These enclosed tranches of landscape, culturally displaced and geopolitically charged, relate to
Land Art exponent Robert Smithson's Non-Site series; while other homages to recent heroes of art history include Blow Up, which reveals itself as a playful destruction of the photographic work of German couple Bernd and Hilla Becher and the life - sized, white ceramic Pig (2012) which is both a scaled - up version of a piggy bank from Monk's childhood and an imagining of an unrealised sculpture by Jeff Koons.
• Robert Smithson (1938 - 73) Leading
exponent of
land art, trained at the Art Students League and the Brooklyn Museum School, he began producing a series of conceptualist artworks (sites and non-sites), before moving on to 3 - D works which included the use of soil and earth, and then fully - fledged earthworks in various US states, including Utah and Texas, and in Euro
art, trained at the
Art Students League and the Brooklyn Museum School, he began producing a series of conceptualist artworks (sites and non-sites), before moving on to 3 - D works which included the use of soil and earth, and then fully - fledged earthworks in various US states, including Utah and Texas, and in Euro
Art Students League and the Brooklyn Museum School, he began producing a series of conceptualist artworks (sites and non-sites), before moving on to 3 - D works which included the use of soil and earth, and then fully - fledged earthworks in various US states, including Utah and Texas, and in Europe.
[9] During this period,
exponents of
land art rejected the museum or gallery as the setting of artistic activity and developed monumental landscape projects which were beyond the reach of traditional transportable sculpture and the commercial
art market, although photographic documentation was often presented in normal gallery spaces.