From Library Journal
[A]rt critic and historian Boettger turns a wide-angle lens upon the era's Earthworks movement and its exponents. [Her] chronological survey covers the early Claes Oldenburg Hole dug in Central Park (1967), the pivotal Dwan Gallery exhibition of Earthworks a year later, and the turbulent artistic, political, and philosophical activities of the late part of the decade. In the process, she touches on Smithson as both stimulus and catalyst for the movement. During this period, there was great ambivalence about the purity of art, the need for a market to support it, and the juxtaposition of the minimalist vision with the monumental effect of the works. With clarity and insight, the author traces the careers of the artists and their relationships to their work, one another, and the world of art critics and dealers. The result is a remarkable combination of insight and intellectual enthusiasm that, rare in a scholarly work, is easily accessible and a pleasure to read. With 12 color and 99 black-and-white images; highly recommended for all art collections, academic libraries, and large public collections as well. --Paula Frosch, Metropolitan Museum of Art Lib., New York
Copyright 2002 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright 2002 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Booklist
The full story of the rapid coalescence and far-reaching influence of earthworks-- defined by art historian and critic Boettger as "sculptors' direct manipulation of soil and terrain," and taking the form of massive yet usually subtle and always provocative outdoor sculptures--is fascinating, significant, and untold until now. Writing with unfailing clarity and momentum, Boettger sets earthworks firmly within the artistic, social, and political sensibilities of the times, highlighting the rise in ecological awareness and protests against the Vietnam War. She begins by assessing the emergence of large-scale, abstract public sculptures by artists such as Tony Smith, and pop art's obsession with objects and mechanical processes, trends that inspired Robert Smithson to go back to the source, the earth itself, to regain a "sense of the sacred" and to liberate art from artificiality. As Boettger expertly chronicles the making and reception of innovative earthworks by Smithson (who coined the term), Carl Andre, Robert Morris, Dennis Oppenheim, and Walter De Maria, she illuminates crucial facets of our perception of both nature and art then and now. Donna Seaman
Copyright © American Library Association. All rights reserved --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright © American Library Association. All rights reserved --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
