A Study on Cecilia Vicuña’s Earth Art in the 1960s (세실리아 비쿠냐의 1960년대 대지미술 연구)

Han Deul Kim (김한들); Chung Yeon Shim (정연심)

A Study on Cecilia Vicuña’s Earth Art in the 1960s

Journal of History of Modern Art
2023, (53), pp.129-151
Publisher : 현대미술사학회
Research Area : Arts and Kinesiology > Art > Arts in general > Art History
Received : May 5, 2023
Accepted : June 5, 2023
Published : June 30, 2023

Han Deul Kim ¹, Chung Yeon Shim ¹

¹홍익대학교

Accredited

ABSTRACT

This article introduces the art world of Cecilia Vicuña, a female Chilean artist, and explores her position in the history of earth art through an analysis of her work from the 1960s. While she had built her art world, consisting of social movements(activism), literature(poetry), and visual art, she presented her first visual artwork Precarios, Casa Espiral, at the beach in Concón in 1966. Meanwhile, earth art emerged in New York amid the post-Minimalism movement, such as dematerialization and anti-form, and Earth Art (1969), curated by Willoughby Sharp, took a key role. Sharp summarized the three common aspects of earth art after the exhibition; earth artworks tend to lack visual sophistication, the works can exist without physical support, and the works can be experienced through no one perspective or focus. However, Lucy R. Lippard insisted that some artists had taken these essences of earth art due to “raping” the land, such as by digging up the ground. According to Lippard, Casa Espiral, which was produced with an interest in the history and nature of the land from the indigenous culture of Chile, can be considered a true work of earth art. The work also opens the possibility of including third-world female artists who treat nature as an extended body by recognizing the womb as the primordial place in the history of earth art developed mainly by whites and men.

KEYWORDS

Cecilia Vicuña, Chilean Art, Earth Art, Lucy R. Lippard, Ecology Art

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