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Original article (non peer-reviewed)

Journal Visual Past
Volume (Issue) X(Y)
Page(s) X - Y
Title of proceedings Visual Past

Open Access

URL http://www.visualpast.de/about.html
Type of Open Access Publisher (Gold Open Access)

Abstract

A key problem of researching the Critical Zone (CZ) is the problem of mediating the CZ: Common visualisations are insufficient, keeping the gap to the experience beeing in the CZ. In American Land Art around 1970, when an ecological and geopolitical thinking was circulating, one can make out an ana-logy: The artworks were intended to be received on site, but they were also made accessible by visual media – the crux of Land Art. Against this back-ground I want to focus on Land Art in a perspective of image studies, suppo-sing that Land Art ›treated‹ the problem of mediating the CZ avant la lettre. I want to show in this art historical case study: that the CZ was not only digged, drilled or even blown up when land was transformed into art, but also could be experienced on site. In addition the CZ was mediated and the (epistemic) conditions of this were reflected, especially the tension between processes and static media. In return, and that is my claim, artistic mediations were developed. This all was embedded in a broader discourse of visuality, which will be traced back to Minimal, Serial and Conceptual Art. The ambivalent role of machines and technology will be considered en passant.
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