art, Ecologie, Politică şi Societate". Hiperboreea A2, n.º 1 (1 de enero de 2013): 15–27. http://dx.doi.org/10.5325/hiperboreea.2.1.0015.

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Abstract The Land-Art was integrated to Postmodernism by the most art historians, having as arguments the important affinities presented by the two artistic phenomena, both at the expressing modalities level but, especially, at the level of principles and, of the ideological sphere. The Postmodernism intended, as it is well-known, to parody or to interpret, in a proper way, a cultural tradition whose authority had become disturbing the Land-Art also started an innovating programme in the 60s -70s of the 20th century, through which the millenary art of the landscape was questionable, trying this way, a new and radical art-like approach of nature. The Art-Land was given various other names, syntagms which points out the work modalities or the materials used in the creation art: “Sociological Art”, “Earth Art”, “Works Art”, “Environmental Art”, “Earthworks”, “The Art of Landscape”, “The Sculpture of Landscape”, “The Walking Art”. The Land Art borrowed, in a great measure, the own means of expression of other tendencies which were performing on the artistic stage in the same time, such as the technique of installation, some of the principles experienced by Process-Art, by the Environmental Art or by Happening. The most representative land artists knew to integrate all the borrowings to a new vision, an original one, which, for the first time, was turning the nature into the support of the artistic creation. Apart from the point of view through which the Land Art is understood as an integral part of Postmodernism, there are also opinions, supported by well-known specialists, through which the Modernism of the 60s from the past century is seen as a possible origin of the Land-Art, especially if we have in mind the works of some great modern artists, such as Henry Moore, Robert Morris, Anthony Caro, Yves Klein and Tony Smith. Land Art presents two different ways of demonstration, hostile from the point of view of attitude towards nature and public: on the one hand some of the land artists look for the privacy of the act of artistic creation in the natural environment (one example this way is Richard Long), others, on the contrary, are guided by an art with clear social implications (e.g. the typical case of Christo). The ecological position of the tendency is underlined by the artists ' spokesman, Robert Smithson, who thinks that it should be adopted a committed, fighting attitude, pragmatically sheltered itself towards future.

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Luce, Jean-Marc. "Hérode Atticus et le Land Art". Pallas, n.º 93 (1 de noviembre de 2013): 207–14. http://dx.doi.org/10.4000/pallas.1456.

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McGirr, Patricia. "BETWEEN LANDSCAPE ARCHITECTURE AND LAND ART". Landscape Journal 16, n.º 1 (1997): 121–22. http://dx.doi.org/10.3368/lj.16.1.121.

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OKAN, Berna. "Land Art'da Yeni Yönelimler: Eco Art". Anadolu Üniversitesi Sanat & Tasarım Dergisi 10, n.º 1 (30 de junio de 2020): 42–50. http://dx.doi.org/10.20488/sanattasarim.830532.

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Rosa Alcalá. "Land Art in the Silk City". Callaloo 32, n.º 1 (2008): 209. http://dx.doi.org/10.1353/cal.0.0360.

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Sleeman, Joy. "Land Art and the Moon Landing". Journal of Visual Culture 8, n.º 3 (diciembre de 2009): 299–328. http://dx.doi.org/10.1177/1470412909347669.

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BELL, DAVID. "Art and Land in New Zealand". New Zealand Journal of Geography 92, n.º 1 (15 de mayo de 2008): 15–17. http://dx.doi.org/10.1111/j.0028-8292.1991.tb00297.x.

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Lisova, Nataliia y Kateryna Gamallia. "THERAPEUTIC ROLE OF UKRAINIAN LAND ART". Ukrainian Academy of Arts, n.º 33 (2023): 178–86. http://dx.doi.org/10.32782/2411-3034-2023-33-20.

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Brajčić, Marija. "Land art u dječjem vrtiću – studije slučaja". Magistra Iadertina 15, n.º 2 (25 de mayo de 2021): 135–50. http://dx.doi.org/10.15291/magistra.3381.

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Land Art is a principle in contemporary art that developed in the sixties and seventies of the 20th century, as a reaction to commercialization in art. The art of Land Art abandoned museums and galleries and develops monumental projects in free space and landscapes, which in an artistic way are changing and adapting without having any negative impact on the environment. Knowing and evaluating contemporary art in practice is as important as observing and evaluating traditional art works, which is also based on the development of subtle perception of art. For this reason, this case study examines the possibility of implementing contemporary art in this case Land Arta in pedagogical work with children in Kindergarten. Land Art is, in its essence, quite suitable as an incentive for creative work for interaction with nature, the use of natural materials that are close to children, has a good effect on the psyche of the child and contains an educational ecological component. The results showed that the children who participated in this research were creatively responsive and created interesting artworks inspired by land art.

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Halchynska, O. S., B. O. Protsyk, K. V. Krichlow y L. V. Navolska. "WOOD PROCESSING TECHNIQUES AS A MEANS OF CREATION OF LAND ART OBJECTS". Art and Design, n.º 2 (11 de agosto de 2021): 30–40. http://dx.doi.org/10.30857/2617-0272.2021.2.3.

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The purpose of the article is to study the land art objects created from the wood by various techniques used by the artists. To achieve the purpose, the following tasks have been identified and solved: the analysis of means of wood processing used by the artists to create the works of land art has been performed; the types of materials used to create installations have been determined; modern wood processing techniques and their characteristic features introduced in the land art objects have been studied. Methodology. The system approach, methods of typological, comparative-historical, reconstructive, structural-functional analysis, etc. are used. Results of the research. The study of wood processing techniques used by the artists of land art in their works has been conducted. The special decorative significance of wood processing techniques during the realization of the art object and their influence on the concept of the work have been determined. It has been found that the main trends in modern art are the environmental friendliness of materials used by the artists of land art, the use and restoration of ethnographic techniques and methods of creating art objects, but giving the work its own semantic component, often environmental one. The scientific novelty is to determine the author`s artistic techniques and approaches used for the creation of objects of land art in wood processing techniques, to develop the typologies of objects of land art from wood, as well as to determine the impact of traditional wood processing industries on the work of the artists of land art of our days. The practical significance lies in the fact that the materials presented in the article, their analysis and generalization can be used in research on the development of land art in Ukraine and the world, as well as for further implementation in the author`s art projects.

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UEYAMA, Ryoko y Hikaru TSUTSUI. "Design with New Methodolog: The 'Memory' of Land, Land Art, Biomimicry." JOURNAL OF RURAL PLANNING ASSOCIATION 20, n.º 4 (2002): 276–85. http://dx.doi.org/10.2750/arp.20.276.

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Гальчінська, О. С., К. О. Гамалія y К. Л. Пашкевич. "АНАЛІЗ ТВОРЧОСТІ ПРОВІДНИХ МИТЦІВ ЛЕНД-АРТУ ХХ СТОЛІТТЯ". Art and Design, n.º 3 (5 de diciembre de 2019): 48–57. http://dx.doi.org/10.30857/2617-0272.2019.3.5.

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Purpose of the article is to research the distinctive features of the works of leading artists of land-art of XXth century, the analysis of their place and contribution to the overall development of culture, as well as the impact of work on the creative artists today. Methodology. The methodological basis of the study is a systematic approach, methods of comparative-historical and art analysis. Results. Works of the leading artists of land-art of the XXth century were considered as part of the the goal. It is confirmed that the source of inspiration from artists of land art is nature, its phenomena, as well as human, his inner world and interaction with the environment. Defined the special significance of the information component in the land-art, as natural space and Earth's horizon is perceived by the artist as a coherent concrete semantic field. It was analysed that the concept of land-art combines a huge range of artistic projects created by the authors using different approaches, techniques and Ways of execution, but all of them are combined with common origin – to transform an element of a natural landscape into an art object. Methods of creation and presentation of viewer work in order to form a certain public opinion are researched. Scientific novelty consists in defining the peculiarities of the approaches and means for the creation of art objects of land-art as manifests by artists who turn to society in order to form public opinion and to attract attention to social and environmental problems of mankind. Practical significance is that the materials presented, their analysis and generalization can be used in scientific researches devoted to development of art of land art and also in definition of the creative influence of leading artists of land art of XX century on the activity of contemporary artists for further implementation in author's creative projects.

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Botes, Janet. "Art Expressing Human Dialogue with the Land". Ecozon@: European Journal of Literature, Culture and Environment 12, n.º 1 (14 de febrero de 2021): 206–9. http://dx.doi.org/10.37536/ecozona.2021.12.1.4225.

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Salvatori, Gaia. "From Land art to the “global era”". Journal of Science Communication 07, n.º 03 (19 de septiembre de 2008): C02. http://dx.doi.org/10.22323/2.07030302.

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In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to be paid to procedures and contexts. In search of a new humanism in contact with the natural universe.

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Chateau, Dominique. "Benjamin Riado, Paysages théoriques du Land Art". Nouvelle revue d’esthétique 27, n.º 1 (7 de junio de 2021): 158–65. http://dx.doi.org/10.3917/nre.027.0158.

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Doubleday, Nancy, A. Fiona D. Mackenzie y Simon Dalby. "Reimagining sustainable cultures: constitutions, land and art". Canadian Geographer/Le G?ographe canadien 48, n.º 4 (diciembre de 2004): 389–402. http://dx.doi.org/10.1111/j.0008-3658.2004.00067.x.

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Loureiro, Domingos, Nuno Ferreira y Catarina Lira Pereira. "INTERMEDIATED-LAND-ART: THE INTERMEDIATE LANDSCAPE EXPERIENCE". Arts, Linguistics, Literature and Language Research Journal 3, n.º 3 (30 de marzo de 2023): 2–16. http://dx.doi.org/10.22533/at.ed.929332330037.

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40

Puche Riart, Octavio y Mariano Ayarzagüena Sanz. "Artists in the mines, quarries and saltworks. Land art or earthworks and ecological art". BOLETÍN GEOLÓGICO Y MINERO 134, n.º 1 (marzo de 2023): 147–64. http://dx.doi.org/10.21701/bolgeomin/134.1/007.

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At the end of the 60s of the 20th century, a group of mostly Anglo-Saxon artists began a series of works in a context of social struggle and the beginning of the environmental movement that gave rise to what has been called land art and earthworks. Since then these initiatives have had extensive development. The historical study of these works, their symbolic meaning, their impact on the development of contemporary art and the role played as an engine of development of the territories where such works have been carried out will be the main objective of this work. These artistic works are executed on the territory and remain inextricably linked to it, where man leaves his mark on nature. They are actions that build, destroy or modify the landscape to a greater or lesser extent, since they frequently acquire large dimensions. Since the end of the 20th century, some artistic interventions will be carried out to revalue the landscape of mines, quarries and salt mines, particularly after its closure. It can be said that these works show a certain ephemeral character, depending on the qualities of the geological materials and the climate, being exposed to the direct action of the meteors, and in any case, it is an outdoor art. Ecological or environmental artists will see their initiatives enhanced after the approval of the first protectionist laws in the 70s. These artists work in mines and quarries, mainly from the point of view of landscape and environmental recovery.

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41

Luneva, E. V. "Differntiation between Rational and Sustainable Use of Natural Resources in Land Law". Lex Russica, n.º 12 (16 de diciembre de 2020): 54–66. http://dx.doi.org/10.17803/1729-5920.2020.169.12.054-066.

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The rational use of natural resources in land law is understood as the increase in the ecological efficiency of the use of natural resources, including the quality improvement. the paper identifies the types of public relations concerning the rational use of natural resources in land law: 1) improvement of the state of the natural environment and the ecological situation in general; 2) improvement of the quality of land as a separate natural resource and a natural object; 3) land reclamation; 4) land restoration; 5) additional reproduction of land fertility; 6) other relationships aimed at improving the sustainability of environmental systems of which land is a part. On the example of Part 2 Art. 8.7 of the Administrative Code of the Russian Federation, Para. 2 of Art. 45, Para. 2 of Art. 46 and Para. 1 of Art. 47 of the Criminal Code of the Russian Federation the paper shows the significance of differentiation between rational and sustainable use of natural resources in land law for law enforcement. The proposed differntiation leads to overcoming legal uncertainty when bringing to administrative responsibility and forced termination of rights to land plots for failure to fulfill mandatory measures for the land improvement. The author substantiates the supression from the objective side of the administrative offense provided by Part 2 of Art. 8.7 of the Administrative Code of the Russian Federation, of the failure to act on mandatory improvement of lands. The reasons for the proposed change of the rule include: 1) the absence in law enforcement practice of the facts of bringing to administrative responsibility under Part 2 Art. 8.7 of the Administrative Code of the Russian Federation for failure to comply with mandatory measures to improve lands; 2) recognition by courts in most cases of the design of part 2 of Art. 8.7 of the Administrative Code of the Russian Federation as a formally defined crime; 3) the study of Part 2 Article 8.7 of the Code of Administrative Offences of the Russian Federation in the science of Land Law exclusively in the context of the failure to implement mandatory measures to protect land and soil; 4) only social relations in the field of preservation and protection of land against negative impact can be the object of an administrative violation.

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42

Novak, Anja. "Precarious ground". Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, n.º 1 (7 de noviembre de 2023): 164–89. http://dx.doi.org/10.1163/22145966-07301008.

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The construction of Flevoland is the largest land reclamation project in the Netherlands to date. Its completion around 1970 coincided with the emergence of a new postmodern art form, Land art. In Flevoland, the abundance of empty space and the desire to promote and give meaning to the new land gave rise to a remarkable collection of site-specific Land art pieces, created by internationally renowned artists on behalf of local governments. This essay unravels the stories these Land art pieces tell about the polders in which they are located. The artworks refer to the history of the man-made landscape and draw our attention to its qualities. But they also express the ambivalent feelings that polder landscapes evoke. In addition to an optimistic pioneering spirit and admiration for the skills of the Dutch hydraulic engineers, the works are also about human conceit and the sheer power of nature. They remind us that we are on precarious ground.

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43

Glicenstein, Jérôme. "Vincent Victor Jouffe, « Au-delà du Land Art »". Marges, n.º 14 (1 de junio de 2012): 161–73. http://dx.doi.org/10.4000/marges.256.

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44

Elmaleh, Éliane. "La terre comme substance ou le Land Art". Revue Française d Etudes Américaines 93, n.º 3 (2002): 65. http://dx.doi.org/10.3917/rfea.093.0065.

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45

Вишеславський, Гліб. "Land art in the work of ukrainian artists". Contemporary Art, n.º 13 (12 de diciembre de 2017): 59–72. http://dx.doi.org/10.31500/2309-8813.13.2017.142219.

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46

Gesteira, Santiago G. "Art and Land: Eucalyptus Plantations in Brazilian Documentaries". Humanities 11, n.º 2 (7 de abril de 2022): 53. http://dx.doi.org/10.3390/h11020053.

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In Brazil, since the early 2000s, different documentaries have raised awareness about the problematic issues that tree plantations, especially eucalyptus, provoke, as they are propagated across the country. By means of interviews and a mix of investigative and expository styles, these films address and denounce the controversial role and power of the timber industry. However, in the last few years, other works have approached the relationships between planted forests and local ecosystems, offering an alternative perspective. This essay analyzes two recent films on the issue, the short film Gerais, and the 78 min long Do pó da terra, released in 2015 and 2016, respectively, while looking at another short documentary, Desertos verdes: plantações de eucaliptos, agrotóxicos e água, released in 2017, a straightforward documentary that advocates against eucalyptus plantations, interviews specialists and activists, and shows data that work as a report about the situation. In Gerais and Do pó da terra, forest plantations are not central narratives, rather, the focus is on specific communities and their customs. Through testimonial, observational, and poetic modes, they discuss the challenges faced by local inhabitants as their unique lifestyles and sociocultural expressions are threatened. Thus, this essay explains how, instead of images of destruction and the specificities of eucalyptus environmental effects, these documentaries choose to show the connection of local people and their art with the land, their daily life, and the changes they face. By crucially emphasizing the different timelines in play, that of western modernity, and that of alternative understandings of life–nature, they differ from other approaches towards filming environmental conflict that stress the immediacy of the situation. These two films offer a more intimate perspective of human beings, in interplay with their ecosystem, which allows for reflection on how they cohabitate and look forward.

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47

Gourbe, Géraldine y Charlotte Prevot. "Art et féminisme, un no man's land français ?" L'Homme et la société 158, n.º 4 (2005): 131. http://dx.doi.org/10.3917/lhs.158.0131.

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48

Lewis, Darrell. "The Tasmanian Devil in Arnhem Land Rock Art". Australian Archaeology 27, n.º 1 (1 de diciembre de 1988): 121–24. http://dx.doi.org/10.1080/03122417.1988.12093168.

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Lewis, Darrell. "In defence of Arnhem Land rock art research". Australian Archaeology 43, n.º 1 (1 de noviembre de 1996): 12–20. http://dx.doi.org/10.1080/03122417.1996.11681578.

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50

Rife, Michaela. "Oil Field Art and Alexandre Hogue’s Land Ethic". Archives of American Art Journal 59, n.º 1 (marzo de 2020): 24–43. http://dx.doi.org/10.1086/709260.

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