In this thesis work, I am researching the presence of point and line in conceptual art, more detailed in land art and nature. Conceptual art appears in the second half of the twentieth century, and it is characterized by the liberation of institutionalized spaces, such as museums and extends to public spaces as well as to nature. By doing this, processual art is developed, where more than a result the essential part is the process. From the conceptual art many different directions and artistic trends are spread, one of which is land art.
I explore the subject matter in three chapters. In the artistic and theoretical part, I speak about point and line as the basic artistic elements. These outlined elements are among the basic artistic means of expression with which we intervene in the visual field. They connect with other visual elements, their appearance is also detected in nature.
In the second part of the theoretical part, I deal with conceptual art and land art. I go through a brief history and mention some of the authors and their works which significantly influenced the further development of this artistic direction. I specifically focus on the artistic movement of the Group OHO which simultaneously created conceptual and land artworks on the homeland. Through various creative phases, the group reached the final stage of its operation, in which life and art intertwined; artists were living art.
In the artistic and practical part, I present my own land artwork, where I relate to our artists and foreign ones whose works inspired me and led me in creating. In this way, I am deepening my knowledge from theoretical work and using it in my own artwork.
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