单选题：根据下面资料，回答题 Emerging in the late Sixties and reaching a peak

根据下面资料，回答题
Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range ofnew forms, including Body Art, Performance Art, Action Art and Installation Art, which pushed artbeyond the traditional confines of the studio and gallery. Rather than portraying landscape, landartists used the physical substance of the land itself as their tnedium.
The message of this survey of British land art--the most comprehensive to date--is that theBritish variant, typified by Richard Long's piece, was not only more domestically scaled, but a lotquirkier than its American counterpart. Indeed, while you might assume that an exhibition of LandArt would consist only of records of works rather than the works themselves, Long's photograph of hiswork is the work. Since his "action" is in the past, the photograph is its sole embodiment.
That might seem rather an obscure point, but it sets the tone for an exhibition that contains a lotof black-and-white photographs and relatively few natural objects.
Long is Britain's best-known Land Artist and his Stone Circle, a perfect ring of purplish rocksfrom Portishead beach laid out on the gallery floor, represents the elegant, rarefied side of the form.The Boyle Family, on the other hand, stand for its dirty, urban aspect. Comprising artists Mark Boyleand Joan Hills and their children, they recreated random sections of the British landscape on gallery
walls. Their Olaf Street Study, a square of brick-strewn waste ground, is one of the few works here toembrace the mundanity that characterizes most of ottr experience of the landscape most of the time.
Parks feature, particularly in the earlier works, such as John Hilliard's very funny Across thePark, in which a long-haired stroller is variously smiled at by a pretty girl and unwittingly assaulted ina sequence of images that turn out to be different parts of the same photograph.
Generally however British land artists preferred to get away from towns, gravitating towards landscapes that are traditionally considered beautiful such as the Lake District or the Wiltshire Downs.
While it probably wasn't apparent at the time, much of this work is permeated by a spirit of romanticescapism that the likes of Wordsworth would have readily understood. Derek Jarman's yellow-tintedfilm Towards Avebury, a collection of long, mostly still shots of the Wiltshire landscape, evokes a tradition of English landscape painting stretching from Samuel Palmer to Paul Nash.
In the case of Hamish Fulton, you can't help feeling that the Scottish artist has simply found away of making his love of walking pay. A typical work, such as Seven Days, consists of a single beautiful black-and-white photograph taken on an epic walk, with the mileage and number of days takenlisted beneath. British Land Art as shown in this well selected, but relatively modestly scaled exhibition wasn't about imposing on the landscape, more a kind of landscape-orientated light conceptual artcreated passing through. It had its origins in the great outdoors, but the results were as gallery-boundas the paintings of Turner and Constable.
41. Stone Circle
42. Olaf Street Study
43. Across the Park
44. Towards Avebury
45. Seven days
A．originates from a long walk that the artist took.
B．ilustrates a kind of landscape -orientated light conceptual art.
C．reminds people of the English landscape painting tradition.
D．represents the elegance of the British land art.
E．depicts the ordinary side of the British land art.
F．embodies a romantic escape into the Scotish outdoors.
G．contains images from different parts of the same photograph.
第（41）题选