DOCSLIB.ORG

Michael Heizer Selected Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. MAXImin Maximum Minimization in Contemporary Art. Madrid: Fundación Juan March. Origins: September 13, 2008–July 26, 2009 at the Hudson Valley Center for Contemporary Art. Peekskill, NY: The Hudson Valley Center for Contemporary Art. 2007 Before and After Minimalism. A Century of Abstract Tendencies in the DaimlerChrysler Collection. Madrid: Fundación Juan March. De Corral, Maria and John R. Lane. Fast Forward: Contemporary Collection for the Dallas Museum of Art. New Haven, CT: Yale University Press. 2006 Berry, Ian and Jack Shear. Twice Drawn: Modern and Contemporary Drawings in Context. Satatoga Spring, NY: Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. W W W . G A G O S I A N . C O M G A G O S I A N 2005 Von Rosen, Philipp. Outside and Inside the White Cube: Michael Heizer. Munich: Verlag Silke Schriber. 2004 Solimano, Sandra. Attraversare Genova: Percorsi e Linguaggi Internazionali del Contemporaneo. Anni ’60 –’70. Milan: Skira. 2003 De Chassey, Eric. Minimal to the Max: The Brownstown Collection. West Palm Beach, FL: Norton Museum of Art. 2002 Fox, William L. Playa Works: The Myth of the Empty. Reno: University of Nevada Press. 2001 Homes, A.M., Tara McDonnell and Neil Watson. Burn: Artists Play with Fire. West Palm Beach, FL: Norton Museum of Art. 2000 Fox, William L. The Void, the Sign & the Grid. Salt Lake City: University of Utah Press & Reno: University of Nevada Press. 1999 Fox, William L. Mapping the Empty: Eight Artists and Nevada. Reno: University of Nevada Press. 1997 Celant, Germano. Michael Heizer. Milan: Fondazione Prada. Celant, Germano. XLVII Esposizione Internazionale d'Arte: la Biennale di Venezia. Venice: Biennale di Venezia; Milan: Electra. 1994 Colpitt, Frances. Mapping. San Antonio: San Antonio Art Gallery, University of Texas. 1993 Albertazzi, Liliana. Différentes Natures: visions de l’Art Contemporain. Paris: Galerie Art 4 and Galerie de l’Esplanade. 1992 Taylor, Mark C. Michael Heizer: Double Negative. Los Angeles: The Museum of Contemporary Art. 1991 Van der Marck, Jan. Virginia Dwan. Art Minimal-Art Conceptuel, Earthworks, New York, les années 60–70. Paris: Galerie Montaigne. 1990 McGill, Douglas C. Effigy Tumuli: The Reemergence of Ancient Mound Building. New York: Harry N. Abrams, Inc. Amagasaki, Kikuko. Pharmakon ’90. Tokyo: Nippon Convention Center, Makuhari Messe. Whitney, David. Michael Heizer. London: Waddington Galleries Limited. 1989 de Lima-Green, Alison. For the Collector: Important 20th Century Sculpture. Houston: Meredith Long & Company. Sundell, Nina Castelli. The Turning Point: Art and Politics in Nineteen Sixty-Eight. Cleveland: Cleveland Center for Contemporary Art. Crone, Rainer and David Moos. Objet, Objectif: Relecture des Choses dans La Sculpture Contemporaine. Paris: Galerie Daniel Templon. 20 Jahre Internationale Kunstmesse Basel. Düsseldorf: Galerie Hans Mayer. 1988 Fine, Ruth E. Michael Heizer: New Sculpture. Nagoya: Akira Ikeda Gallery. Phillips, Lisa and Tom Armstrong. Vital Signs: Organic Abstraction from the Permanent Collection. New York: Whitney Museum of American Art. Friedman, Martin L, Douglas Dreishpoon, Peter W. Boswell, Donna Harkavy, et al. Sculpture Inside Outside. Minneapolis: Walker Art Center. 1987 Kardon, Janet. 1967: At the Crossroads. Philadelphia: Institute of Contemporary Art, University of Pennsylvania. Scott, Wilford, W. American Drawing and Watercolors of the Twentieth Century: Selection from the Whitney Museum of American Art. Washington, D.C.: National Gallery of Art. 1986 Ackley, Clifford S. 70s into 80s: Printmaking Now. Boston: Museum of Fine Arts, Boston. Daniel, Malcolm and Sam Hunter. American Renaissance: Painting and Sculpture since 1940. Fort Lauderdale, FL: Museum of Art W W W . G A G O S I A N . C O M G A G O S I A N Linker, Kate and Howard Singerman. Individuals: A Selected History of Contemporary Art: 1943–1986. Los Angeles: The Museum of Contemporary Art. Heiferman, Marvin. The Real Big Picture. Flushing: Queens Museum of Art. 1985 Whitney, David. Michael Heizer: Dragged Mass Geometric. New York: Whitney Museum of American Art. Camfield, William A. Michael Heizer, 45°, 90°, 180°: A Sculpture for Rice University. Houston: Rice University. Metzger, Robert. A Second Talent: Painters and Sculptors Who Are Also Photographers. Ridgefield, CT: Aldrich Museum of Contemporary Art. Kuspit, Donald and Phyllis Tuchman. The Maximal Implications of the Minimal Line. Annandale-on-Hudson, NY: Edith C. Blum Art Institute, Bard College Center. 1984 Brown, Julia and Barbara Heizer. Michael Heizer: Sculpture in Reverse. Los Angeles: The Museum of Contemporary Art. Fine, Ruth E. Gemini G.E.L. Art and Collaboration. Washington, D.C.: National Gallery of Art. Bellman, David and Phyllis Lambert. Drawings by Sculptors: Two Decades of Non- Objective Art in the Seagram Collection. New York: J. E. Seagram. 1983 Parente, Janice and Phillis Stigliano. Sculpture: The Tradition in Steel. Roslyn Harbor: Nassau, New York: Nassau County Museum of Fine Art. Geldzahler, Henry. American Accents. Toronto, ON, Canada: Rothmans of Pall Mall Canada Limited. In Honor of de Kooning. New York: Xavier Fourcade Inc. 1982 Anderson, Richard E. PostMINIMALism. Ridgefield, CT: Aldrich Museum of Contemporary Art. Twenty American Artists: Sculpture 1982. San Francisco: San Francisco Museum of Modern Art. 1981 Cathcart, Linda L. The Americans: The Landscape. Houston: Contemporary Arts Museum. Billeter, Erika. Mythos and Ritual. Zurich: Kunsthaus Zurich. 1980 Cowart, Jack. Currents 7: Michael Heizer. St. Louis, The St. Louis Art Museum. Growdon, Marcia Cohn. Artists in the American Desert. Reno: Sierra Nevada Museum of Art. Kardon, Janet. Urban Encounters: Art Architecture Audience. Philadelphia: Institute of Contemporary Art. Monneret, Jean. L'Amérique aux Indépendants, 1944-1980: 91ème Exposition, Société des Artistes Indépendants. Paris: Grand-Palais des Champs-Elysées. 1979 Felix, Zdenek. Michael Heizer. Essen: Museum Folkwang; Otterlo: Rijksmuseum Kroller-Muller. Rorimer, Anne. Seventy-Third American Exhibition. Chicago: Art Institute of Chicago. 1978 Froment, Jean-Louis. Sculpture/Nature. Bordeaux, Centre d’Arts Plastiques Contemporains de Bordeaux. Bassett, Hilary D. Painting and Sculpture Today, 1978. Indianapolis: Indianapolis Museum of Art. 1977 Weiermair, Peter. Michael Heizer. Munich: Galerie im Taxispalais. Beardsley, John. Probing the Earth: Contemporary Land Projects. Washington D.C.: Hirshhorn Museum and Sculpture Garden. Armstrong, Tom. Barbara Haskell, Patterson Sims and Marcia Tucker. 1977 Biennial Exhibition: Whitney Museum of American Art. New York: Whitney Museum of American Art. 1976 Rose, Bernice. Drawing Now. New York: The Museum of Modern Art. W W W . G A G O S I A N . C O M G A G O S I A N Armstrong, Tom, Wayne Craven, Norman Feder, Barbara Haskell, Rosalind E. Krauss, Daniel Robbins, Marcia Tucker. 200 Years of American Sculpture. New York: Whitney Museum of American Art. 1975 Wedewer, Rolf and Rolf Ricke. USA Zeichnungen. Leverkusen: Städtisches Museum Schloss Morsbroich. 1974 Speyer, James. Seventy-First American Exhibition. Chicago: Art Institute of Chicago. Art Now ’74. Washington D.C.: The John F. Kennedy Center for the Performing Arts.SZ 1973 Solomon, Elke. American Drawings 1963–1973. New York: Whitney Museum of American Art. Ginsburg, Susan. 3D into 2D: Drawing for Sculpture. New York: New York Cultural Center in association with Fairleigh Dickinson University. 1972 Hefting, Paul H. and Rudi Oxenaar. Diagrams and Drawings. Otterlo: Rijksmuseum Kroller-Muller. Koefoed, Flemming, Cindy Nemser, Francois Pluchart, P. Adams Sitney, and Robert Smithson. Projektion. Humlebæk, Denmark: Louisiana Museum of Modern Art. 1971 Heizer, Michael. Michael Heizer/Actual Size. Detroit: Detroit Institute of Arts. Earth, Air, Fire, Water:
Recommended publications
  • (Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin

    (Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin

    SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice.
  • Margit Koller: Expansion in Sculpture – Site-Specific Installation, Environment and the Non-Autonomous Artwork

    Margit Koller: Expansion in Sculpture – Site-Specific Installation, Environment and the Non-Autonomous Artwork

    Margit Koller: Expansion in Sculpture – Site-specific Installation, Environment and the Non-autonomous Artwork Report about my research program in New York, supported by the Peter and Irene Ludwig Foundation, 2018 September Expansion in Sculpture – Site-specific Installation, Environment and the Non- autonomous Artwork Virginia Dwan and the Dwan Gallery. Dia Art Foundation. MoMA PS1. Dan Flavin Institute and The Donald Judd Foundation. Do Ho Suh: Rubbing/Loving Project. House as Art - Arthouse 1. Introduction I spent one month in New York in September 2018, thanks to the researcher scholarship of Peter and Irene Ludwig Foundation. In my workplan my focus was tended onto monumental sculpture, site-specific installation and environmental art, as well as the public sculpture, with the connection between the financial possibilities and artistic freedom. In addition, I always examine the spatial art in the relation of the artwork with its surrounding space and the perceptual skills and possibilities of the viewer. During my stay in New York I was visiting museums, collections, galleries and public parks inside the city and around and in Washington DC, which support site-specific and monumental spatial art in temporary exhibitions or permanent collections (open for the public). I visited loads of colossal and inspiring places, but because of the limit of the report I only write about my most important experiences which are directly connect to both of my research and creative process. (My experiences about the public sculpture could fill another 10-page long report1). As I’m writing my report three weeks after my arriving, the language may mirror my relation to my fresh discoveries, experiences and spontaneous recognitions.
  • A Land Art Pioneer's Adventures in Time and Space

    A Land Art Pioneer's Adventures in Time and Space

    A Land Art Pioneer’s Adventures in Time and Space Nearly 50 years after Charles Ross began working on “Star Axis,” the artist’s gargantuan work in the New Mexico desert is nearing completion. By Nancy Hass July 21, 2020, 1:00 p.m. ET THROUGH THE WINTER months, Charles Ross’s existence befits an established New York multimedia artist of a certain vintage: whitewashed SoHo loft with a comfortable studio in the back; a pair of sweet, shaggy dogs that he and his wife, the painter Jill O’Bryan, walk up Wooster Street in the chill, past the wrought iron storefronts that were little more than scrap metal when he first came to the city in the mid- 1960s after studying math and sculpture at the University of California, Berkeley, but now are outposts of Chanel and Dior. Evenings, they may drop into a Chelsea gallery opening or two, then linger over dinner at Omen, the Japanese restaurant that’s been on Thompson Street since the ’80s, nodding to the fellow stalwarts of a downtown scene that long ago ate its young: the 92-year-old portraitist Alex Katz sharing a sake with the Abstract Expressionist David Salle, 67; the musician Laurie Anderson, 73, at the bar, her spiky hair stippled with gray. But come dawn on an April day, when the weather has started to break, such trappings abruptly fall away. A long flight and a bumpy three-hour ride later in the bruised, red-clay encrusted 2004 Dodge Dakota that they usually keep in long-term parking at the Albuquerque airport, Ross and O’Bryan are halfway up a craggy mesa, at the base of “Star Axis,” the 11-story naked-eye observatory made of sandstone, bronze, earth, granite and stainless steel that Ross, one of the last men standing of the generation of so-called earthworks artists, has labored on continuously since he conceived of it in 1971.
  • Charles Ross B

    Charles Ross B

    Charles Ross b. 1937, Philadelphia, PA Lives and Works in New York, NY and Las Vegas, NM Education 1962 M.A. Sculpture, University of California, Berkley, CA 1960 B.A. Mathematics, University of California, Berkley, CA Solo Exhibitions 2019 Prisms, RULE Gallery, Marfa, TX 2018 Hanging Islands, National Gallery of Art, Smithsonian Institution, Washington, DC 2017 Charles Ross: Solar Burns, Prisms and Explosion Drawings, Parrasch Heijnen Gallery, Los Angeles, CA 2015 Charles Ross + James Case-Leal, Franklin Parrasch Gallery, New York, NY 2013 Charles Ross, Substance of Light, Salon 94, New York, NY 2012 Charles Ross, Gerald Peters Gallery, Santa Fe, NM 2007 Solar Burns and Dynamite Drawings, Braunstein-Quay Gallery, San Francisco, CA 2004-5 Solar Burns, Harwood Museum of Art, Taos, New Mexico 1996 Relaciones, Museo de Arte y Diseno Contemporaneo, San Jose, Costa Rica 1995 Projects with Light, Time, and Planetary Motion, Richard Humphrey Gallery, New York, NY 1992 Star Axis, Johnson Gallery, University of New Mexico, Albuquerque, NM 1991 Particle Light, Sena Galleries, Sante Fe, NM 1985 Plaza of the Americas Gallery, Dallas, TX 1982 Prisms and the Exploded Spectrum, Heydt-Bair Gallery, Santa Fe, NM 1981 Portland Center for the Visual Arts, Portland, OR 1981 John Weber Gallery, New York, NY 1979 The Colors of Light, The Colors in Shadow, John Weber Gallery, New York, NY 1977 The Substance of Light, Institute of Contemporary Art, Philadelphia, PA 1977 Point Source/Star Space, John Weber Gallery and Susan Caldwell Gallery, New York, NY 1977
  • Oral History Interview with Virginia Dwan

    Oral History Interview with Virginia Dwan

    Oral history interview with Virginia Dwan Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Virginia Dwan AAA.dwan84 Collection Overview Repository: Archives of American Art Title: Oral history interview with Virginia Dwan Identifier: AAA.dwan84
  • Robert Longo

    Robert Longo

    ROBERT LONGO Born in 1953 in Brooklyn, New York Lives in New York, New York EDUCATION 1975 BFA State University College, Buffalo, New York SELECTED ONE-PERSON EXHIBITIONS 2021 A House Divided, Guild Hall, East Hampton, New York 2020 Storm of Hope, Jeffrey Deitch, Los Angeles 2019 Amerika, Metro Pictures, New York Fugitive Images, Metro Pictures, New York When Heaven and Hell Change Places, Hall Art Foundation | Schloss Derneburg Museum, Germany 2018 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Deichtorhallen Hamburg Them and Us, Metro Pictures, New York Everything Falls Apart, Capitan Petzel, Berlin 2017 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Brooklyn Museum (cat.) Sara Hilden Art Museum, Tampere, Finland (cat.) The Destroyer Cycle, Metro Pictures, New York Let the Frame of Things Disjoint, Thaddaeus Ropac, London (cat.) 2016 Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Garage Museum of Contemporary Art, Moscow (cat.) Luminous Discontent, Galerie Thaddaeus Ropac, Paris (cat.) 2015 ‘The Intervention of Zero (After Malevich),’ 1991, Galerie Hans Mayer, Düsseldorf 2014 Gang of Cosmos, Metro Pictures, New York (cat.) Strike the Sun, Petzel Gallery, New York 2013 The Capitol Project, Aldrich Contemporary Art Museum, Ridgefield, Connecticut Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg, Austria 2012 Stand, Capitain Petzel, Berlin (cat.) Men in the Cities: Fifteen Photographs 1980/2012, Schirmer/Mosel Showroom, Munich 2011 God Machines, Galerie Thaddaeus Ropac, Paris (cat.) Mysterious Heart Galería
  • Michael Heizer

    Michael Heizer

    MICHAEL HEIZER Michael Heizer, b. 1944 Berkeley, California Artist Michael Heizer is considered one of the original and most prominent “land artists” in the world. His work de- buted at the Dwan Gallery’s influential “Earth Works” show and then at the Galerie Heiner Friedrich, Munich, where he removed 1,000 tons of earth in a conical shape to create Munich Depression. Soon after he created one of his best known sculptures Double Negative on the Mormon Mesa in Nevada. Over the past four decades he has made incredible sculpture and earthworks, often inspired by native american forms, that appear in museums and public spaces worldwide. Prominent exhibitions include Gagosian Gallery, New York; Museum Folkwang, Essen, Germany (1979), the Museum of Contemporary Art, Los Angeles, California (1984), and Fondazione Prada, Milan, Italy (1996), the Whitney Museum of Fine Art. His most recent sculpture at the Los Angeles County Museum of Art, Levitated Mass, is a 21/1 x 21 /12 foot granite boulder installed atop a 456-foot-long trench outside LACMA that people can walk under. The long channel, de- scends to a depth of 15 feet set in a field of polished concrete slices. Since 1970 Heizer has been working on an enormous complex in the desert of Nevada, where he lives. Covering a space approximately one and a quarter miles long and more than a quarter of a mile wide (2 km by 0.4 kml), City is one of the largest sculptures ever created. The sculpture is currently supported by Dia and Lannan Foundation and is not yet open to the public.
  • Citeations Dramatically Assertive

    Citeations Dramatically Assertive

    Cite Spring 1985 Citeations dramatically assertive. The sheer bulk of the installation creates an experience that is essentially confrontational: 45". 90°. 180° is not a piece to be taken in at a 45°, 90°, 180° glance; one must walk around it, measure oneself against it. Sculpture by Michael Heizer However, it would be a mistake to view Engineering Court 45°. 90", 180" as yet another example of Rice University overblown public sculpture, a piece pumped with steroids to fit a prescribed Reviewed by Alison de Lima Greene space. The manipulation of scale and per- ception has been one of Heizer's chief The image of the standing stone - isolated, concerns since his first mature works of enigmatic, evocative - was rediscovered by the late 1960s. For example, his Nine the Romantic painters of the early 19th Nevada Depressions of 1968, in which the century. The German Caspar David Fried- dry-lake floor of the desert became the rich populated his landscapes with dol- arena for a series of site-specific cuttings mans which acted as silent witnesses to a into the ground measuring up to 120 feet primordial Nordic heritage. In England, in length, is balanced by Windows of William Blake employed Stonehenge as a 1969, etched into a single basalt block of setting for illustrations of his poems "Mil- sidewalk, each cutting roughly the size of a ton" and "Jerusalem." John Constable also match stick. The scheme of 45°. 90°. 180° turned to Stonehenge, sketching it severjl itself has undergone a number of permu- times. He described the monument in the tations.
  • Memorandum I

    Memorandum I

    AGENDA ITEM #5 July 17,2012 . Worksession MEMORANDUM July 13, 2012 TO: County Council FROM%LKeith Levchenko, Senior Legislative Analyst SUBJECT: Worksession: Amendments to the Comprehensive Water Supply and Sewerage Systems Plan T&E Committee Recommendation: • Concur with the County Executive and the Planning Board to deny the GetachewlWubet and Kapoor requests. • Concur with the County Executive to conditionally approve the Shri Mangal Mandir PIF request and to approve the Glenstone PIF Request with restrictions. NOTE: Additional resolution language is recommended for both requests. County Planning CE Staff Report # Applicant Request Executive Board Report Maps Approve S-3 conditioned PIF Request: Requesting Shri Mangal Mandir upon a preliminary plan Public Sewer to build a new Religious Educational that conforms 1 congregation center adjacent Deny. Maintain 5-6 ©1-3 <04-5 and Charitable Trust, substantially with the to a property with the 11A-CLO-01 proposed plan presented ,applicant's existing temple to the Council. i Samson Getachew & Requesting public sewer in i 2 Solomon Wubet, 11 A- order to build a new single Deny, Maintain S-6 Concur with CE ©9 ©JO PAX-01 family home. i Mitchell Rales for the PIF Request: Requesting IAPprove S-3 with 3 Glenstone Foundation, public sewer to expand Deny. Maintain 5-6 ©12-15B ©16-17 jconditions and restrictions 11A-TRV-06 museum facilities, 4 ,Ravinder & Ritu •Requesting public sewer to I Deny. Maintain S-6 Concur with CE ©38 IKapoor,11A-TRV-08 Iserve the existing house I ©36-37 i On Apri127, 2012, the County Council received a package of four Water and Sewer Category Change requests from the County Executive.
  • Galerie Lelong &

    Galerie Lelong &

    Galerie Lelong & Co. Paris – New York Ellsworth Kelly Exhibitions Solo show 2018 Black & White Works, FLAG Art Foundation, New York City, United States 2014 Plant Lithographs by Ellsworth Kelly, 1964-66, Mount Holyoke College Art Museum, South Hadley, United States 2013 The Chatham Series, Museum of Modern Art (MoMA), New York City, United States 2012 Wood Sculpture, Museum of Fine Arts Boston (MFA), Boston, United States Plant Drawings, Pinakothek der Moderne, Munich, Germany Louisiana On Paper, Louisiana Museum of Modern Art, Humlebaek, Denmark Schwarz und Weiß, Museum Wiesbaden, Wiesbaden, Germany Ellsworth Kelly, Portland Art Museum, Portland, United States 2008 Focus: Ellsworth Kelly, Museum of Modern Art (MoMA), New York City, United States Paris/New York, 1949–1959, Philadelphia Museum of Art, Philadelphia, United States 2006 Paris/New York, 1949–1959, Philadelphia Museum of Art, Philadelphia, United States Ellsworth Kelly, Serpentine Gallery, London, United States Drawn from Nature: The Plant Lithographs of Ellsworth Kelly, AXA Gallery, New York City, United States 2003 Works 1956-2002, Fondation Beyeler, Riehen, Switzerland Red Green Blue, Museum of Contemporary Art San Diego - MCASD, La Jolla, United States Red Green Blue, Museum of Fine Arts Houston (MFAH), Houston, United States Red Green Blue, Whitney Museum of American Art, New York City, United States 13 rue de Téhéran, 75008 Paris – France / +33 1 45 63 13 19 / [email protected] / www.galerie-lelong.com 1 Galerie Lelong & Co. Paris – New York 2002 Selected Works
  • THE STORY of LAND ART a Film by James Crump

    THE STORY of LAND ART a Film by James Crump

    VITO ACCONCI CARL ANDRE GERMANO CELANT PAULA COOPER WALTER DE MARIA VIRGINIA DWAN GIANFRANCO GORGONI MICHAEL HEIZER NANCY HOLT DENNIS OPPENHEIM CHARLES ROSS PAMELA SHARP WILLOUGHBY SHARP ROBERT SMITHSON HARALD SZEEMANN LAWRENCE WEINER THE STORY OF LAND ART a film by james crump PRESENTED BY SUMMITRIDGE PICTURES AND RSJC LLC PRODUCED BY JAMES CRUMP EXECUTIVE PRODUCER RONNIE SASSOON PRODUCER FARLEY ZIEGLER PRODUCER MICHEL COMTE EDITED BY NICK TAMBURRI CINEMATOGRAPHY BY ALEX THEMISTOCLEOUS AND ROBERT O’HAIRE SOUND DESIGN AND MIXING GARY GEGAN AND RICK ASH WRITTEN AND DIRECTED BY JAMES CRUMP photograph copyright © Angelika Platen, 2014 troublemakers THE STORY OF LAND ART PRESS KIT Troublemakers: The Story of Land Art A film by James Crump Featuring Germano Celant, Walter De Maria, Michael Heizer, Dennis Oppenheim, Robert Smithson, Nancy Holt, Vito Acconci, Virginia Dwan, Charles Ross, Paula Cooper, Willoughby Sharp, Pamela Sharp, Lawrence Weiner, Carl Andre, Gianfranco Gorgoni, Harald Szeemann. Running time 72 minutes. Summitridge Pictures and RSJC LLC Present a Film by James Crump. Produced by James Crump. Executive Producer Ronnie Sassoon. Producer Farley Ziegler. Producer Michel Comte. Edited by Nick Tamburri. Cinematography by Alex Themistocleous and Robert O’Haire. Sound Design Gary Gegan and Rick Ash. Written and Directed by James Crump. Troublemakers unearths the history of land art in the tumultuous late 1960s and early 1970s. The film features a cadre of renegade New York artists that sought to transcend the limitations of paint- ing and sculpture by producing earthworks on a monumental scale in the desolate desert spaces of the American southwest. Today these works remain impressive not only for the sheer audacity of their makers but also for their out-sized ambitions to break free from traditional norms.
  • Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim

    Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim

    Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim © Michael Albert Hedger A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Art History and Art Education UNIVERSITY OF NEW SOUTH WALES | Art & Design August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hedger First name: Michael Other name/s: Albert Abbreviation for degree as given in the University calendar: Ph.D. School: Art History and Education Faculty: Art & Design Title: Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim Abstract 350 words maximum: (PLEASE TYPE) Conventionally understood to be gigantic interventions in remote sites such as the deserts of Utah and Nevada, and packed with characteristics of "romance", "adventure" and "masculinity", Land Art (as this thesis shows) is a far more nuanced phenomenon. Through an examination of the work of three seminal artists: Michael Heizer (b. 1944), Dennis Oppenheim (1938-2011) and Walter De Maria (1935-2013), the thesis argues for an expanded reading of Land Art; one that recognizes the significance of size and scale but which takes a new view of these essential elements. This is achieved first by the introduction of the "imaginary" into the discourse on Land Art through two major literary texts, Swift's Gulliver's Travels (1726) and Shelley's sonnet Ozymandias (1818)- works that, in addition to size and scale, negotiate presence and absence, the whimsical and fantastic, longevity and death, in ways that strongly resonate with Heizer, De Maria and especially Oppenheim.