Gardens in many cultures represent heaven or paradise. Even in this life, gardens can be a place of simple communion with nature and with others.
Closeness and simplicity to nature coursework guide
Artists have often imagined humanity living more in harmony with nature – right back to the idea of the Garden of Eden. Looking to nature and simplifying forms, simplifying our lives and simplifying our impacts have all provided artists with materials and subjects.
Gardens and Paradise
Simple forms
Many artists have tried to refine natural forms to their simplest shapes.
Land Art
Art can be made from the land itself. Working with the soil itself to create earthworks, moving and placing natural materials, or simply recording the traces of their time in an environment, these artworks tend to disappear over time, returning to nature.
Die Brücke, Arte Povera, Environmentalism, Land Art, Minimalism and Japanese Zen Philosophy all explore this idea. In the face of the climate emergency, artists such as Olafur Eliasson, Mary Mattingly and John Akomfrah show the urgency and global nature of the changes needed to rebalance our approach to life.
Further Resources
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Nancy Holt and Robert Smithson in England, 1969
Robert Smithson, best known for his Land Art piece Spiral Jetty, and Nancy Holt, best known for her work Sun Tunnels, were both fascinated by man’s imprint on the natural landscape. They often travelled together and documented their work – and themselves – in photographs. In 1969 they took an important journey through England and Wales visiting sites that resonated with their practice, ranging from ancient ruins and landscaped gardens to wild natural places. For the first time, Holt reflects on the trip and its influence on their art
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A fearless embrace of our common existential situation as frail, short-sighted creatures lost in space in a temporarily lucky planet
Robert Smithson’s vast earthwork Spiral Jetty 1970 became an instant icon of land art, partly thanks to iconic photography by Gianfranco Gorgoni, and recently resurfaced after being submerged under the Great Salt Lake. Smithson’s visual inspiration for this project was typically diverse – ranging from the molecular structure of salt to Constantin Brancusi’s abstract portrait of James Joyce, and a ‘Spiral Jetty Weekend’ invite allows Kenneth Baker to make a visit.