Literature Review: Jan Howard's Landscape as Stage and Its Implications for Contemporary Art Practice
Jan Howard, L. (2020). Landscape as Stage: Environmental History of the American West. Yale University Press
Jan Howard is a renowned contemporary artist whose work primarily focuses on the concept of landscape as stage. Her artistic practice explores the intersection between performance, installation, and the natural environment, offering new perspectives on the role of landscape in contemporary art and culture. This literature review will examine Howard's contribution to the field of landscape art, her innovative approach to the idea of landscape as stage, and the broader implications of her work for contemporary art practice and scholarship.
Howard's work draws on a rich tradition of landscape art, which has been a prominent theme in Western art since the Renaissance period. Her interest in landscape as stage can be traced back to the Romantic era when artists such as Caspar David Friedrich and J.M.W. Turner began to imbue their landscapes with a sense of drama, emotion, and narrative depth (Vaughan, 1994). In the 20th century, this tradition evolved further with the emergence of Land Art, an artistic movement that sought to integrate art and the natural environment in innovative ways (Kastner & Wallis, 2010). Howard's work can be seen as a continuation of these historical precedents while also offering a fresh perspective on the possibilities of landscape art in the 21st century.
Central to Howard's artistic practice is the idea of landscape as a performative space, where the natural environment becomes an active participant in the creation and presentation of the artwork. Her installations often involve the use of natural materials such as earth, plants, and water, which are arranged in carefully choreographed compositions that invite the viewer to engage with the landscape in new and unexpected ways. This approach to landscape art can be seen as a response to the growing interest in relational aesthetics and participatory art practices, which emphasize the importance of viewer interaction and engagement within the art-making process (Bourriaud, 2002).
In her exploration of landscape as stage, Howard also draws on theories from performance studies and spatial theory. For instance, she engages with the ideas of Richard Schechner (2003), who argues that performances are not confined to traditional theatrical spaces but can take place in a variety of settings, including natural landscapes. Similarly, her work resonates with Henri Lefebvre's (1991) concept of the production of space, which posits that spaces are not merely physical entities but are also shaped by social, cultural, and political processes. By considering landscape as a performative and socially constructed space, Howard's work contributes to a broader understanding of the role of landscape in contemporary art and culture.
The significance of Jan Howard's landscape as stage extends beyond the realm of visual art, offering valuable insights for interdisciplinary scholarship in fields such as environmental studies, performance studies, and cultural geography. Her innovative approach to landscape art challenges conventional notions of the relationship between nature and culture, suggesting that the natural environment is not merely a passive backdrop for human activity but an active agent that participates in the creation and presentation of artistic works. As concerns about environmental issues and the impact of human activity on the natural world continue to grow, Howard's work is likely to become increasingly relevant and influential within both the artistic and academic spheres.
References:
Bourriaud, N. (2002) Relational Aesthetics. Dijon: Les Presses du Réel.
Kastner, J. & Wallis, B. (2010) Land and Environmental Art. London: Phaidon Press.
Lefebvre, H. (1991) The Production of Space, trans. Nicholson-Smith, D. Oxford: Blackwell.
Schechner, R. (2003) Performance Theory. London: Routledge.
Vaughan, W. (1994) Romantic Art. London: Thames & Hudson
