Landscape Art

While landscape art has been considered as an approved vehicle of the articulation of class and racial relations, as well as imperialism, colonialism and nationalism, gender has, as a rule, been absent from artistic analysis of landscape. Still, “gender has imprinted and continues to imprint itself on the landscape in a myriad of forms”. The cultural construction of land itself is traditionally sexed: Nature is female, as is the Earth; the land can be “Virgin”, conquered via the odyssey of a customarily male explorer; sites can be spoiled, ideal, forbidden or untouched. The language of geography can be remarkably similar to the sexual one, a dichotomy defined by activity and passivity.

The natural world, therefore, is gendered in ways; and furthermore, for a long time so was the artist: pre contemporary culture -art history, even- speaks of creativity being male, unmatched by female’s procreativity. The male landscape artist can therefore -willingly or accidentally- identify and be identified with the combined gendered roles of male artist and explorer. Considering in addition that women’s access to travel, the land and the outdoors in general, has been historically restricted,  with male and female (artists or not) enjoying very different admittance onto the “imaginary and real space that makes up landscape art”, and the argument naturally forms - ought landscape art be reconsidered in light of gender?

Though Surrealism was one of the most influential trends in 20th-century art, it hardly manifested itself in landscape design, where the artist cannot fully plunge into the realm of the subconscious, as objective laws of nature play their part. This article touches upon the few extraordinary examples of Surrealist concepts realized in landscape art. /// Сюрреализм, будучи одним из наиболее влиятельных течений в искусстве XX века, в наименьшей степени проявил себя именно в ландшафтном искусстве - то есть там, где невозможно полностью уйти в область бессознательного, где объективные законы природы всегда берут своё. В статье речь идёт о немногочисленных, но крайне любопытных примерах воплощения сюрреалистических концепций в ландшафтном искусстве.

In the Victorian period, Venice was linked to an iconography devoid of any references to the Dolomite Mountains. The connection between the city and its Alpine horizon remained concealed under a veil of haziness. This paper seeks to unravel the conditions under which this haze was lifted. In a context in which classical aesthetic trends and nostalgic codes of travel reminiscent of the Venetian Grand Tour still held sway, Victorian travellers ventured along alternative routes into the wild and rocky Highlands of Venice, pioneering new travel styles that satisfied the desire of experiencing nature in landscape. Josiah Gilbert's 1869 travel-cum-art book, Cadore, or Titian's Country, typified this changing trend. In tracing a Petit Tour, off the beaten track, Gilbert transformed the Dolomites into a zone of prestige centred on Pieve di Cadore, the birthplace of Titian. Despite their uncharted and isolated topography, the Dolomites emerged progressively as a cultural landscape intimately connected to the cosmopolitan aura of Venice and the artistic legacy left in Titian's mountainous backgrounds. Configuring the real Dolomite landscape as if Titian had painted it faithfully, Victorian travellers to Titian Country enacted a ‘cult geography’ through which his paintings could be traced on foot.

Intervista di Simona Ciniglio pubblicata il 16 maggio 2014 su "Corso Italia News": "Nell’ambito della rassegna “Sorrento tra ieri, oggi e domani” diretta da Luigi Di Prisco e organizzata dall’Associazione ”Un Ponte tra Passato, presente e futuro”, avrà luogo domani, alle ore 18.30 presso la biblioteca di Sorrento, l’incontro culturale ”Tempo e Paesaggio: lo sguardo di Camill Gugg “, a cura del Dott. Giovanni Gugg, antropologo".

El río en el arte contemporáneo y algunas notas de potamología práctica. Estudio sobre las diferentes poéticas del río en el arte contemporáneo. Se oponen los acercamientos basados en la experiencia a los acercamientos que insisten en el problema de la representación. Entre los artistas estudiados: Richard Long, David Nash, Axel Hütte, Perejaume...

Rivers in contemporary art and some notes on practical potamology.
In Wooden Boulder (1978-2003), David Nash (Esher, Surrey, 1945) narrates the story of a tree trunk, from the moment when it was chopped from the stump of an ash tree, to the later point when it was placed on the banks of a creek, up to the moment when it was lost in the ocean twenty five years later in the mouth of the Dwyryd estuary. In O Ribeiro (1978), one of the most interesting works of the Por- tuguese artist Alberto Carneiro (Coronado, Minho, 1937), we detect the abandonment of an expressive and formal exploration of hand-crafted materials, in favour of an opening up of the field of perception, to the idea of the artist as a mere spectator or observ- er, and to a more corporeal and phenomenological form of investigation. At the same time, the award- winning Richard Long (Bristol, 1945), explored the idea of a river-artist in experiments that would lead to works as poetic as River Avon Book (1979).

This article explores how we might use artistic representations to protect future generations from the dangers inherent in the burial of radioactive waste, taking the work of artists Bryan McGovern Wilson and Robert Williams in Cumbria, north-west England, as a case study. Art has been a means of long-range communication since prehistoric times, and may be deliberately deployed to
communicate with future generations. Contemplation of Wilson and Williams’s practice invites us to consider the longue dure´e of hundreds of thousands of years over which radiocarbon waste produced by nuclear power stations has to be stored safely away from humans. Adapting an Annales historical perspective, Cumbria’s archaeological past is interrogated for evidence of how we might construct monuments that communicate the presence of nuclear waste depositories to future generations. This in turn, and prompted by Wilson’s performance works, invites us to consider whether oral tradition and performance might serve better as a warning to future generations.

Art in Zion deals with the link between art and national ideology and specifically between the artistic activity that emerged in Jewish Palestine in the first decades of the twentieth century and the Zionist movement. In order to examine the development of national art in Jewish Palestine, the book focuses on direct and indirect expressions of Zionist ideology in the artistic activity in the yishuv (the Jewish community in Palestine). In particular, the book explores two major phases in the early development of Jewish art in Palestine: the activity of the Bezalel School of Art and Crafts, and the emergence during the 1920s of a group of artists known as the Modernists.

The drive to collect seems near universal, but nowhere is it so rarefied as in the world of art connoisseurship. This paper considers the work of contemporary artists, father and son Robert and Jack Williams. I focus on the relationship between collector and the collected, informed by my own experience as a practising archaeologist. I am interested in the example of the Williams' artwork which breaks down barriers between natural and cultural artefacts and reflect on how this might stimulate new opportunities for the archaeologist. I use the Williams' work 'Thesaurus Scienta Lancastriae' which took place at Williamson Park, Lancaster, UK, and explored the nature of collecting and collections, of classifying and classification, and of typology and display.

KEYWORDS:
Art, Archaeology, Landscape, Culture, Collector, Collection, Display, Artefacts, Robert Williams, Jack Williams, Mark Dion, Susan Hillier, Lancaster, Cultural History, Classification, Discovery, Archaeological Theory, Typology

"STALKSCAPES. Cinematic experiments in Landscape Architecture and beyond". Lecture & Film (100 photograms / 1 hour) by Eunate Torres-Modrego, Keynote Speaker (IAUG University of Geneva, Switzerland) in ATMOSPHERE SYMPOSIUM 2011. University of Manitoba, Faculty of Architecture, CANADA, February 2011.

Stalkscapes Lecture in Vimeo:  https://vimeo.com/240546852/settings

Atmosphere Symposium was created in 2009 by Dr. Marcella Eaton, B.E.S. (Manitoba), Ph.D. (Edinburgh Coll. of Art, Heriot Watt), Associate Dean (Academic), Chair, Environmental Design Program, Associate Professor, Department of Landscape Architecture, University of Manitoba, CANADA.

"Every year the University of Manitoba's Faculty of Architecture hosts a symposium in the series Atmosphere.

The Atmosphere symposia explore the intangible and overlooked dimensions of architecture and the city: those difficult to pin down, document, record with conventional instruments and methodologies.

Atmosphere 2011 will focus on MEDIATED CITIES, the image of architecture, space, and place in cinema and other media. There is a long history of "city films" which have portrayed the experience of urban life, exploring through that experience the qualities and conundrums of modern life. Today that history is updated as cinema is supplemented by new forms of media including video, internet, and portable media. These new forms of media emerge from and articulate shifts and developments in architecture, landscape and cities as well as global geographies, technologies and politics. They include imaginary as well as documentary narratives, and works that blur the two. They are also being incorporated, rapidly, into the practice of all design disciplines.

The conference will build bridges between disciplines, between research and creation, between the academy and the community – contributing to the production of a truly mediated city."

ჯეიმს თარელი ლენდ არტის ერთ-ერთი წარმომადგენელია. მისი შემოქმედება არა მხოლოდ ლანდშაფტთან, არამედ სინათლესთანაცაა დაკავშირებული. იგი სინათლეს როგორც სუბსტანციას და ობიექტს აღიქვამს, ერთადერთი, მისი შემოქმედებისთვის ხელის ხლება შეუძლებელია, მაგრამ დანახვა, შეგრძნება და ამისგან ფორმის შექმნა - მისი მთავარი მიზანია.

The moment of creative transition for Fred Williams is signalled by a painting he completed after he had been in London nearly four years. Tree Loppers, a large oil of 1955, marks that step where the promising youngster metamorphoses into a mature artist.

I am researching pre christian celtic belief systems through images I have discovered at British ancient monument sites, I have discovered the goddess Bridget and her consort Herne,  I believe this to be source martial and will be posting my finds on this site.  I would like to find a British celtic myth specialist to help me place some of the figures,  with a view of future publication.  I am studying for a MA Fine Art at Bath Spa University