Tag: landscape

Alice Creischer, Feindsliebchen, 2002

Alice Creischer related her video work “Feindsliebchen” to the encounter of the American and Soviet generals in May 1945 in Erlauf. In the video she describes this encounter and the consequences on the basis of symbolically inserted objects. The video was shown in the anteroom of the Erlauf inn “Mostlandl”. At the railroad crossing, the artist also installed props from the video: a chair (in the movie it says: “the seat of the lurking”) or trouser legs (“the subjects that were under surveillance”). On an accompanying leaflet the artist had printed a sailor song. It was sung in the video as a representative of the moment when the two generals met each other.

Source: erlauferinnert.at

“The Lightning Field (1977), by the American sculptor Walter De Maria, is a work of Land Art situated in a remote area of the high desert of western New Mexico. It is comprised of 400 polished stainless steel poles installed in a grid array measuring one mile by one kilometer. The poles – two inches in diameter and averaging 20 feet and 7½ inches in height – are spaced 220 feet apart and have solid pointed tips that define a horizontal plane. A sculpture to be walked in as well as viewed, The Lightning Field is intended to be experienced over an extended period of time. A full experience of The Lightning Field does not depend upon the occurrence of lightning, and visitors are encouraged to spend as much time as possible in the field, especially during sunset and sunrise. In order to provide this opportunity, Dia offers overnight visits during the months of May through October.

Commissioned and maintained by Dia Art Foundation, The Lightning Field is recognized internationally as one of the late-twentieth century’s most significant works of art and exemplifies Dia’s commitment to the support of art projects whose nature and scale exceed the limits normally available within the traditional museum or gallery.

Dia Art Foundation also maintains three other Walter De Maria projects: The Broken Kilometer (1979) and The New York Earth Room (1977), both in New York City, as well as The Vertical Earth Kilometer (1977) in Kassel, Germany.”

lesbianartandartists:

Ingrid Pollard, Pastoral Interlude, 1988

Britain has traditionally been represented by an idealised rural landscape, the rolling green hills, the farm in the valley, and the sun setting over the wheat fields. The binary opposite lies within the city and its traffic, smoking chimneys, teeming hordes, that are constantly encroaching on the countryside. This work disrupts such simple common-sense notions by placing issues and British identity over these polarities. Ownership of land, commerce, economic development, and English involvement in the Atlantic slave trade are elements in this work that look at the construction of the Romantic countryside idyll. Balanced with a representation of single figures in the landscape that challenge assumptions identity and ownership. Pastoral Interlude is held in the National Collection in the Victoria and Albert Museum, London.

Source: lesbianartandartists