Artists and the Environment: a Report from the 81St College Art
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Michael Heizer Selected Bibliography
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. -
A Finding Aid to the EC (Eugene) Goossen Papers, Circa 1935
A Finding Aid to the E.C. (Eugene) Goossen Papers, circa 1935-2004, in the Archives of American Art Sarah Mundy 2020/01/22 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 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Materials, 1945-2004........................................................... 4 Series 2: Correspondence, 1930s-1990s................................................................. 5 Series 3: Artist Files, circa 1947-1997..................................................................... 7 Series 4: Writing Projects and Notes, circa 1940-circa -
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
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. -
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. -
Bennington College Usdan Gallery
Bennington College Usdan Gallery February 25–May 9, 2020 Opening Reception | February 25, 6:00-8:00 pm Usdan Gallery is proud to present the complete House & Garden drawing series by ecological artist Patricia Johanson ’62, a seminal project produced fifty years ago but never before exhibited in its entirety. Inspired by a 1969 commission from House & Garden magazine, the 146 garden prototypes illustrate the scope of Johanson’s prescience in considering environmental issues of urgency today, such as erosion, flooding, landfills, and water conservation, as well as larger questions of the relationship between humans and nature. Drafted on 8 1/5-by-11-inch sketchbook paper, the modestly scaled pencil drawings gain potent beauty and historical significance when viewed as a cohesive series. The House & Garden exhibit situates the artist among her conceptualist peers of the 1960s and 1970s, forecasts her current work on urban infrastructure projects, and contributes to the growing, overdue recognition being accorded Johanson’s generation of women land-art pioneers. Johanson was an emerging star in minimalist painting when an architect with House & Garden invited her to design a domestic garden for its pages. Ignited by research into the history of gardening, the artist restlessly sketched and wrote about ideas stretching far beyond the backyard, proposing initiatives such as giant gardens shaped like insects, highways with parks for grazing sheep, and a wildlife network spanning North America like a web. The magazine declined to publish any of it, yet the project reoriented Johanson’s career toward studies in engineering and architecture and a renowned practice designing functional artworks that create habitats for people and wildlife. -
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. -
The Deiro Collection (CAE0901)
The Deiro Collection Collection CAE0901 Introduction/Abstract The Deiro Collection contains materials relating to early earthworks by Michael Heizer, Walter De Maria, and Charles Ross, collected by Count Guido Robert Deiro, Airline Transport Rated pilot and project consultant. Biographical Note: Count Guido Robert Deiro Count Guido Robert Deiro grew up in Las Vegas, worked on a ranch and then in casinos as a young man, and became an Airline Transport Rated pilot. He was hired by Howard Hughes first as an administrative assistant, and was working at Hughes Aviation as Director of Aviation Facilities in Las Vegas when he met Michael Heizer in late 1968/early 1969. The artist hired him to scout locations for Double Negative and then the City project; Heizer was joined by Walter De Maria and Charles Ross, who also worked with Deiro to scout property for their own projects, including De Maria’s The Lightning Field. Deiro’s employment with Hughes gave him access to aircraft, vehicles, photographic equipment, and free time to work with the artists. By 1972 he was devoting all his time to assisting Heizer and De Maria to secure property and water rights at their desert locations, and leasing and buying the requisite heavy equipment for Heizer’s work in Garden Valley, Nevada. In 1974 Deiro cut back to flying occasionally for Heizer and De Maria, and went back to work as a shift supervisor at a Las Vegas casino. He later started a real estate auction company, which enabled him to help Heizer obtain additional property in Garden Valley during the 1990s. -
MICHAEL HEIZER Metropol Kunstraum
MICHAEL HEIZER Metropol Kunstraum MICHAEL HEIZER Metropol Kunstraum EINLEITUNG Michael Heizer ist ein fast vergessener Künstler, dessen Werk in großen Teilen zerstört ist. Und doch sind seine Projekte Teil der Kunsterfahrung einer bestimmten Epoche geworden ist. Als einer der wich- tigsten Protagonisten der Land Art / Earth Art hat er die Erweiterung des Kunstbegriffs in den 60er Jahren maßgeblich mitbestimmt. Für das Publikum, das die Arbeiten gesehen, erlebt, betreten hat, hat sich die Wahrnehmung der Welt ein Stück weit gewandelt. Heizers Zitat „There is nothing there, yet there is a sculpture“ über sein erstes wichtiges Werk (Double Negative) fasst dies eindrucksvoll zusammen. Die kleine Ausstellung im Metropol Kunstraum stellt die die Großprojekte umgebenden Arbeiten auf Pa- pier vor. Sie machen in einer eigenständigen künst- lerischen Ausdruckweise das Gedankenwerk von Heizer präsent und zeigen den ihm eigenen Umgang mit Materialen auch in diesem Format. Ich danke Philipp von Rosen für seinen einfühlsamen Text zu den Arbeiten und S.K.H. Herzog Franz von Bayern sowie der Staatlichen Graphischen Sammlung und Dr. Michael Semff für die Leihgaben, ohne die diese Ausstellung sehr rudimentär geblieben wäre. Auch Galerie Häusler Contemporary sei herzlich für die Leihgabe gedankt. Nov 2013 MM MICHAEL HEIZER, ZEICHNUNGEN AUS DEN oder Land Artists subsumiert werden –, wird deren SPÄTEN 1960ER UND 1970ER JAHREN: ‚Auszug‘ aus der Galerie und der Gang in die Wüste stets mit der gezielten Abkehr vom städtischen Leben „I don‘t paint around the edge“, „ich male nicht um und vom ‚System Kunst‘, bestehend aus Galerien, die Bildkante herum,“ erklärte Frank Stella 1964 in dem Handel und den Museen, begründet. -
Official Visitor's Guide 2019
discover los angeles download the app LOS ANGELES OFFICIAL VISITOR’S GUIDE VISITOR’S ANGELES LOS OFFICIAL PRESENTED BY THE LOS ANGELES TOURISM & CONVENTION BOARD & CONVENTION TOURISM ANGELES LOS THE BY PRESENTED official visitor’s guide 2019 discoverlosangeles.com 2019 LOS ANGELES TOURISM & CONVENTION BOARD Located in the center of the creative capital of the world, come take in the 360° skyline views from California’s tallest open-air terraces. If you’re looking for a thrill, ride the 45-foot all-glass Skyslide nearly 1,000 ft. above downtown LA or soak in the sun and sip locally sourced wine and beer. For a truly Only-in-LA experience, play with the interactive screens that highlight the views, and the vibrant culture that stretches as far as the eye can see. BUY TICKETS at OUE-SKYSPACE.COM 213.894.9000 | @SKYSPACELA WELCOME! authentic L.A. Tap into the city’s creative spirit to plan a one-of-a-kind experience. Welcome to Los Angeles, TCL CHINESE THEATRES a dynamic, ever-evolving ARCHITECTURE destination that’s set against a backdrop of authenticity, optimism, and the unexpected. A place where our rich ethnic and cultural diversity is celebrated throughout the city’s distinct neighborhoods. We invite you to be a free spirit here, to be WALL BEAUTIFICATION different, to be bold, and to have fun. IN THE ARTS DISTRICT Be ready to become passionately inspired with creativity at nearly every turn. The birthplace of Hollywood and the epicenter of entertainment, Los Angeles has long served as a beacon for dreamers and innovators. -
Michael Heizer
Michael Heizer In the mid-1960s, Michael Heizer made a series of trips to his home states of The simplified geometric forms of North, East, South, West suggest the underlying Nevada and California to experiment in the American desert landscape. Originally Euclidean lexicon of basic three-dimensional forms—box, cone, and wedge— a painter, Heizer had already made several works in which geometric shapes essential for all sculpture, ancient and modern. The architectural scale and con- were carved out of canvases. Soon he set out to undertake the same operation struction of Heizer’s work call forth comparisons to the megalithic monuments of in larger dimensions and in open space, free from the constraints of the stretcher ancient cultures—a comparison that is explicitly addressed in his Negative Megalith and canvas, the exhibition and, ultimately, the urban context. The first in his series #5 (1998), a natural, menhir-like stone inscribed in a rectangular niche, installed of monumental Land art works, titled North, East, South, West, was to consist of in a neighboring gallery. The son of an anthropologist, Heizer acknowledges numerous four excavations in the Sierra Nevada Mountains in California that echoed the ancient sources for some of his forms but sees the comparison as more apt in shapes in his paintings. It was only partially completed in 1967, when North and the realm of effect than of specific reference: South were produced in painted wood and metal, respectively, at 4 feet across “It is interesting to build a sculpture that attempts to create an atmosphere of awe. and 4 feet deep. -
Fall / Winter 2016 Volume 37, Number 2 $15.00 Fall / Winter 2016 Volume 37, Number 2
FALL / WINTER 2016 VOLUME 37, NUMBER 2 $15.00 FALL / WINTER 2016 VOLUME 37, NUMBER 2 2 PARALLEL PERSPECTIVES By Joan Marter and Margaret Barlow PORTRAITS, ISSUES AND INSIGHTS (Front cover) Patricia Johanson, Fair Park Lagoon, Dallas, Texas (1981–85), detail, gunite sculptures. © Patricia Johanson. 3Patricia Johanson : the Layered LandscaPe , d iscovered and recovered E DITORS By Elaine Slater Joan Marter and Margaret BarLoW 12 May sun : s ite , M etaPhor and excavated histories By Donna Stein BOOK EDITOR : ute teLLini 20 ZiLia sáncheZ , M aría MagdaLena caMPos -P ons , FOUNDING EDITOR : Lsa onig ine e h F and gLenda León —t hree cuBan artists , t hree generations , EDITORIAL BOARD three PersPectives By Joyce Beckenstein norMa Broude eLLen g. L andau therese doLan nancy MoWLL MatheWs 29 sandra Lerner —t he ParticLe and the Wave : MetaPhysicaL LandscaPes , t aoisM , and the caLLigraPhic iMPuLse Betsy FahLMan Martin rosenBerg By Aliza Edelman Mary d. g arrard roBerta tarBeLL saLoMon griMBerg Judith ZiLcZer 38 teresa ŻarnoWer : B odies and BuiLdings By Adrian Anagnost ann sutherLand harris REVIEWS PRODUCTION , AND DESIGN SERVICES 50 Vigée Le Brun By Joseph Baillio, Katherine Baetjer, and Paul Lang Old City Publishing , i nC . Reviewed by Kimberly Chrisman-Campbell Editorial Offices: Advertising and Subscriptions: 52 Picturing Marie Leszczinska 1703-1768: Representing Queenship in Woman's art Journal ian Mellanby 18th-Century France By Jennifer germann rutgers university old city Publishing, inc. dept. of art history, voorhees hall 628 north second st. Reviewed by Tara Zanardi 71 hamilton street Philadelphia, Pa 19123, usa new Brunswick, nJ 08901, usa Phone: +1.215.925.4390 54 Valadon, Utrillo & Utter: in the Rue Cortot Studio, 1912–1926 [email protected] Fax: +1.215.925.4371 edited by saskia ooms, et al.