1969 年 2 月，康奈尔大学的赫伯特·约翰逊艺术博物馆 (Herbert F. Johnson Museum of Art) 是第一个举办地球艺术展览的美国博物馆，简称为“地球艺术”(Earth Art)。这些艺术作品在博物馆以及整个康奈尔大学伊萨卡校区展出，为后来继续挑战艺术作为商品地位的作品提供了一个场所，尤其是那些模糊了物体背景与其周围环境之间界限的装置。
Andy Goldsworthy 是一位著名的大地艺术雕塑家和摄影师，他在大自然中工作并与大自然融为一体。他的产出可分为永久项目和临时项目。后者旨在在生命周期结束时消失，并由有机和瞬态组件构成。他用树枝、树叶、岩石和冰创造了许多重复的设计，包括螺旋形、圆形和蛇形线。这些举措的核心是短暂性，反映了脆弱的生态和不断变化的自然环境。
在 1960 年代后期，这位艺术家以漫步为媒介，开始了与自然的直接互动，其动机是希望以新的方式利用景观。 Long 试图通过一系列重复的手势或长时间的单人行走来颠覆艺术的语言和愿望，并将其带到更基本、更亲密和更基本的水平。他的目标是通过自己来证明人与环境之间进行纯粹对话的可能性。时间、空间和距离是这个开创性概念大地艺术项目的主题，它们被扩展到一个巨大的尺度。
1969 年 2 月，康奈尔大学的赫伯特·约翰逊艺术博物馆 (Herbert F. Johnson Museum of Art) 是第一个举办地球艺术展览的美国博物馆，简称为“地球艺术”(Earth Art)。这些艺术作品在博物馆以及整个康奈尔大学伊萨卡校区展出，为后来继续挑战艺术作为商品地位的作品提供了一个场所，尤其是那些模糊了物体背景与其周围环境之间界限的装置。
Andy Goldsworthy 是一位著名的大地艺术雕塑家和摄影师，他在大自然中工作并与大自然融为一体。他的产出可分为永久项目和临时项目。后者旨在在生命周期结束时消失，并由有机和瞬态组件构成。他用树枝、树叶、岩石和冰创造了许多重复的设计，包括螺旋形、圆形和蛇形线。这些举措的核心是短暂性，反映了脆弱的生态和不断变化的自然环境。
在 1960 年代后期，这位艺术家以漫步为媒介，开始了与自然的直接互动，其动机是希望以新的方式利用景观。 Long 试图通过一系列重复的手势或长时间的单人行走来颠覆艺术的语言和愿望，并将其带到更基本、更亲密和更基本的水平。他的目标是通过自己来证明人与环境之间进行纯粹对话的可能性。时间、空间和距离是这个开创性概念大地艺术项目的主题，它们被扩展到一个巨大的尺度。
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