Land Art, Earthworks Environmental Art
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Transcript of Land Art, Earthworks Environmental Art
Land Art, Earthworks & Environmental Art Smithson, A
Nonsite: Franklin, New Jersey, summer, 1968 wood, limestone, aerial
photographs, 16 1/2" x 82" x 110 (right top and bottom) Chalk and
Mirror Displacement, 1969, 6 mirrors / chalk from quarry in Oxted,
England, each 10"x 5" (overall 10) Robert Smithson (US, ) Spiral
Jetty, 1970, Great Salt Lake, black rocks, salt crystals, Dia
foundation collection Robert Smithson (US, ) Spiral Jetty, 1970,
Great Salt Lake, black rocks, salt crystals, Dia foundation
collection Summer 1983 with Artrek.High school summer program
organized by Dan Collins and Charles Garoian. Fall Field trip with
Laurie Lundquist, Mark Koven, and Dan Collins (Utah State
University). Robert Smithson (left) at site of Spiral Jetty, 1970
Minimalism Post-Minimalism Stonehenge, England, over 5000 years old
Nazca lines, Peru, high desert plateau
The Monkey between 800 BC and 600 AC. Robert Smithson, Floating
Island to Travel Around Manhattan Island (1970/2005) 30-x-90-foot
barge landscaped with earth, rocks, and native trees and shrubs,
towed by a tugboat around the island of Manhattan, produced by
Minetta Brook in collaboration with the Whitney Museum of American
Art during Smithsons retrospective and on view September 17-25,
2005 (right) Smithson, Study for Floating Island, pencil on paper.
19 x 24 Alan Sonfist, Time Landscape,
NYC, 1978. Buster Simpson, Host Analog, 1991 present
Seattle, Washington Mark Dion, Neukom Vivarium, 2006
Seattle, Washington Agnes Denes, WheatfieldBattery Park, NYC, 1986
Walter de Maria (US, b. 1935) The Broken Kilometer, 1979, located
at 393 West Broadway in New York City. 500 polished solid brass
rods, each measuring two meters (6.5 feet) in length and five
centimeters (two inches) in diameter. The 500 rods are placed in
five parallel rows of 100 rods each. The sculpture weighs 18 3/4
tons(right) companion piece: De Maria's 1977 Vertical Earth
Kilometer at Kassel, Germany, a permanently installed earth
sculpture, a brass rod of the same diameter, total weight and total
length has been inserted 1000 meters (.62 miles) into the ground.
Walter de Maria, The New York Earth Room, 1977-present, 141 Wooster
Street, NYC, interior earth sculpture, 250 cubic yards of earth,
3,600 square feet of floor space, 22 inch depth of material, Total
weight of sculpture: 280,000 lbs Walter de Maria, The Lightning
Field, , near Quemado, New Mexico, 400 stainless steel poles, 2
wide, average height 20' 7 " Overall dimensions: 5,280 x 3,300'
James Turrell, Roden Crater, near Flagstaff, Arizona, in progress
since 1980; (right) Roden Crater section plan Turrell, Roden
Crater, East Portal Entryway, 2000 "I wanted to use the very fine
qualities of light
"I wanted to use the very fine qualities of light. First of all,
moonlight. There's a space where you can see your shadow from the
light of Venus alonethings like this. I also wanted to gather
starlight that was from outside the planetary system, which would
be from the sun or reflected off of the moon or a planet...you've
got this older light that's away from the light even of our galaxy.
So that is light that would be at least three and a half billion
years old. So you're gathering light that's older than our solar
system." James Turrell Andy Goldsworthy (Scottish, b
Andy Goldsworthy (Scottish, b.1956) Stone River, stone wall,
Stanford University, 2004 Andy Goldsworthys global Cairns
Cairn with clay wall, London - temporary Roof of NYC Metropolitan
MA - temporary La Jolla Museum of Contemporary Art - permanent Andy
Goldsworthy, Woven bamboo, windy
Andy Goldsworthy, Woven bamboo, windy..., Before the Mirror, 1987,
photoograph Goldsworthys photographs of art made on his walks in
nature of stones, berries, leaves See also Goldsworthys art: Rivers
and Tides, DVD available in Library Christo Javacheff,
(Bulgarian-American, b
Christo Javacheff, (Bulgarian-American, b.1935), (top left) Package
on Wheelbarrow, 1963, Paris, New Realist Christo & Jeanne
Claude (French, b. 1935): (top right) Wrapped Reichstag, Berlin,
197195; (bottom left) The Pont Neuf Wrapped, 197585; (bottom right)
Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 198083.
Christo Javacheff, self-portrait around the time of his escape from
Soviet Bulgaria to Vienna then Paris in January of 1957 In all of
his interviews the artist insists that his art is a scream for
freedom. Christo Javashev, Man Posing, academic study, pencil on
paper, , collection Academy of Fine Art Gallery in Sofia; (right
top) Christo Javashev, Rural Worker, watercolor, 1956 at the
Academy of Fine Art Soviet Realism, Andrei Milnikovs Peaceful
Fields, won a Stalin prize in 1951 Christo and Jeanne-Claude, The
Umbrellas, Japan-U.S.A., 1974-1991 Christo and Jeanne-Claude,
Umbrellas, Japan U.S.A., 1984-91 Christo & Jeanne-Claude,
Wrapped Coast, Little Bay, Australia, 1968-69 Wrapped Coast, Little
Bay, Australia, 1968-69 Christo & Jeanne-Claude, Valley
Curtain, Rifle, Colorado, 1970-729 tons of orange nylon Surrounded
Islands, Biscayne Bay, Miami, Florida, 1980-83, May 1983 Christo
& Jeanne-Claude, Running Fence, Sonoma and Marin Counties
, September 1976 Christo & Jeanne-Claude, The Gates, 2005,
7,500 gates, 23 miles of pedestrian walkways in Central Park, NYC,
a 20-year project Michael Heizer (US, b. Berkeley 1944) Double
Negative , 24 thousand ton displacement, 2 trenches together are
1,500 feet long, 50 feet deep, and 30 feet wide Virgin River Mesa,
Nevada.The work is known almost entirely through
photographs."Un-sculpture: "There is nothing there, yet it is still
a sculpture.- Heizer Heizer, Double Negative, aerial view (right)
Michael Heizer, City, begun ongoing (photograph 1999), Nevada
desert, two miles from the nearest paved road, funded by Dia and
Lannon Foundations The museums and collections are stuffed, the
floors are sagging, but the real space still exists Heizer It is
interesting to build a sculpture that attempts to create an
atmosphere of awe. - Heizer Teotihuacn, Mexico, between 150 and 450
CE Compare Heizers City (below). Artists father was an
archaeologist. Heizer came up with the idea for City in 1970 when
he was in the Yucatan studying the serpent motif in the ball court
atChichen Itza. He was 26. Postcommodity. Currently on view at the
Scottsdale Museum of Contemporary Art are presents two monumental
installations by Postcommodity: Promoting a More Just, Verdant and
Harmonious Resolution (2011) and Pollination (2015). This arts
collective aims to question common national narratives and the
commodification of nature, history, and culture. Postcommodity is
an interdisciplinary arts collective comprised of Nathan Young,
Raven Chacon, Cristbal Martnez, and Kade L. Twist Postcommodity.
Repellent Fence Land art installation and community engagement
(Earth, cinder block, para-cord, pvc spheres, helium). US/Mexico
Border, Douglas, Arizona / Agua Prieta, Sonora. The Repellent Fence
is a social collaborative project among individuals, communities,
institutional organizations, publics, and sovereigns that culminate
with the establishment of a large-scale temporary monument located
near Douglas, Arizona and Agua Prieta, Sonora.This 2 mile long
ephemeral land-art installation is comprised of 26 tethered
balloons, that are each 10 feet in diameter, and float 50 feet
above the desert landscape. The balloons that comprise Repellent
Fence are enlarged replicas of an ineffective bird repellent
product. Coincidently, these balloons use indigenous medicine
colors and iconography -- the same graphic used by indigenous
peoples from South America to Canada for thousands of years. The
purpose of this monument is to bi-directionally reach across the
U.S./Mexico border as a suture that stitches the peoples of the
Americas togethersymbolically demonstrating the interconnectedness
of the Western Hemisphere by recognizing the land, indigenous
peoples, history, relationships, movement and communication.