![]() ![]() The photographs document the work's temporary existence, but do not solely constitute the work itself. Like most Earthworks, the piece is site specific and ephemeral. With its simple, geometric shape and minimal intervention on the site, the work is also reminiscent of - and perhaps influential to - later Minimalist works such as Richard Serra's To Encircle Base Plate Hexagram, Right Plates Inverted (1970). ![]() The subject matter is the interaction of the journey, marking the ground, and making a simple adjustment to the landscape. ![]() Here, Long emphasizes the experiential factor of nature through the act of walking and the temporal factor involved in artistic practice, while also having an impact on the land. Made while Richard Long was a student in London, A Line Made By Walking documents a work he created as he walked back and forth across the same path in Wiltshire. ![]() By creating their works outside of these institutions, Earth artists rebuffed the commodity status these venues conferred on art, again challenging traditional definitions of art as something to be bought and sold for profit. The rejection of traditional gallery and museum spaces defined Earth art practice.This idea of site-specificity was something introduced to the art world by Earth art, again placing the artists at the vanguard because their pieces often required wide, open spaces, meaning that many of their works were not available to the average viewer and thus questioned the very purpose of art as something to be viewed. Robert Smithson, for example, picked damaged sites for his works in order to suggest renewal and rebirth. Locales were commonly chosen for particular reasons. Earth artists often utilized materials that were available at the site on which their works were constructed and placed, honoring the specificity of the site.The resulting ephemerality and eventual disintegration of the works put them outside of the mainstream where works of art were typically coddled and protected in controlled environments. Influenced by prehistoric artworks such as Stonehenge, Earth artists left their structures exposed to the elements. The favored materials for Earthworks were those that could be extracted directly from nature, such as stones, water, gravel, and soil.She has written widely about contemporary art in exhibition catalogues and in Artforum, Artscribe, The Burlington Magazine, and Parkett, among other magazines. In 2006, she was the recipient of the Award for Curatorial Excellence from the Center for Curatorial Studies at Bard College, and in 2007, she co-curated the exhibition "Richard Serra Sculpture: Forty Years," at the Museum of Modern Art in New York. In addition to her work at the Dia Center for the Arts, she has curated exhibitions at the Arnolfini Gallery, Bristol Whitechapel Art Gallery and Hayward Gallery, London Third Eye Center, Glasgow Institute of Contemporary Art, Boston Tamayo Museum, Mexico and elsewhere. During her years at Dia, she has worked to bring greater recognition to women artists who contributed to the minimalist period, organizing exhibitions and publishing writings on Jo Baer, Louise Bourgeois, Bridget Riley, and Agnes Martin, among others and in addition to developing historical projects with artists of the established Dia collection, nearly all of whom are male and became prominent during the 1960s, she has organized significant exhibitions aimed at introducing European artists of the 1980s to the American public, such as Rosemarie Trockel, Katharina Fritsch, Juan Muñoz, and Thomas Schütte.įrom the mid-1990s forward, Cooke has organized a number of exhibitions of younger American women artists, including Jessica Stockholder, Ann Hamilton, and Roni Horn, and worked on several projects with male artists all born outside of the United States. Cooke established herself during the mid-80s as a writer on contemporary artists of the period, including British sculptors Anish Kapoor and Bill Woodrow, and American artist Allan McCollum. She was a co-curator of the Venice Biennale in 1986, the Carnegie International in 1991, and was artistic director of the Biennale of Sydney in 1996.įrom 1979 to 1989, Cooke was a Lecturer in the History of Art Department at University College London, and prior to her move to the United States and appointment as curator at the Dia Art Foundation in 1991, Dr. in art history from the Courtauld Institute, University of London, and has taught and lectured regularly at the University College London, Syracuse University, Yale University, Columbia University, and the Center for Curatorial Studies at Bard College. Born in Geelong, Australia, Cooke received her B.A. Prior to her present position, she was the deputy director and chief curator at the Museo Reina Sofia, Madrid, Spain, (2008 to 2012) and the curator at the Dia Art Foundation (1991 to 2008). Lynne Cooke is the Senior Curator, Special Projects in Modern Art, at the National Gallery of Art, Washington DC. ![]()
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