ISBN 10: 0262026708 / ISBN 13: 9780262026703
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Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Amalgamating the worlds of art and science, Nisbet demonstrates the impossibility ofcollapsing land art into ecology while making a case for the importance of an evolving livedexperience with situated works and with the persistent traces they leave in history through images,films, sounds, and texts. Codice inventario libreria

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Riassunto:

A fundamentally new view of environmental art that traces a cultural shift toward the unruly complexities of global ecologies.

As the American environmental movement emerged in the 1960s and 1970s, ecological perspectives also emerged in art. But ecological artworks were not limited to conventional understandings of environmental art as something that had to be located outdoors or made of organic materials. Created in a range of media, they reflected a widespread reconceptualization of the material world and a sense of the interconnectedness of all things. In this book, James Nisbet investigates the many levels of intersection between ecology and art in the 1960s and 1970s, examining a series of works that served as sensory interfaces to ecological concepts and reflected the shifting notions of ecology during the period.

Nisbet first examines practices of land art that sought to revise the relationship of art to the biological world. He explores the all-but-forgotten genre of Environments, founded by Allan Kaprow, which produced both closed environments bounded by the gallery's walls and psychedelic multimedia environments; and he examines the transition between minimalism and land art, considering the "planetary visions" that cast singular objects within holistic ecosystems -- a sensibility that infused such canonical earthworks as Michael Heizer's Double Negative and Robert Smithson's Spiral Jetty. Nisbet then turns to work informed by the language of energy and the ecological notion that all matter is in process, including Robert Barry's radio wave installations and Simone Forti's performances. Finally, he considers Walter De Maria's The Lightning Field, finding in it a reflection of the conflicts within ecological thinking of the 1970s. Offering a radically new view of environmental art, Nisbet traces a cultural turn from an art that addresses artificially confined environments and simplified allegories of the planet to one that increasingly takes on the "unruly complexities" of global ecologies.

About the Author:

James Nisbet is Assistant Professor in the Department of Art History at the University of California, Irvine.

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Descrizione libro MIT Press, 2014. Condizione libro: Used. BOOK CONDITION: Used books will have varying degrees of wear, highlighting, and notations. Access codes & supplemental materials may not be included. Inventory is subject to prior sale. SHIPPING: Only Standard shipping to PO Boxes. We are not able to ship to APO/FPOs or Internationally. Orders are shipped from Illinois. Codice libro della libreria 6048703U2

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Descrizione libro The MIT Press, 2014. Hardcover. Condizione libro: Used: Very Good. Hardback--book excellent--dust cover shows mild wear. Codice libro della libreria CL170430008S3

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Descrizione libro MIT Press, 2014. HRD. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria BB-9780262026703

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Descrizione libro MIT Press Ltd, United States, 2014. Hardback. Condizione libro: New. Language: English . Brand New Book. A fundamentally new view of environmental art that traces a cultural shift toward the unruly complexities of global ecologies.As the American environmental movement emerged in the 1960s and 1970s, ecological perspectives also emerged in art. But ecological artworks were not limited to conventional understandings of environmental art as something that had to be located outdoors or made of organic materials. Created in a range of media, they reflected a widespread reconceptualization of the material world and a sense of the interconnectedness of all things. In this book, James Nisbet investigates the many levels of intersection between ecology and art in the 1960s and 1970s, examining a series of works that served as sensory interfaces to ecological concepts and reflected the shifting notions of ecology during the period.Nisbet first examines practices of land art that sought to revise the relationship of art to the biological world. He explores the all-but-forgotten genre of Environments, founded by Allan Kaprow, which produced both closed environments bounded by the gallery s walls and psychedelic multimedia environments; and he examines the transition between minimalism and land art, considering the planetary visions that cast singular objects within holistic ecosystems -- a sensibility that infused such canonical earthworks as Michael Heizer s Double Negative and Robert Smithson s Spiral Jetty. Nisbet then turns to work informed by the language of energy and the ecological notion that all matter is in process, including Robert Barry s radio wave installations and Simone Forti s performances. Finally, he considers Walter De Maria s The Lightning Field, finding in it a reflection of the conflicts within ecological thinking of the 1970s. Offering a radically new view of environmental art, Nisbet traces a cultural turn from an art that addresses artificially confined environments and simplified allegories of the planet to one that increasingly takes on the unruly complexities of global ecologies. Codice libro della libreria AAS9780262026703

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Descrizione libro MIT Press. Hardcover. Condizione libro: New. New copy - Usually dispatched within 2 working days. Codice libro della libreria B9780262026703

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Descrizione libro MIT Press Ltd, United States, 2014. Hardback. Condizione libro: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. A fundamentally new view of environmental art that traces a cultural shift toward the unruly complexities of global ecologies.As the American environmental movement emerged in the 1960s and 1970s, ecological perspectives also emerged in art. But ecological artworks were not limited to conventional understandings of environmental art as something that had to be located outdoors or made of organic materials. Created in a range of media, they reflected a widespread reconceptualization of the material world and a sense of the interconnectedness of all things. In this book, James Nisbet investigates the many levels of intersection between ecology and art in the 1960s and 1970s, examining a series of works that served as sensory interfaces to ecological concepts and reflected the shifting notions of ecology during the period.Nisbet first examines practices of land art that sought to revise the relationship of art to the biological world. He explores the all-but-forgotten genre of Environments, founded by Allan Kaprow, which produced both closed environments bounded by the gallery s walls and psychedelic multimedia environments; and he examines the transition between minimalism and land art, considering the planetary visions that cast singular objects within holistic ecosystems -- a sensibility that infused such canonical earthworks as Michael Heizer s Double Negative and Robert Smithson s Spiral Jetty. Nisbet then turns to work informed by the language of energy and the ecological notion that all matter is in process, including Robert Barry s radio wave installations and Simone Forti s performances. Finally, he considers Walter De Maria s The Lightning Field, finding in it a reflection of the conflicts within ecological thinking of the 1970s. Offering a radically new view of environmental art, Nisbet traces a cultural turn from an art that addresses artificially confined environments and simplified allegories of the planet to one that increasingly takes on the unruly complexities of global ecologies. Codice libro della libreria BTE9780262026703

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Descrizione libro MIT Press Ltd, United States, 2014. Hardback. Condizione libro: New. Language: English . Brand New Book. A fundamentally new view of environmental art that traces a cultural shift toward the unruly complexities of global ecologies.As the American environmental movement emerged in the 1960s and 1970s, ecological perspectives also emerged in art. But ecological artworks were not limited to conventional understandings of environmental art as something that had to be located outdoors or made of organic materials. Created in a range of media, they reflected a widespread reconceptualization of the material world and a sense of the interconnectedness of all things. In this book, James Nisbet investigates the many levels of intersection between ecology and art in the 1960s and 1970s, examining a series of works that served as sensory interfaces to ecological concepts and reflected the shifting notions of ecology during the period.Nisbet first examines practices of land art that sought to revise the relationship of art to the biological world. He explores the all-but-forgotten genre of Environments, founded by Allan Kaprow, which produced both closed environments bounded by the gallery s walls and psychedelic multimedia environments; and he examines the transition between minimalism and land art, considering the planetary visions that cast singular objects within holistic ecosystems -- a sensibility that infused such canonical earthworks as Michael Heizer s Double Negative and Robert Smithson s Spiral Jetty. Nisbet then turns to work informed by the language of energy and the ecological notion that all matter is in process, including Robert Barry s radio wave installations and Simone Forti s performances. Finally, he considers Walter De Maria s The Lightning Field, finding in it a reflection of the conflicts within ecological thinking of the 1970s. Offering a radically new view of environmental art, Nisbet traces a cultural turn from an art that addresses artificially confined environments and simplified allegories of the planet to one that increasingly takes on the unruly complexities of global ecologies. Codice libro della libreria AAS9780262026703

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