![]() A combination of visual analysis, exploration of relevant critical theory and phenomenology of the landscape is used to investigate both the prehistoric monuments and contemporary land art. ![]() This analysis is focused around the writing of Lucy Lippard, John K Grande, William Malpas and Malcolm Andrews and their views of the dialectic between nature from culture, inspiring analysis of modern environmental anxieties relating to permanence and ephemerality. These strands inform the debate in Chapter 3, which compares prehistoric monuments and land art by examining the varying ways that the circle can signify their respective social landscapes. In Chapter 2 the connections between nature and contemporary artists are explored using the artists Andy Goldsworthy, Julie Brook and Richard Long, by examining their comments and intentions as well as the themes exhibited in their work, such as site-specificity and ephemerality. Chapter 1 discusses the theories presented by historians and archaeologists such as Christopher Tilley, Aubrey Burl, Richard Bradley and Francis Pryor to inform a discussion which explores the aesthetics, purposes and reasons for the construction of Neolithic monuments, using the example of Castlerigg stone circle. My research is centred around the circle as a metaphor for societal relationships towards natural and human-influenced environments, characterised in the separation of nature and culture. This dissertation is a comparative phenomenological study of attitudes towards landscape in Neolithic stone circles and in contemporary land art. ![]() Part 3 explores some key aspects of the permanent Postmodern eclecticism that is consequent upon this. It is argued further, that effect of all the tendencies described is to exhaust the possibility of further radical innovations in art. In Part 2, it is shown how the legacy of the found object is made into the positive basis for artistic creation in the form of Pop Art and other tendencies that affirm the worth of mass culture. In Part 1, we discuss the emergence of minimalism, conceptual, and performance art. The origins of this are found in the delayed influence of Duchamp's legacy of the 'found object'. This discussion describes how Postmodernism takes art to its logical limits. If you wish to cite this discussion please refer to the version as presented in the book. In the book, the chapter is entitled ‘Contingent Objects, Permanent Eclecticism’. This is a renamed version of Chapter 1 of my book Geneses of Postmodern Art: Technology As Iconology, published by Routledge in their Advances in Art and Visual Studies series, 2019. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines. The escalating market for contemporary art is another driving force. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. ![]() Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. ![]()
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