Art on Mars: a Foundation for Exoart
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THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF CANBERRA AUSTRALIA by TREVOR JOHN RODWELL Bachelor of Design (Hons), University of South Australia Graduate Diploma (Business Enterprise), The University of Adelaide ART ON MARS: A FOUNDATION FOR EXOART May 2011 ABSTRACT ART ON MARS: A FOUNDATION FOR EXOART It could be claimed that human space exploration started when the former Soviet Union (USSR) launched cosmonaut Yuri Gagarin into Earth orbit on 12 April 1961. Since that time there have been numerous human space missions taking American astronauts to the Moon and international crews to orbiting space stations. Several space agencies are now working towards the next major space objective which is to send astronauts to Mars. This will undoubtedly be the most complex and far-reaching human space mission ever undertaken. Because of its large scale and potentially high cost it is inevitable that such a mission will be an international collaborative venture with a profile that will be world- wide. Although science, technology and engineering have made considerable contributions to human space missions and will be very much involved with a human Mars mission, there has been scant regard for artistic and cultural involvement in these missions. Space agencies have, however, realised the influence of public perception on space funding outcomes and for some time have strived to engage the public in these space missions. This has provided an opportunity for an art and cultural involvement, but there is a problem for art engaging with space missions as currently there is no artform specific to understanding and tackling the issues of art beyond our planet. This thesis involves research to recognise these issues and establish a foundation for a form of art that I refer to as Exoart, from which art can build a bridge to connect meaningfully with our new space future. ii ACKNOWLEDGEMENTS This thesis was not written in isolation and there are many people to thank for their support and encouragement. First, thanks to the many friends and family members who constantly enquired about the progress of this thesis and were genuinely intrigued by my areas of research. Thanks to the University of Canberra for giving me the opportunity to undertake what must have initially seemed a research subject ‘off the planet’. The support and professionalism of those I had dealings with is greatly appreciated. Thanks also to the team who guided me on the trajectory to Mars. My primary supervisor, Associate Professor Stephen Barrass, my secondary supervisor, Dr Sam Hinton, and Associate Professor Paul Magee who came on board as an advisor part-way through the launch procedures. More should be mentioned regarding the supervision of Stephen Barrass whose good advice, prompt response to my many emails, sense of humour and commitment to this research over and above what could reasonably be expected, has made this endeavour a smooth and enjoyable journey. Acknowledgement and thanks also to all those who generously supplied me with images and gave permission for their use. This thesis is far clearer for their inclusion. Finally, my greatest thanks go to my wife, Sue, artist and fellow-traveller in the cosmos. Her unfailing support for this project, her practical assistance and her constant critiquing of my ideas has added significantly to the final presentation of this thesis. I will be forever grateful for her positive contribution. iv TABLE OF CONTENTS TABLE OF IMAGES ............................................................................................... vii CHAPTER 1, INTRODUCTION Background to Research ........................................................................................... 1 Research Aim ............................................................................................................ 2 Research Parameters ................................................................................................. 2 Overview of Research ............................................................................................... 3 CHAPTER 2, THE ELEMENTS OF EXOART Introduction ............................................................................................................... 6 A new Artistic Initiative ........................................................................................... 6 Engaging with Space Missions ............................................................................... 22 Engaging with the Future ........................................................................................ 27 Engaging with Memory .......................................................................................... 37 Audience and Aesthetics ......................................................................................... 45 Summary ................................................................................................................. 47 CHAPTER 3, LAND ART Introduction ............................................................................................................. 49 Background ............................................................................................................. 49 Land Art Beginnings ............................................................................................... 53 Land Art Works ...................................................................................................... 55 Greg Johns – Horizon Figure ......................................................................... 55 Trevor Rodwell and Sue Rodwell – Read the Wind ....................................... 56 Chris Drury – Wave Chamber ........................................................................ 56 Andrew Rogers – Rhythm of Life ................................................................... 57 Robert Smithson – Spiral Jetty ....................................................................... 58 Hansjörg Voth – Sky Stairs ............................................................................ 59 Michael Heizer – Double Negative ................................................................ 59 Antony Gormley – Inside Australia ............................................................... 60 Walter De Maria – Lightning Field ................................................................ 61 Andy Goldsworthy – Locharbriggs Sandstone Arch ..................................... 62 Trevor Rodwell and Sue Rodwell – Written on the Land .............................. 63 Nancy Holt – Sun Tunnels .............................................................................. 63 Charles Ross – Star Axis ................................................................................ 64 James Turrell – Roden Crater ........................................................................ 65 Land Art Installation Features ........................................................................ 66 Issues with Land Art ............................................................................................... 67 Issues of Land ......................................................................................................... 70 Sites ................................................................................................................ 70 The Palmer Project ......................................................................................... 71 Accessing Land Art Works ............................................................................ 72 Vandalism and Bureaucratic Issues ................................................................ 74 Theoretical Elements .............................................................................................. 76 Nature, environment, landscape and the picturesque ..................................... 76 Land Art Works .............................................................................................. 82 Summary ................................................................................................................. 84 v CHAPTER 4, ANCIENT LAND INTERVENTIONS Introduction ............................................................................................................. 86 Overview ................................................................................................................. 87 Structures with a predominance of stone ....................................................... 89 The Hurlers, Bodmin Moor, UK ........................................................... 89 Nonokadō, Oyu, Japan ........................................................................... 90 Carnac and Locmariaquer, Brittany, France......................................... 90 Stenness and Ring of Brodgar, Orkney, UK .......................................... 91 Newgrange, County Meath, Ireland ....................................................... 91 Stonehenge, Wiltshire, UK .................................................................... 93 Avebury Henge and Standing Stones, Wiltshire, UK ............................ 96 Mounds constructed from environmental materials ....................................... 99 Silbury Hill, Wiltshire, UK .................................................................... 99 Serpent Mound, Ohio, USA ................................................................. 101 Markings on the Land .................................................................................. 103 Nazca Lines, Peru ...............................................................................