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Lesson Plans


ID:UA Response to Ecological Art Perspectives and Issues

[ Thread ][ Subject ][ Author ][ Date ]
Gina C Tafoya (gct)
Sat, 10 Oct 1998 12:44:54 -0700 (MST)


Don Krug lists, in the introduction to this section, four concepts
that artists explore in this new genre of public art: location, material,
time and change. I wonder if adding the concept of community might be
appropriate. Public art does imply community, but the community is not
always a part of the creation of public art. More to the point, there
seem to be two paths taken in contemporary ecological art. The work of
Rick Lowe (Project Row House), Paolo Soleri (Arcosanti) and the Harrisons
(The Lagoon Cycle) all depend completely upon community involvement. The
work of Andy Goldsworthy (Ballet Atlantique), James Mason (Grande Jatte
Topiary Park) and Maya Lin (Vietnam Memorial) are more traditional in that
the artist designs and executes within a community, but the artwork
remains the artist's own. This work exists separately from other people
although certainly within an important social framework. The former
cannot exist without the continual involvement of others.
Isn't community yet another dimension of ecological art?
Re: Goldsworthy's Ballet Atlantique. His sculptures are
environmentally interactive and they change constantly. His photography of
these works are necessarily static. How does this affect our perception of
the work? Do we really experience the sculpture?
Re:Maya Lin's Vietnam Memorial. Her sculpture was designed for a
specific site, however, replicas of the Wall have travelled
throughout the states. People everywhere are deeply touched by these
exhibits. How does the change in location affect our experience? Does this
matter?
Gina Tafoya