Literature Review: Landscape after Land Rights, after Conceptual Art: Photography and Place

Best, S. (2011) “Landscape after Land Rights, after Conceptual Art,” Eyeline, 75, pp. 33–37.

Landscape after Land Rights, after Conceptual Art, is an essay by Susan Best that provides a vivid analysis of Anne Ferran's artwork and its implications for contemporary art. One of the most striking statements in the essay is Best's observation that "In certain works, there is a powerful emphasis on the surface of the picture plane, which prevents entry into the picture. This can be seen in photographs that provided close-up views of small slices of the environment, or that focused on single elements: grass, vegetation, undergrowth, logs, sheets of ice and so forth". [ 1 ]

This statement highlights the unique contribution of Ferran's work to contemporary art. Through a focus on singular elements, Ferran invites the viewer to question the traditional ways of representing and engaging with the environment. Best argues that this approach is informed by Ferran's background in French feminism and her interest in land rights. She further suggests that the use of photography as a medium has enabled Ferran to create a powerful visual representation of these issues, allowing her to explore their complexities in innovative ways.

Overall, the article "Landscape after Land Rights, after Conceptual Art" presents an intriguing proposition that merits contemplation in my ongoing academic inquiry. Ferran's cogent discourse offers a novel perspective on the intersection of art and multifaceted socio-political and environmental issues, which has the potential to inform my investigation into the impacts of contemporary landscape photography..

[ 1 ] Best, S. (2011) “Landscape after Land Rights, after Conceptual Art,” Eyeline, 75, pp. 34