“Land Art” / “Earthworks”

Michael Heizer (US, b. Berkeley 1944) Double Negative 1969-70, 24 thousand ton displacement, 2 trenches together are 1,500 feet long, 50 feet deep, and 30 feet wide Virgin River Mesa, Nevada. The work is known almost entirely through photographs. "Un-sculpture“: "There is nothing there, yet it is still a sculpture.“ - Heizer

Heizer, Double Negative, aerial view (right)

Michael Heizer, City, begun 1970 - ongoing (photograph 1999), Nevada desert, two miles from the nearest paved road, funded by Dia and Lannon Foundations The museums and collections are stuffed, the floors are sagging, but the real space still exists. - Heizer

It is interesting to build a sculpture that attempts to create an atmosphere of awe. - Heizer

Teotihuacán, Mexico, between 150 and 450 CE Compare Heizer’s City (below). Artist’s father was an archaeologist. Heizer came up with the idea for City in 1970 when he was in the Yucatan studying the serpent motif in the ball court at Chichen Itza. He was 26.

Robert Smithson (US, 1938-1973) Spiral Jetty, 1970, Great Salt Lake, black rocks, salt crystals, Dia foundation collection

Robert Smithson (left) and Donald Judd (right) at site of Spiral Jetty, 1970 Minimalism – Post-Minimalism

Stonehenge, England, over 5000 years old

Nazca lines, Peru, high desert plateau “The Monkey” between 800 BC and 600 AC.

Smithson, A Nonsite: Franklin, New Jersey, summer, 1968 wood, limestone, aerial photographs, 16 1/2" x 82" x 110“ (right top and bottom) Chalk and Mirror Displacement, 1969, 6 mirrors / chalk from quarry in Oxted, England, each 10"x 5" (overall 10‘)

Robert Smithson, Floating Island to Travel Around Manhattan Island (1970/2005) 30-x-90-foot barge landscaped with earth, rocks, and native trees and shrubs, towed by a tugboat around the island of Manhattan, produced by Minetta Brook in collaboration with the Whitney Museum of American Art during Smithson’s retrospective and on view September 17-25, 2005 (right) Smithson, Study for Floating Island, 1970. pencil on paper. 19″ x 24″

Walter de Maria (US, b. 1935) The Broken Kilometer, 1979, located at 393 West Broadway in New York City. 500 polished solid brass rods, each measuring two meters (6.5 feet) in length and five centimeters (two inches) in diameter. The 500 rods are placed in five parallel rows of 100 rods each. The sculpture weighs 18 3/4 tons (right) companion piece: De Maria's 1977 Vertical Earth Kilometer at Kassel, Germany, a permanently installed earth sculpture, a brass rod of the same diameter, total weight and total length has been inserted 1000 meters (.62 miles) into the ground.

Walter de Maria, The New York Earth Room, 1977-present, 141 Wooster Street, NYC, interior earth sculpture, 250 cubic yards of earth, 3,600 square feet of floor space, 22 inch depth of material, Total weight of sculpture: 280,000 lbs

Walter de Maria, The Lightning Field, 1974-77, near Quemado, New Mexico, 400 stainless steel poles, 2” wide, average height 20' 7 ½" Overall dimensions: 5,280 x 3,300'

James Turrell, Roden Crater, near Flagstaff, Arizona, in progress since 1980; (right) Roden Crater section plan

Turrell, Roden Crater, East Portal Entryway, 2000

"I wanted to use the very fine qualities of light "I wanted to use the very fine qualities of light. First of all, moonlight. There's a space where you can see your shadow from the light of Venus alone—things like this. I also wanted to gather starlight that was from outside the planetary system, which would be from the sun or reflected off of the moon or a planet...you've got this older light that's away from the light even of our galaxy. So that is light that would be at least three and a half billion years old. So you're gathering light that's older than our solar system." — James Turrell

Andy Goldsworthy (Scottish, b Andy Goldsworthy (Scottish, b.1956) Stone River, stone wall, Stanford University, 2004

Andy Goldsworthy’s global Cairns Cairn with clay wall, London - temporary Roof of NYC Metropolitan MA - temporary La Jolla Museum of Contemporary Art - permanent

Andy Goldsworthy, Woven bamboo, windy Andy Goldsworthy, Woven bamboo, windy..., Before the Mirror, 1987, photoograph

Goldsworthy’s photographs of art made on his walks in nature of stones, berries, leaves http://www.youtube.com/watch?v=Dq1Sw35mYzc Highly recommended film on Goldsworthy’s art: Rivers and Tides, DVD 000134 available in the Sac State library

Christo Javacheff, (Bulgarian-American, b Christo Javacheff, (Bulgarian-American, b.1935), (top left) Package on Wheelbarrow, 1963, Paris, New Realist Christo & Jeanne Claude (French, b. 1935): (top right) Wrapped Reichstag, Berlin, 1971–95; (bottom left) The Pont Neuf Wrapped, 1975–85; (bottom right) Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980–83. Christo Javacheff, self-portrait around the time of his escape from Soviet Bulgaria to Vienna then Paris in January of 1957 In all of his interviews the artist insists that his art is a “scream for freedom.”

Christo Javashev, Man Posing, academic study, pencil on paper, 1953-1956, collection Academy of Fine Art Gallery in Sofia; (right top) Christo Javashev, Rural Worker, watercolor, 1956 at the Academy of Fine Art Soviet Realism, Andrei Milnikov’s Peaceful Fields, won a Stalin prize in 1951

Christo and Jeanne-Claude, The Umbrellas, Japan-U.S.A., 1974-1991

Christo and Jeanne-Claude, Umbrellas, Japan – U.S.A., 1984-91

Christo & Jeanne-Claude, Wrapped Coast, Little Bay, Australia, 1968-69

Wrapped Coast, Little Bay, Australia, 1968-69

Christo & Jeanne-Claude, Valley Curtain, Rifle, Colorado, 1970-72 9 tons of orange nylon

Surrounded Islands, Biscayne Bay, Miami, Florida, 1980-83, May 1983

7,500 gates

Christo & Jeanne-Claude, Running Fence, Sonoma and Marin Counties 1972-76, September 1976

Christo & Jeanne-Claude, The Gates, 7,500 gates, 23 miles of pedestrian walkways in Central Park, NYC, a 20-year project