EXTRA CREDIT is an education series that aims to provide a general overview of contemporary art and to demystify the field for those outside of the art world. It is ideal for anyone interested in learning more and for those looking to further engage with exhibitions and museums.
Land Art emerged in the 60s and 70s with the burgeoning ecology movement, as a way for artists to step out of the gallery system and make work directly in the land and within landscape. The surviving works from this period function as monuments to different approaches of thinking about the human relationship with land, and different ways in which art can function vis-a-vis the space it inhabits. This course will look at foundational Land Art from the 60s and 70s as well as contemporary site based works. It will unpack the categories of “art” and “monument” in situ, and look at the responsibilities of these forms to their spaces and their publics. It will also ask questions about permanence, durability, and change within public site based works.
This event is free and open to the public; register here.
KAITLIN POMERANTZ is a visual artist and educator based in Philadelphia. Her interdisciplinary work explores transitional landscape, land use, and the relationship between humans and nature. Pomerantz has recently participated in place-based residencies including Land Arts of the American West (Texas and South West USA), Cabin Time (Sierra Nevadas) and Lugo Land (Lugo, Italy). She has most recently shown work at Sierra Nevada College, Nevada; Texas Tech Museum, Lubbock, Texas; Fjord Gallery and Little Berlin, Philadelphia. Pomerantz was part of Philadelphia’s public art festival, Monument Lab, for which she did a project about stoops. Pomerantz is co- facilitator of the botanical arts project, WE THE WEEDS and an editor at Title Magazine. She received her BA in art history from University of Chicago, a post-baccalaureate certificate in painting from Pafa, and her MFA in interdisciplinary visual art from University of Pennsylvania. She has taught and lectured at Pafa, Moore College of Art, University of Pennsylvania and Haverford College.
Public Engagement is supported by the Bernstein Public Engagement Fund.
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