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Nature in contemporary art - Essay Example

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The essay analyzes the concepts and representations of nature in contemporary art. In one approach or another, nature has always been the honored theme of original art. Sometimes, it is treated in a mythical or animist guide, or else stated as the very structure of existence. …
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Nature in contemporary art
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Nature in contemporary art

Download file to see previous pages... The essay "Nature in contemporary art" discusses the concepts and representations of nature in contemporary art. In situations where the form of the earth as life's foundation is laid onto nature, it personalizes truth and validity endangered by technology. As a result, many philosophers have incorporated this firm earthly groundwork as a signal of the roots with which the individual continuously seems to demand. When a polemical analysis was made by Heidegger (already a classic) of the shoes painted by Van Gogh, he was focused to the path below the shoes worn. This is because he thought, the path was taken by a peasant woman in relation to the actual shoes. This translated to the fact that it was a trail of compressed earth, of steadiness with solidity, a path which was not misleading or artificial. A representation of nature exists from where once changes it to a situation where one “shapes” it. As a result, nature exists as the "raw material" for the land art. This is as illustrated in the works of Richard Long, Walter De Maria, and Robert Smithson. In Smithson's work titled “Spiral Jetty," nature, the world, the lake and the gravels coupled with the sky are the fashioned material. This can be explained by the fact that it is as if man wanted to channel himself against nature. This circumstances resulted to a change thus realize a beautifulness that appears to be renounced to him in daily life. When Walter De Maria made his “Lightning Field” statue in the desert, he appeared to be convincing nature. to act in a given way.8 He fails to take an inactive attitude in the company of the elements, resulting to failure to signify. This is because he slightly seeks to feel what is ordinary and lively in them and to make an artistic experience of it. It is important to note that the “land art” of the 1960s and 1970s seemed to make a new attempt to come to an understanding with nature in a way similar to or at least associated with the approach of prehistoric artists.9 Artistic obligation does not always go the way of the outstanding. Smithson's quay, Long's lines and circles pegged with De Maria's lightning are considerable to the individual expecting them. Turrell's spaces appear to be homes for anybody encircled in them.10 Furthermore, they appear as vantage areas from which one might effectively take ownership of the sky. On the contrary, the wax and coal dust utilized by Eva Lootz, or Adolfo Schlosser's rod branches and skins, are natural and forms the "raw material" for their creative activity.11 As a result, they give a convinced and minimal measure of nature. For example, the breeze that sets in motion a Calder mobile, the paraffin, coal dust or wax lightly gathering on the object or on a flat surface, and the tautness of the frail determined branch constructed into one of Schlosser's pieces.12 It was noted that, in the work of all these artists in the example stated above, apart from underlining itself by its glory and seriousness, nature announces its self-effacing delicateness. With the lapse of time, the relationship between art and nature has determined creative art. This is because the beginning of nature entertained by the numerous human communities strengthened or altered this relationship. Primitive man utilized the natural elements, whereas the romantics fanatically desired to capture a nature that escaped their grasp. Friedrich's traveler staring from patronizing ...Download file to see next pagesRead More
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