Earthwork Artists tended to defy traditions of collecting, purchasing, and owning art work.

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The statement concerns Earthwork artists and their relationship to collecting, purchasing, and owning artworks. 
Option: True. 
To understand this, recall that Earthworks (land art) emerged as a movement where artists created works directly in the landscape, often site-specific and integral to a location. This inherently challenges traditional art objects that are bought, sold, and owned as discrete items. 
First, many earthworks were designed to be ephemeral or to exist in the public domain rather than as privately owned objects (for example, works intended to be experienced in situ and sometimes documented by photographs rather than sold as physical pieces). This approach undermines conventional collecting and ownership models. 
Second, several earth artists aimed to bypass the traditional art market. Projects were frequently funded or realized through commissions, collaborations, or public or communal processes, rather than through private ownership transactions. 
Third, the very idea of ownership is complicated by land rights, environmental concerns, and the temporary nature of some works, which makes a traditional ownership framework both impractical and philosophically contrary to the practices of many Earth artists. 
However, it is worth noting that not every earthwork was completely outside collecting or ownership in all contexts; some documentation, photographs, or components of projects could be accumulated or appear in collections. Yet the overarching tendency in the Earthwork movement was to defy conventional collecting, purchasing, and owning of the artworks themselves. 
Option: False. If one argued this, it would require pointing to widely documented cases where earthworks were sold, privately acquired, or fully owned as tangible objects, which is atypical and contrary to the movement’s core ethos. 
Option: There is a potential misreading that Earthworks were always public property; recognizing that legal ownership and access can vary by project helps avoid overgeneralization, but the central tendency remains one of challenging traditional ownership norms. 
In summary, the primary pattern among Earthwork artists aligns with defying traditional modes of collecting, purchasing, and owning art objects, even though there may be rare exceptions or nuanced cases.

ARTEDUC 1600 SP2025 (17707) Lecture Quiz 8

Earthwork Artists tended to defy traditions of collecting, purchasing, and owning art work.

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