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Home , Environmental art, Land art, Michael Heizer, Nancy Holt, Robert Smithson, Spiral Jetty

Analia Saban Steve Rowell Raumlabor Filippo Minelli Ingeborg Lüscher Jaffa Lam Marianne Halter&MarioMarchisella Bob Gramsma Gabriela Gerber&LukasBardill H.R. Fricker Les FrèresChapuisat DIG Collective Com&Com Delphine ChapuisSchmitz Mirja Busch Bildstein |Glatz Paul Barsch&TilmanHornig Atelier fürSonderaufgaben Ueli Alder Lita Albuquerque Lucie Tuma Chris Taylor Emily ElizaScott Jolanda Rechsteiner Jano FelicePajarola Lukas Ott Janis Osolin Sibylle Omlin Mattli Hunger Hanna B.Hölling Johannes M.Hedinger William L.Fox Delphine ChapuisSchmitz Aufdi Aufdermauer ARTISTS AUTHORS

Essays by the SwissAlps. Safiental andtheinternationalsummerschool Alps ArtAcademy in rural andalpinelandscapes,ILEAorganizestheoutdoorbiennaleArt tal (ILEA).Inadditiontotheexplorationofartinperipheric, a new is publicationseriesby theInstitute forLandandEnvironmen- complex relationsbetweenart,artistsandlandscape.LANDSCAPE context ofvisualarts.Thebookoffers variousperspectivesonthe the notionoflandscapehasexperiencedamajorshift inthe What islandscape?AndwhatartintheInrecentyears, Sommerakademie Alps ArtAcademy. auch dieOutdoor-BiennaleArtSafientalundinternationale alpinen Landschaftsraum organisiertdasILEAindenSchweizer Alpen (ILEA). NebenderErforschungKunstimperipheren,ruralenund neue PublikationsreihedesInstituteforLandandEnvironmental Art zwischen Kunst,KünstlerInnenundLandschaft. LANDSCAPEisteine Buch bietetverschiedenePerspektivenaufdiekomplexenRelationen in denletztenJahrenstarkgewandelt undneupositioniert.Dieses schaftsbegriff hatsichinsbesondereimKontext derbildendenKunst Was istLandschaft? UndwasistKunstinderLandschaft? DerLand- Chris Taylor, LucieTuma Jano FelicePajarola,JolandaRechsteiner, EmilyElizaScott, Mattli Hunger, Sibylle Omlin,JanisOsolin,LukasOtt, William L.Fox,JohannesM.Hedinger, HannaB.Hölling, / von: Aufdi Aufdermauer, DelphineChapuisSchmitz, vexer.ch Vexer Verlag ilea.art Art ­Environmental Land and Institute for #1 LANDSCAPE LANDSCAPE INSTITUTE FOR LANDAND

#1 Art Academy derJahre2016und2018. Safiental unddieSommerakademie Alps Übersicht überdieOutdoor-BiennaleArt tituts-Netzwerk. Der und künstlerischeBeiträgeausdemIns- versammeln Aufsätze, Artikel,Interviews Reflexion überLandschaft. Die lung zurtheoretischenundhistorischen Das Die PublikationgliedertsichindreiTeile: pinen Landschaftsraum auseinandersetzt. der Kunstimperipheren,ruralenundal- schichte undmitdenneustenTendenzen (ILEA), dassichmitderTheorie,Ge- Institute forLandandEnvironmental Art LANDSCAPE isteinePublikationsreihedes Academy oftheyears2016and2018. the internationalsummerschoolAlps Art the outdoorbiennaleArtSafientaland ILEA. The originated inthenetworkofInstitute interviews andartisticcontributionsthat torical reflectionaboutthelandscape.The excerpts relatedtoatheoreticalandhis- The bookconsistsofthreeparts: peripheric, ruralandalpinelandscapes. tory andnew tendenciesintheartof Art (ILEA)concernedwiththetheory, his- the InstituteforLandandEnvironmental LANDSCAPE isanew publicationseriesby ESSAY DOSSIER DOSSIER sectionfeatureswritings,articles, includesacollectionofwriting CATALOG enthälteineTextsamm- offers anoverview of KATALOG gibteine ESSAYS

LANDSCAPE #1

INSTITUTE FOR LAND AND ENVIRONMENTAL ART Johannes M. Hedinger, Hanna B. Hölling (Eds.)

VEXER VERLAG St. Gallen / Berlin CONTENT

Johannes M. Hedinger, Hanna B. Hölling: INTRODUCTION / EINFÜHRUNG 2

I DOSSIER QUOTATIONS ON LANDSCAPE / ZITATE ZU LANDSCHAFT 8 Texts by / Texte von: Claire Bishop, Lucius Burckhardt, , Emily Dickinson, R. Buckminster Fuller, , Tim Ingold, John B. Jackson, Jeffrey Kastner, Rosalind Krauss, Miwon Kwon, Bruno Latour, Henri Lefebvre, Lucy Lippard, W.J.T. Mitchell, Myvillages, Hans Ulrich Obrist, Georg Simmel, , John R. Stilgoe, Henry David Thoreau, Gilles A. Tiberghien, Philip Ursprung and others / und anderen

II ESSAYS Hanna B. Hölling: THE LANDS OF ART 53 Aufdi Aufdermauer, Johannes M. Hedinger, Janis Osolin: KUNST AUF DER FURKA 69 William L. Fox: THE INVENTION OF THE VERTICAL 80 Sibylle Omlin: WENN DIE KUNST IN DIE BERGE GEHT 100 Chris Taylor: FROM FIELD TO FRAME: EXHIBITING 105 Johannes M. Hedinger: KUNST IN DEN SCHWEIZER ALPEN 114 Emily Eliza Scott: DECENTERING LAND ART FROM THE BORDERLANDS 120 Lucie Tuma: TOUCHING LANDSCAPE AND SITUATED OF MAGIC 130 Jano Felice Pajarola: UND WÄRE ICH GEWANDERT 135 Mattli Hunger: DAS SAFIENTAL 140 Lukas Ott, Jolanda Rechsteiner: LANDSCHAFT UND KULTUR IM SAFIENTAL 146 Delphine Chapuis Schmitz: AGNES, SUSANNE, FELIX […] UND ANDERE 150 BIOGRAPHICAL NOTES 160

III CATALOG J. M. Hedinger, M. Busch: ART IN THE SAFIEN VALLEY / KUNST IM SAFIENTAL 163 IMAGES ART SAFIENTAL AND ALPS ART ACADEMY 178

CREDITS 278 ACKNOWLEDGEMENTS 282 IMPRINT 283

1 THE LANDS OF ART: II ON LAND (ART) AND ITS SHIFTING GROUNDS (2016)

ESSAYS Hanna B. Hölling

When, in 1961, Italian avant-garde artist Pie- location. It was first conceived as a keynote ro Manzoni situated the globe on a pedestal address at the inaugural symposium open- and proclaimed that, from now on, the world ing the international summer school Alps is a (The Base of The World, Homage Art Academy and its resulting exhibition Art to Galileo), he did not anticipate the explosion Safiental in the heart of Swiss Alps.1 Togeth- of art that followed only a few years er with newly founded Institute for Land Art later. Of course, Manzoni’s statement is and Environmental Art (ILEA), they aspire absent from the conventional art historical to revisit the question of what it means, in accounts of the genesis of Earth and Land the cultural-political landscape of today, to art – his gesture too Duchampian (in terms make and to encounter Land art. of using a preexisting object or a situation), What was Land art? Land art was an ag- his art anticipating Conceptualism and Arte gregation of artistic practices and strategies Povera. Yet Manzoni’s base points towards mostly keyed to the natural landscape—its the very possibility that the Earth—with all main representatives were , its environmental, ecological and political Robert Smithson, Robert Morris, Dennis Op- complexities—might become subject to artis- penheim and Walter De Maria. By locating it- tic interventions and material from which to self literately and conceptually elsewhere, Land make art. art challenged the established perceptions It is impossible to return to the Land art of locality, objecthood, density, mass, scale, of the 1960s and 70—its aesthetic categories, flux and presence and proposed an unprece- aspects of space-time (the newly rediscov- dented conjunction of and .2 ered sense of “remoteness”) and the human At first sight romantic, Land art was a return condition. As the French philosopher Henri to plein air par excellence, whether rural or Bergson convinces us in his critique of meas- urban. Unlike the impressionists who, ena- Hanna B. Hölling: THE LANDS OF ART (2016) 53 urable time, the vibrating universe moves bled by then newly introduced transportable Aufdi Aufdermauer, Johannes Hedinger, Janis Osolin: KUNST AUF DER FURKA (2019) 69 and changes restlessly and our world, as media, painted landscapes in situ, William L. Fox: THE INVENTION OF THE VERTICAL (2018) 80 much as its art, inevitably changes with it. the landscape of the late 1960s ceased to be Sibylle Omlin: WENN DIE KUNST IN DIE BERGE GEHT (2018) 100 Yet in the digital era in a time troubled by painted. Rather, it became itself a medium, Chris Taylor: FROM FIELD TO FRAME: EXHIBITING LAND ART (2018) 105 ecological negligence and climate change, an artistic material. Art dealer Johannes M. Hedinger: KUNST IN DEN SCHWEIZER ALPEN (2019) 114 when not only the frame of knowledge but claimed that, for the Land artists whom she Emily Eliza Scott: DECENTERING LAND ART FROM THE BORDERLANDS (2018) 120 also the art categories are constantly being supported, earth replaced the canvas. At the Lucie Tuma: TOUCHING LANDSCAPE AND SITUATED ECOLOGIES OF MAGIC (2019) 130 revised, Land and Environmental Art retains same time Robert Morris explored the poten- Jano Felice Pajarola: UND WÄRE ICH GEWANDERT (2017) 135 validity that requires focused attention. tial of a bulldozer and Michael Heizer of a cat- Mattli Hunger: DAS SAFIENTAL (2016) 140 The following essay provides a brief his- erpillar, to become artistic tools.3 Lukas Ott, Jolanda Rechsteiner: LANDSCHAFT UND KULTUR IM SAFIENTAL (2017) 146 toric overview of the tendencies of the 1960s With their strong emphasis on materi- Delphine Chapuis Schmitz: AGNES, SUSANNE, FELIX […] UND ANDERE (2016) 150 and 70s that have challenged ideas associat- ality, Land and landscape became dough BIOGRAPHICAL NOTES 160 ed with art making, aesthetic categories and to be kneaded, not represented, which

52 Landscape #1 53 metaphorically also stands for topological of panoramic view only later. Evoking the engagement with the ideas of territoriality, tal exploitation and climate change already thinking and the poststructural idea of the feeling of the sublime, landscapes embodied even if their material support was original- mentioned. What earlier was kept apart and fold evoked in the philosophical project of the idea of greatness, endlessness and the ly not conceived as a carrier for an artistic conceptualized separately, now technology, French philosophers Michel Serres and Gilles “spiritual in art” (Wassily Kandinsky). Later intervention. nature and man blur to become modified Deleuze.4 the landscape became bound to changing The constitution of landscape, art histo- states of being. social context, military conflict and car- rian Alena J. Williams writes, is bound not tographic measurement as well as questions only to the physicality of the earth but also Landscape as nature and culture of ownership and governance. to the physiology and psychology of the A return to nature? The shifting grounds of the concept of land- “Land” induces the meaning of a home viewer.8 Landscapes combine their physical, Although a human construct in its dis- scape in visual are convoluted. First, region of a person or people, etymologi- geological origins and the cultural overlay cursive and physical dimension, Land art there is a relation of the landscape’s picto- cally bound not only with earth’s surface of human presence. As a part of a vital syn- cannot be thought of apart from nature—the rial representation contingent upon some- but also with territory marked by political thesis of people and place, they are crucial integral essentialism of the natural world. one’s looking at it to its becoming a medium boundaries. Oppenheim’s Time Line (1968) for the establishment of local and national Earthen matter and natural processes are to be worked with (and thus engaging the traces such artificial, political and temporal identity. Working on the land and shaping a synecdoche for nature. Connoted in this body of both the maker and of the viewer).5 zones.7 On a different level, but addressing the land renders us farmers. “Our culture,” way, Land art is a construct of nature and Second, there is the understanding of the the territorial politics, Francis Alÿs’ When posits Serres, “is our agriculture.”9 culture, the former often seen in contra- transitions that landscape has itself under- Faith Moves Mountains (2002) exemplifies the distinction to the latter—culture being a gone. The “-scape” in landscape derives from symbolic power of human labor executed to fluid and artificial concept built by social, the Old English “skipe” and is related to the move few centimeters of a sand dune in the Anthropocene economic and political forces.10 The idea of word “shape.” The latter word, “skipe,” is outskirts of Lima during the reign of Fuji- Today, it is impossible to discuss Land art nature as the elusive, originary Other contin- used in the physical sense of shaping, which mori’s dictatorship in Peru. The scale and without its ecological implications. Radically ues to be present in today’s understanding— also implies a bodily engagement, as in provocative character of the wall transformed contemporary landscapes, glob- something we are native to and yet separate “the people shaped the land.”6 The notion and graffiti on the West Bank Barrier might al warming, pollution and the exploitation from.11 criticism is critical of the landscape grew into its current sense count as another example of art’s critical of natural resources force us to reconsider of the perception of Land art as a wish to the categories of sublime (the quality of “return to the land” and nature—a form of greatness beyond all possibility of calcula- aesthetic nativism. As critic Pamela M. Lee tion), beauty and which, for puts it, Land art was rather “a critical en- a considerable time, were associated with gagement with the terms of artistic media- historic Land art. Humanity entered the era tion, whether organized around institutions of Anthropocene, a new geological epoch. or forms of media.”12 Coined in 2000 by the ecologist Eugene F. What is less apparent is that the concept Stoermer and atmospheric chemist Paul J. of nature has itself changed since the 1960s Crutzen, the Anthropocene stands for the and 70s. Once vast and inexhaustible, nature realization of the human imprint on the geo- has transformed into something imperiled logic strata—in glaciers, rocks, oceans, and and fragile, reflecting the health of the plan- sediments—over long duration. As a domi- et. The traditional metaphor for nature as nant geological force, Mankind has caused primordial garden has become obsolete as an acceleration of this development, marked the landscape bears human interventions, by the massively increased global popu- disruptions and transmutation.13 lation, exponential exploitation of fossil The role of the Land art artists in trans- fuels, the atomic bomb and carbon dioxide forming the perception of nature remains and methane gas levels. While the classic invaluable, although not unproblematic. modernist demarcations between culture Their somewhat gigantic scale endows some and nature, urban and rural, interior and of Heizer’s projects with a certain invasive- exterior, subject and object and natural and ness and brutality, to name only artificial have gradually begun to dissolve, Depression (1969) or Bern Depression (1969), or Fig. 1 – The first photograph taken by humans of Earthrise during the Apollo 8 mission, December 24, 1968. new landscape formations have emerged, the Double Negative (1970, Mormon Mesa of Photograph William Anders, © NASA Apollo Archive not least caused by the global environmen- Moapa Valley, Nevada).

54 Landscape #1 Hanna B. Hölling: The Lands of Art: On Land (Art) and its Shifting Grounds 55 Between in the expanded in the sphere of an idea, re- It was not only the dialectic of inside and by its technological entropy, a vision of the field and social practice lied, if only to a degree, on the same logic of outside worlds, historic confidence in pro- future ever quickening and repeating.”18 From the art historical-theoretical perspec- mediation and mediatization as Land art. In gress flanked by fear, but also that of pace This technological entropy, just as geological tive, Land art of the 1960s and 70s responds fact, mediation and mediatization became and the slowness—of time—that concerned entropy, gnaws on the idea of an eternal art- to different socio-political conditions and one of the central topoi of Land art. artists in the 1960s. Time in the 1960s felt work created to resists decay, alteration and varies from today’s Land art in that it different. There was a generally perceptible obsolescence, a romantic illusion inherited engages with a different medium.14 While it acceleration of life in all its aspects on the from centuries past.19 might be said that historic Land art emerged Inside and outside, fast and slow one hand, while on the other, the nostalgia from the expanded field of sculpture and With the occurrence of Land art amongst the for a simpler, more natural existence in the practices of , contemporary terrain of artistic activities, the idea of the remote places, away from urban centers and Continuity, Change, Decay artistic practices such as those of Carsten conventional exhibition space and the white civilization. In fact, perhaps this nostalgia In its oblique sublimity, Land art, I suggest, Höller, Rirkrit Tiravanija and Pierre Huyghe cube was challenged. Land art emerged from never stopped. In her book Chronophobia liberates decay from its negative connota- involve an expanded cross-disciplinary field, a desire to leave—but not to entirely aban- (2006), art historian Pamela M. Lee explains: tions, promising that the beauty of things including perspectives of a social worker, don—the confined exhibition space in order “The sixties are endless. We still live within may be derived from the observation of geographer, anthropologist, experimental to engage with the unconstrained vastness them. Not only do we live within them as a slow-motion entropy. Corrosion, rotting, architect or activist.15 The aesthetics (or the of the external world. Of course, the inspi- matter of historical reckoning—of grappling eroding and diluting of forms emphasizes lure) of the remote, while still present, give ration for a rethinking of what art might be with the trauma of the Vietnam War, the the material aspects of art and binds it with way to predominantly socially and political- can be sought in artistic reformatting and afterlife of the Counterculture and the con- Land art’s transitory, changing character. ly engaged discourse on land use and inter- art historical currents. What should not be tinued relevance of that decade’s liberation The acceptance of decay aligns with percep- pretation which takes place at the intersec- left unmentioned, however, is the socio-cul- movements. Rather, the Sixties are endless tions that artworks created outdoors were tion of curatorial and artistic . These tural atmosphere in which such an opening in staging endlessness as a cultural phenom- naturally subject to the depredations of the cultures came to mark the contemporary up to the outside, the relocation to elsewhere enon. Of revealing, in the long shadows cast elements. Decay and disintegration were a landscape coloring interpretation of human and love of distance, emerged. interaction with the surface of the earth, the The momentum occurred during the rise Center for Land Use Interpretation (CLUI) of , feminist movement being an example. and de-centralized political strategies in re- It is important to note that, for their de- sponse to the globalization of electronic and pendence on site and grounded in the au- cultural technologies, mass war, nuclear thenticity of one’s firsthand experience of it, threats and repressive economies.17 It oc- Land art emerged hand in hand with Instal- curred in the decade of the first human space lation art—a genre informed by Zen gardens, travel (Yuri Gagarin, 1961) and moon landing spectacles, eighteenth and nineteenth cen- (Neil Armstrong, 1969)—enterprises that pre- tury panoramas, Wunderkammern / cabinets sented views of the globe from above, scaling of curiosities and Arte Povera.16 Both Instal- out of the human dimension to enable imag- lation art and Land art evoke site-sensitivity ing the Earth as an object. Whereas the open and site-specificity, to which I will return space offered no limitations, the Berlin Wall shortly. Moreover, Land art arose at the time began to segregate West and East Berlin to be- of nascent conceptualism and early media come a powerful symbol of the Cold War. The art. These two genres have some common- 1960s present themselves as an era of contra- alities with Land art. Media art has the abil- dictions: First satellites promise the freedom ity to create and to represent; it conjures a of global communication (Telstar, 1962), re- coexistence of the mediated artwork with assured by Marshall McLuhan’s 1967 canonic the physical artwork. The conceptual art- proclamation The Medium is the Message. Si- work’s perseverance is inextricably linked multaneously, the Cuba crisis frightens the with the potentiality of its transmission and world with the proximity of global, nuclear dissemination through the means of a film, catastrophe (1962). Then the brutal Vietnam video and broadcast technologies. In order War breaks out in 1964 and is followed by a Fig. 2 – This detail of Michael Heizer’s Double Negative was taken in 2014 on the occasion of field research conducted by the to acknowledge the existence of an artwork giant wave of protests. editors. It maps the material transformations of the work and illustrates the idea of time as entropy.

56 Landscape #1 Hanna B. Hölling: The Lands of Art: On Land (Art) and its Shifting Grounds 57 part of their meaning and therefore, preser- The slowness of change or alteration of Perimeters, Pavilions, Decoys, a sculpture and an media and Land art (also the conceptualism vation was understood as a conceit.20 This earth-based Land art is rarely experienced in earthwork, created in 1978. Krauss addressed present in the overtones of Schum’s vision) placed Land art outside the mainstream at- situ. Rather, our experience of it is always what even later remained blurred—the fluid and, simultaneously, marks media art and titude that artworks, especially these which mediated through , film, or a definitions of new works produced at the in- land art’s common beginnings. entered the canon of , should narrative—it is immortalized in images of tersections of different categories, sculpture, Often the terms “Land art,” “Earth- be protected and preserved in controlled cycles of submergence and re-emergence of and land . works” and “Earth art” tend to be used environments. Land artists’ attitude toward Smithson’s Jetty on the Rozel Point of Art historical scholarship provides vary- interchangeably, classifying the two latter the , the main function of which ’s Grand Salt Lake, or in the striking ing origins for the designation of the gen- terms as subsets of Land art. Seen histori- is to preserve and present, reinforced this transformation of Heizer’s Double Negative re “Land art.” The activities of the Japanese cally, however, it can be said that the use trend.21 Among the exceptions to this status —from the straight cut trench from forty group Gutai, especially Kazuo Shiraga, who of the term “Land art” was connoted with quo are two artworks by De Maria, the New years ago to its present eroded and partially was already incorporating earth and mud European origins (Schum), whereas Earth- York Earth Room (1977) and Broken Kilometer collapsed form. Heizer maintained: “As the into his violent performances in 1955, or works surfaced in the title of an exhibition (1979), preserved by in physical deteriorates, the abstract prolifer- his landsman , who created a organized by the gallery owner Virginia their original locations in SoHo. Here, the ates, exchanging points of view.”24 maquette presenting a massive relief of hu- Dwan and curated by Smithson in New preservation of the site is equated with the Although some Land art artists such man face that was to be seen from the space York (Dwan Gallery,1968). Devoid of the exclusion, or even alienation, of the viewer. as Heizer deliberately allow their pieces (Sculpture to be Seen from Mars, 1947, unreal- iconography of which begun to be This prohibition of a viewer’s direct engage- to decay, it is often a controlled decay. “I ized) are precursory in this respect. Already inextricably bound with later Land art, the ment with the work renders the site sterile wanted works to have a longer duration,” by the end of the 1950s Hans Mack had draft- artworks presented in Earthworks had only and exposes the eternal conflict between said Smithson, and added “I am interested ed a project incorporating light for the Sa- one common denominator: They incorpo- preservation and interaction. in something substantial enough … some- hara desert (realized 1962–63), in 1961 De rated earth as material. Objects, , Amarillo Ramp, one of Smithson’s late pro- thing that can be permeated with change Maria suggested using artwork to activate blueprints, , photographs, a film jects completed after his death in 1973 by [rather than permanent] and different con- urban space and began creating and a painting presented a conglomeration Nancy Holt, and Tony Shafra- ditions.”25 Not all Land artists shared sym- horizontal sculptures that responded to the of artifacts that became characteristic of zi, evokes a palpable perception of evanes- pathy for transformation. In its durable, horizontality of earth.28 It was ostensibly Land art’s heterogeneous range. Carl cence. The artificial lake has dried out and concrete form, Holt’s Sun Tunnels seem to the German Fernsehgalerie Gerry Schum (TV Andre and Sol LeWitt showed - the sculpture —a partial circle formed from embody permanence. The attitude toward gallery) that was the first to introduce Land tion of their works executed externally, rocks and earth—seems to melt into the ter- permanence shifted also across time among art as a term in the title of Schum’s film while Smithson added photographic docu- rain.22 The viewer is faced with the dominat- the makers. While the first generation of from 1969.29 After seeing the Earth Art ex- mentation to his non-sites—a new concept ing earth mass and vegetation that slowly Land artists generated earthen excavations, hibition organized at in of an object destined for a gallery but orig- but inevitably consummates the once clearly depressions, mounds, and piles susceptible New York in 1969 (which claimed to be the inating at the site of their excavation. The sculpted geometrical composition.23 The dis- to climatic conditions, the second genera- first show on this topic and was only preced- non-site is a sort of quotation, physical and integration of the ramp stands in a strange, tion was concerned with more sustainable ed by Smithson’s Earthworks), Schum set off conceptual, a transposition of the “real,” if not macabre, dialectic with the depression projects implementing durable materials to compile the contributions of all involved external, site and a reformulation of opti- on the hill neighboring the work—the site such as and concrete to reinforce their Land artists in the medium of film for Ger- cal mechanisms. It is a dialectic of differ- of the plane crash in which Smithson died constructions.26 man broadcast television. His interests in ent realities, the interior and the exterior, while inspecting the location. immediacy were crucial. For him, television the here and there. There is a tension between the some- broadcasting and video recording enable The second exhibition using the word what natural, decaying aesthetics of Land The many origins of Land art direct contact between the artist and the “earth” in its title was Earth Art (1969) cu- art projects such as Heizer’s Double Negative “Over the last ten years rather surprising public. Using the medium of television the rated by at Cornell Uni- or Smithson’s Broken Circle (1971) and their things have come to be called sculpture: nar- artists could reduce his work to a concept, versity. Perhaps an inspiration for Harald restored variants, actual or imagined, that row corridors with TV monitors at the ends; attitude, or gesture.30 Schum was not only Szeemann’s Life in Your Head: When At- introduce a somewhat disturbing quality of large photographs documenting country a curator and producer of the program but titudes Become Form (1969), the show in- newness. This tension is linked with these hikes; mirrors placed at strange angles in also assumed the role of mediator between volved many international artists, includ- works’ shifting status from remnants of his- ordinary rooms; temporary lines cut into the the TV broadcast and the artists.31 These be- ing Jan Dibbets from the Netherlands, Hans toric interventions—a kind of picturesque floor of the desert” wrote American critic ginnings of Land art suggest that, from the Haacke and Günther Uecker from Germany celebration of ruinous landscapes—to the Rosalind Krauss in her article titled “Sculp- very outset, there was a strong bond between and Richard Long from Great Britain, secur- formal, hygienic aesthetics of a monument ture in the Expanded Field” from 1979.27 Land art and its mediation and mediatiza- ing the European contribution to the young or heritage site. She opens with a description of Mary Miss’ tion. This reconfirms the interdependence of trend.

58 Landscape #1 Hanna B. Hölling: The Lands of Art: On Land (Art) and its Shifting Grounds 59 Some critics object to comparisons of Land be wrong to assert that Land art was only provided vivid coverage for a general read- the context, rather than the object, began to art to prehistoric or historic sources. Some produced in uncultivated and natural land- ership and propagated some of the assump- bear the meaning.38 acknowledge that Land art was not the first scapes like deserts and . Instead, Land tions about Land art—its grand scale, remote- An example of “radicalized site-specifici- phenomenon in the category of an aesthet- Art must be considered not in contradiction ness, relation to nature and construction ty,”39 Tilted Arc created by Serra for the Foley ic and utilitarian land interpretation. The but in relation to the and to the urban.32 challenges. Land art was often produced for Square / Federal Plaza in New York in 1981, prehistoric —an architecturally Furthermore, Land art neither developed media and also produced by the media. Tak- demonstrates how the politics of space com- sophisticated decoding of terrestrial and solely in the American landscape, nor did it ing this into consideration, a question arises plicates the existence of artworks and leads celestial events, the alignment of garden develop outside the art system, distant from as to whether Land art might have been pro- to its final dismantling in 1989. For Serra, design with Cartesian geometry in seven- media. European and British Land artists duced without the media in the first place.34 the relocation of the artwork meant its de- teenth-century (Versailles) or eight- such as Heinz Mack, Richard Long, Jan The process of making Land art went hand struction. The value of the urban or natu- eenth-century Britain might also be seen Dibbets, and others conceived in hand with the process that ensured it re- ral landscape overshadows all other values as forms of land interpretation. The monu- of their projects outside the American de- mained noticed. involved in this work, which, interestingly ments of pre-Columbian America or the Val- serts. Another preconception concerns the enough, would not apply to Serra’s smaller ley of Kings in Egypt inspired Heizer, whose aspect of the remoteness. While it is true but still large scale sculpture located in a father (an archeologist) enabled his son’s that to encounter major Land art projects Site gallery. Here, the scale might be the deter- early contact with these sites. This experi- required a long trip through the deserts Whether disruptive or assimilative and mining parameter and can relate to Krauss’ ence impacted Heizer’s later work with their of South West, this journey should not be spreading beyond the limits of its individual notion of the expanded field of sculpture, brutalist scale, the ongoing construction of mistaken for Land art’s moving out of the materiality,35 Land artworks create a rela- both conceptually and physically. his monumental project The City (1972-pres- art system. As curator Philipp Kaiser and art tion to the site as one of their most signifi- It is often argued that the first generation ent) being the most explicit example. historian Miwon Kwon remark in the book cant aspects—it is, in the majority of cases, of earthworks associated with earth displace- Ends of the Earth, “Land art developed square- site-sensitive or site-specific. According to ment were more unconstrained regarding ly within these contexts and provoked their Kwon, site-specificity “used to imply some- the space they occupied, whereas the second Debunking preconceptions: transformation.”33 thing grounded, bound to the laws of physics. generation were more self-contained and isolation, art system, and media Land art never existed outside the art sys- Often playing with gravity, site-specific works discrete. In her article “A Sense of Space” There are a few preconceptions about Land tem and media. Land art films, photographs, used to be obstinate about ‘presence,’ even if (1977), curator Nancy Rosen noted that the art that require revision, one of them being props and leftovers secured its existence in they were materially ephemeral, and ada- outdoor sculptures of the 1970s are often the idea of Land art as extant somewhere the gallery and art system through the po- mant about immobility, even in the face of closer to an indeterminate genre of architec- entirely in isolation, in nature. It would tent presence of media. Popular journalism disappearance or destruction.” 36 The site in ture or engineering.40 Land art is a tangible reality and a location The relation of Land art to the site is whose identity is constituted by a combina- strongly emphasized by Smithson’s dialectic tion of physical elements: proportions, scale, of the outdoor and indoor which manifests texture, lighting conditions, topographical in his non-sites as displaced fragments of features and traffic patterns. In contrast actual sites exhibited in galleries. In a dis- to self-referential, autonomous and trans- cussion conducted with art historian Anne portable modernist sculpture (standing on Wagner both Smithson and Oppenheim dis- a plinth), Land art created in the aftermath pute the concerns related to this dialectic of minimalism was formally directed or de- and conclude that it should not be taken a termined by the site and its environmental disturbance. It is clear that, while their work context. Whether in the desert or in a public is outside, there are always areas of fusion space, Land art evoked a reciprocity between that allow for coming back to the space of a artwork and space. Rather than simply a gallery, into its interior.41 backdrop against which the work was exhib- ited, the spatial context constituted a Land artwork. Critic Rosalyn Deutsche relates this The viewer’s experience of Land art phenomenon to late and emerg- Both site and space cannot be discussed ing Postminimalism, naming it “an aesthetic without the viewer’s experience of them, strategy in which context was incorporated his or her being within the site or his or her Fig. 3 – Nancy Holt: Sun Tunnels, 1973-76. Photograph Johannes M. Hedinger, 2014. © Holt / Smithson Foundation / DACS, London into the work itself.”37 The contingencies of observation of the site. The understanding of

60 Landscape #1 Hanna B. Hölling: The Lands of Art: On Land (Art) and its Shifting Grounds 61 sites and locations implies the presence of Smithson, perhaps the most articulate There is also the geological time that is ex- ing the logic of the so called post-Cagean aes- vision and an emphasis on the ocular aspect among the Land artists, believes that “time- posed in the trenches of Double Negative. The thetics realized around the same time) trans- of Land art. Another important aspect of lessness is formed in the lapsed moments accumulations of sedimentary rocks created lated into the landscape. Land art is the empirical, topographic under- of perception.”46 He strives to locate time through the process of constant geological Because art often tends to privilege standing of site.42 De Maria, requiring the by asking, “where is time”?47 Elsewhere he movement, disclosed as a series of relaxa- physical encounters, the more event-like viewer to be in , set up a set asserts: “Time is always there gnawing at tions and consolidations. Each layer contains the artwork—but also the more performa- of rules and conditions that enable an undis- us and corroding all our best intentions further layers articulating the accumulation tive and social—the greater the importance tracted viewing and participation. Here, the and all our most beautiful thoughts about of time in visible, spatial terms, distinct of its documentation, filmic, photographic viewer takes on the role of a participant in where we think we’re at. It’s always there, from its linear dimension. Such geological or textual. Documentation partakes in the an arranged and strictly determined experi- like a plague creeping in, but occasionally time coexists with and is constituted by political economy of the art market and re- encing of the site.43 This somewhat forceful we try to touch on some timeless moment human and organic time.53 inforces curatorial, institutional and critical positioning of the viewer within the created and I suppose that’s what art’s about to a Human time has imprinted the landscape imperatives57 (not to mention its value as a work and his or her prescribed participation degree, lifting oneself out of that continu- as archeological strata, with landscape being tool of preservation and memory). was subject to criticism by the proponents um.”48 His writing often circulates around the point of contact between archaeology Frankly, art in the 1960s and 70s is un- of free encounters with, and discernment of, the idea of monuments, old and new, “ruins and anthropology.54 The landscape is never thinkable without photographic technology. the site.44 in reverse,” evoking reflections of time and free of human intervention but rather accu- New developments, such as the availability Site and space relate also to objects situ- temporality. Entropy as a condition that mulates the past of human life, animal and of the Bolex 16mm film camera and Super 8 ated within them. Objects may occupy space is irreversible, contradicts, according to plant vegetation, compressed into the soil film cameras58 (Holt was a user of both) and but can also frame space. In Holt’s oeuvre, Smithson, the usual mechanistic worldview. on which one steps. Landscape, as the world the early video cameras (such as the Porta- this framing is strongly emphasized. For in- The crystals of the prove a crystal- in which we stand, is perpetually under con- pak, 1967) certainly reinforce this percep- stance, her Sun Tunnels are not only interven- line structure of time, one that builds up a struction, a work in progress, time in contin- tion. Film and video overtook the function of tions in the landscape but are also framing material sediment—additive, accumulative uous, slow duration.55 proving art’s existence in remote locations, devises—sites of observation, a construction and opaque—and prevents a return to the because “if you build a sculpture in the de- through which landscape is viewed. A pro- past.49 In a voice-over to his film Asphalt Run sert where no one can see it, does it exist?”59 longed contemplation of the site elicits the Down (1970) he looks at Marcel Duchamp’s Event, film, photography The relationship between Land artworks and longer duration of the experience which is scattered Large Glass (1915–23) as an example Land art’s temporal aspect relocates the dis- the media did not remain unproblematic. so necessary to grasp the work and the sense of the entropic impossibility of returning to cussion of where art is to when art is. Process, Land art, just as Minimal Art, was especially of the space it inhabits. an original state. site and temporality, which notably charac- suspicious of photography’s ability to convey Instead, for Holt, time in the desert takes terize performance-based works, are inter- the lived experience, including its spatial on a physical presence. It is measured in the linked in Land art. I will return to this aspect and temporal dimension. Static, consumable Time ageless rocks in the distance and the realiza- shortly. But can Land art be viewed in terms images, according to Robert Morris, could Land art elicits various understandings of tion of the curvature of the earth when one of an event, a brief experience? And how to not replace the somatic experience.60 Carl time. Not only of its passing, which, with the walks over the Bonneville Salt Flats, rather mediate this phenomenon to the viewer? Andre assigns photography the character of development of measurement technologies, than in mathematical abstraction.50 This ex- De Maria’s The Lightning Field certainly “rumor, a kind of pornography of art.”61 For became quantifiable and was substituted for perience evokes a sense of being on Earth, as forces the event association. The comple- instance, Heizer refused to present photo- units and numbers, but also of its relation- Holt puts it, and of a rotating space—a uni- tion of the The Lightning Field’s experience graphic documentation of his Double Negative ship to the universe. In canonical Land art versal time.51 involves the lightning that highlights the in the MOCA exhibition Ends of the Earth,62 time is linked with the movement of the The temporality of works such as Spiral viewer’s sense of scale and time. The phil- and Daniel Buren believed that photography universe, the cyclicality of the movement of Jetty, Double Negative or The Lightning Field is osophical view on the event presumes that can compromise the physical work’s integ- celestial spheres (Holt, Turrell), the time of linked with their changing conditions. What event—something that happens or takes rity, including its time an environment. decay and degradation (Heizer, Smithson), is perceived as a particular state is, in real- place—does not have a thing-like existence Instead, Claes Oldenburg’s Placid Civic Mon- the ephemeral (Oppenheim, De Maria) and ity, a series of interpermeating states that but passes into being and passes out of be- ument for Sculpture in Environment (1967) ex- the dialectic of past and present (Smithson, follow each other in succession—a constant ing. Writer and critic Jeffrey Kastner sees cavated by professional diggers behind the Heizer). For Smithson, time is crucial to the flux of matter. It is a restless duration and The Lightning Field as both a construction of a Metropolitan Museum in and notion of entropy and biological evolution. movement of reality, as suggested by Berg- phenomenological frame and a phenomeno- dug and filled the same day is only known to It is time past, according to art historian son, which the human perception condenses logical frame.56 The Lightning Fields might be contemporary audiences from audio-visual Lynne Cook, “in the guise of geology, pale- into images—a sort of snapshot, a denatura- also read a sort of large, three-dimensional material. It can be said that, rather than re- ontology, crystallography and entropy.”45 tion of a transition.52 musical score (that alludes to works follow- maining secondary, derivative and depend-

62 Landscape #1 Hanna B. Hölling: The Lands of Art: On Land (Art) and its Shifting Grounds 63 ent, photography in Land art is both mar- duced. Short duration works live on in rem- As seen in some of the documentation discourses, plural perspectives and engaging ginal and central, additional and integral nants and residues, oral and textual histo- and textual and photographic residue of the viewer in educative, participatory events. (following Jacques Derrida’s “logic of supple- ries, leftovers and relics that fill in for the Smithson’s Broken Circle / Spiral Hill, for in- Artists engage critically with the social or mentarity”).63 It ensures the dissemination absence of the live event.65 This vast number stance and also, most intriguingly, reflected political discourses that mark the land- of Land art and becomes an integral part of objects and by-products act against its in the logic of his non-sites, the stratigraphy scapes. This art always seems to resonate of it. Smithson, in mastering the complex temporal passing—the “death drive”—and of documentation (objects, relics, leftovers, with the rhetoric of sustainability and is less modes of documentation of his works (The ensures a relation to the sphere of the tangi- photographs and texts) may never cease to charmed by the lure of the remote, albeit in Monument of Passaic, 1967, the film of Spiral ble, legible and visible. In other words, these expand, continually depositing new layers diverse ways. Jetty, 1970, and Broken Circle / Spiral Hill, un- objects legitimize the otherwise inaccessible on the already accumulated sediment. On US 60 in New Mexico, a few miles from finished during his lifetime), seems to reject for the work of immediate perception. Madeline and some 60 miles from Quemado the myth that photographs can gain control Now, if the temporal aspect of perfor- (which is a starting point for the guided tour over physical artworks. The disappearance of mance, its duration, were substituted for By way of conclusion—toward land to De Maria’s The Lightning Field), a large ob- Spiral Jetty between 1971 and 2002 rendered the aspect of space—the work’s physical dis- interpretation servatory marks the landscape with a field of photography, the eponymous film and essay tance or placement elsewhere—we might say Today’s art practices that implement the rhythmically arranged, gigantic bowls. This the only remnants of the work. The relega- that there are ostensible commonalities be- strategies of working with, or in, the land- is the Very Large Array, an immense astro- tion of them to the status of proxy or supple- tween Land art and visual art performance. scape, are driven by a postmodern sense of nomical radio observatory on the Plains of ments seems inaccurate and limiting. In the case of performance, we deal with relativism and the acknowledgment of the San Agustin consisting of 27 radio antennas temporal remoteness or absence (a distance plurality of views, the many different angles arranged in a Y-shaped configuration. As if from the viewer in chronological time), in The aesthetic of remoteness and the archive the case of some of the Land art works, with Leaving the politics of representation aside, spatial remoteness or absence (distance let us provide one last, more ontological, to the geographical site). What has been twist on the idea of a work conveyed in a named the aesthetics of disappearance in per- variety of objects. In much of the Land art formance (understood as generative of the encountered in gallery setting and created amassment of materials produced while a by artists such as Smithson, Holt, Heizer or performance or an event “disappears”),66 in De Maria, the “original” is distant from and certain Land art projects might be relating remains inaccessible to the viewer’s imme- to the aesthetic of remoteness. The aesthetic of diate, live perception. In other words, while remoteness challenges our perceptions of the original exists, it withdraws from the what an artwork is on the one hand, while, actual existence in here. In these cases, the on the other, it generates an urge to gath- textual, photographic and filmic documen- er the materials about the work, to collect tation of the actual work assumes a great and preserve its traces, residues and lefto- importance because it stands in for the work vers and to document it (as in performance in its absence, for its being elsewhere. As aptly art). Seen from another perspective, the noticed by art historian Sven Lütticken, these perceived deficiency of presence in an art- substitute artefacts “become more than just work (whether spatial or temporal) might a representation of an object; they become be judged by what remains, circulates and Fig. 4 – The Very Large Array, New Mexico. Photograph Johannes M. Hedinger, 2014 part of the object, which is also a visual and is displayed. discursive object.”64 The traces and leftovers of remotely locat- It seems that, in the sense of its remote- ed Land artworks are amassed in the all-ac- from which the truth, if any at all, can be the sheer presence of the giant, white, tech- ness, some Land art repeats the logic of a cumulating, ever expanding archive. En- approached. This relativism contradicts the nicistic ears of The Very Large Array were not visual art performance or event. Here, the compassing the extended residual history of modernist’s “objective” view that governed impressive enough, the site also bears the short duration (or the so called “ephemeral”) such an artwork, the archive is thus highly these discourses well into the second half promise of the existence of external worlds, character of performance and event—their important for understanding the nature of of the twentieth century. Difficult to assign of hearing or listening to worlds outside of apparent disappearance once the act ends— its sources. It is ultimately the archive, I sug- to the traditional Land art category, recent the human scale. This very question of scale generates the urge to keep what is left, to gest, that defines what and how the work has land artworks are often less site-specific, or and time, outside of geography and histo- cling to and collect whatever has been pro- been in the world. even placeless, attendant to various social ry, ignites the imagination of everyone who

64 Landscape #1 Hanna B. Hölling: The Lands of Art: On Land (Art) and its Shifting Grounds 65 22 This status quo describes 30 “Ready to Shoot,” 160– 39 Douglas Crimp cited in 58 The introduction of the pauses to contemplate this landscape. Being of the largest aircraft graveyards on the the site visited by the 161. However, Schum’s Deutsche, Evictions, 62. first Kodak Instamatic author in October 2014. pioneering role was Camera is dated to 1963. becomes listening, a sonic experience lost in planet), among many others. The new mean- Efforts have been made not acknowledged by 40 Rosen, “A Sense of Pla- ce,” 121. 59 Freed, Where Do We time whose passing is only recognizable in ings that arise from the interpretation of hu- by dedicated individuals everybody. For instance, to keep up the work. See Heizer claimed that Land Come from? the slow movement of the antennas’ shad- man involvement with the landscape expand 41 Wagner, “Being There.” Revett, “My Life with art was coined by De 60 Ibid. ows. Clearly non-artistic, the Plains of San the discussion with a more pluralistic, more Amarillo Ramp.” Maria in 1967. Kaiser and 42 Cosgrove, Social Forma- Kwon, Ends of the Earth, tion, 9. 61 Carl Andre interviewed Agustin are a manmade landscape marked by all-encompassing view of land interpretation 23 The issues of conserva- 17. by Willoughby Sharp in technological-cultural inscription. that includes, yet is not limited to, the cir- tion of this work was rai- 43 This experience includes Avalanche 1 (Fall 1970), sed in a New York Times 31 Despite the pressure 24 hours overnight visit Based in Wendover, Nevada, since the cuitry of art discourse. 24, quoted in Palmer, article “Monumental put on him to provide including a transporta- “Photography and Tem- 1990s, CLUI (Center for Land Use Interpreta- There is, however, a reciprocal relation Art,” in which, interes- a commentary for the tion from a neighbou- porary Public Sculpture,” tingly, because along broadcast, he insisted ring village. 27. tion) has engaged in the careful curating of between CLUI’s vision and the history and similar lines, art histori- that art does not need ex- sites changed by human use to allow a bet- historiography of Land art. The experience an Caroline Jones posits: planation and left all 38 44 Beardsley, “Art and Aut- 62 Heizer chose not to parti- horitarianism.” ter understanding of human involvement in of the sites documented in CLUI’s database, ‘’I would like to think minutes of the Land art cipate in Ends of the Earth, of Smithson just letting show unnarrated. Schum even though his work is and impact upon the surface of the Earth.67 I believe, would not be possible without the 45 Cook, “A position of El- Amarillo Ramp go.” Isola, died prematurely after sewhere,” 54 in the MOCA collection Next to The Very Large Array, CLUI’s data- Land art moment of the 1960s-70s which not “Monumental Art.” his video gallery opened and was one of the inspi- in Düsseldorf and a video 46 Ibid. rations for the show. Ac- base of sites includes the Bingham Copper only artistically altered landscape, whether 24 Ibid. section established at cording to Heizer, photo- 47 Smithson, “Entropy and Pit in Utah, the Bonneville Speedway, the urban or rural, and the human perception 25 Roth and Smithson, “An the Folkwang Museum graphy may misrepresent in Essen failed to bring the New Monuments,” the artwork. Knight, transient architecture of the Burning Man of it, but also, as I hope to have demonstrat- interview.” Author’s inclu- 11. sion based on Smithson’s desired success. “Art Review: ‘Ends of the Festival in Nevada, the Nevada Test Site ed, opened new horizons on what the new Earth’.” thought. On another 32 Kaiser and Kwon, Ends 48 Robert Smithson spea- (the location of American and British nu- lands of art might be. This experience forev- occasion, Smithson ex- of the Earth, 21. Today, king to Kenneth Baker 63 For these aspects of clear tests), the Thiokol Promontory Com- er changed our appreciation of the environ- pressed his interest in and cultural (1970) in Cooke and photography in the what he names “fluvial Kelly, “Robert Smithson: plex (where spacecraft rocket boosters were ment as a permanently fluctuating cultural institutions are increa- photographic documen- entropy.” See Smithson singly concerned with Spiral Jetty,” 155. tation of performance, built), and the Tuscon Boneyard (one site and our place in it as humans. interview with Alison the health of Land art, see Green and Lowry, Sky (1973) reprinted in 49 Smithson, “The Taste of although these concerns Time,” 98–99. “Splitting the Index,” Wines, Site: Identity and are rather oriented to- quoted in Palmer, Density. ward artworks that ent- 50 Holt, “Sun Tunnels 1973– “Photography and Tem- Notes 26 The first generation ered art historical canon. 76,” 81. porary Public Sculpture,” 1 This version of this lec- 6 Ibid. 16 Suderburg, Space, Site, 19 Which aligns with the of Land artists inclu- Spiral Jetty, for instance, 30. has been a subject mat- 51 Ibid. ture, delivered on June Intervention. As both paradigm of an artist-ge- ded Michael Heizer, 64 De Bruyn and Lütticken, 26, 2016, was slightly 7 , Time a medium and set of nius known from Vasari Richard Long, Dennis ter of a documentation 52 Cua Lim, “Translating Line. Boundary between project by the Getty Con- “In the Vicinity of...,” adapted for publication practices, Installation and developed in Roman- Oppenheim, and Robert Time,” 53. For the related 115. purposes. USA / Canada along St. John art is a hybrid notion ticism. Smithson. See Boettger, servation Institute and notions of slow and fast River; Fort Kent, Maine. 1’ x that is further informed “Looking at,” 31. is since the late 1990s art actively and passively 65 Hölling, “The Aesthetics 2 Interestingly, the etymo- 3’ x 3 mile cut between the by set design, Zen gar- 20 Isola, “Monumental Art.” under auspices of Dia involved in time, see of Change,” 18. Chris- logy of the word “cul- two countries, 1968. dens, soft architecture, 27 Krauss, “Sculpture in the Art Foundation. Double Hölling, Paik’s Virtual topher Bedford names ture” has connotations 21 Suspicious of the mu- Expanded Field.” Negative was donated 8 Williams, “Introduc- , bricolage, seum afterlife of his Archive, 120–22. this phenomenon “the with a cultivated piece of spectacles, multimedia by Virginia Dwan to the viral ontology of perfor- land. tion,” 19. works, Smithson often 28 Kastner, “Preface,”14. MOCA, , but 53 For a discussion of geo- projections, shrines, questioned the limits mance,” and relates it to 9 Serres, Detachment, 8. earthworks, eighteenth 29 The conceptual gallery the artist restricted its logical time, see extended trace history 3 Smithson discusses and presuppositions restoration. Many other DeLanda, “The Geology Morrison’s intention in and nineteenth century of the museums and Fernsehgalerie Gerry (theoretically extendable 10 Kastner, “Introduction,” panoramas, Wunderkam- Schum (1968–70) produ- works are being taken of Morals” and DeLanda, to infinity) and reani- his essay “Towards the 13–14. gallery. In a dialogue care of by local com- A Thousand Years of Non- Development of and Air mern, cabinets de curio- between Alan Kaprow ced and exhibited artist mation of performance sité and Arte Povera. For films for broadcast on munities or devoted art linear History. in a variety of media. Terminal Site” (1967). 11 Ibid. and Smithson, museum connoisseurs. For a study of the imple- the association between is designated as an irrele- television. Later, Gerry 54 Ingold, “The Temporality Bedford, “The Viral Onto- mentation of a bulldozer 12 Pamela M. Lee in Griffin Land art and Installation vant place for recent art. Schum launched Video- 33 Ibid, 27. of Landscape,” 152. logy.” in post-war America and et al, “Remote Possibili- art, see Claire Bishop in Kaprow and Smithson, galerie Schum (1971–73), ties.” Griffin et al, “Remote which was the first com- 34 Ibid. 55 Ibid. 66 For this argument and its provenience as war “What is a Museum,” a body of literature on technology, see Russello, Possibilities.” In her book 43–51. Heizer juxtaposed mercial gallery dedicated 13 Beardsley, Earthworks and (2005), to the production and 35 Kastner, “Preface,” 16. 56 Kastner, “Alone in the which it builds, see Höl- Bulldozer. Beyond, 2. the museum space with Crowd,” 72. ling, Revisions. Bishop posits Land art the real space by saying distribution of video 36 Kwon, “One Place after 4 See Serres, Atlas, discus- 14 Claire Bishop in Griffin as one of the sources of “The museums and col- tapes. Farrell, “Net- Another,” 11. 57 Palmer, “Photography 67 Coolidge and Simons, sed in Connor, “Topolo- et al, “Remote Possibili- Installation art. lections are stuffed, the work(ed) TV,” 12. and Temporary Public Outlook. gies,” 44. 37 Deutsche, Evictions, 61. ties.” 17 For the latter, see Wallis, floors are sagging, but Sculpture,” 27. the real space exists.” 5 For the landscape geogra- 15 Ibid. “Survey,” 24. 38 Kwon, “One Place after pher Kenneth R. Olwig, Heizer, “The Art of Mi- Another,” 11. land is a cultural, not 18 Lee, Chronophobia, 259. chael Heizer.” natural category. See Olwig’s contribution to Landscape Theory, 162.

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