1. Land Art, Earthworks & Environmental Art

2. 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‘)

3. Robert Smithson (US, ) Spiral Jetty, 1970, Great Salt Lake, black rocks, salt crystals, Dia foundation collection

4. Robert Smithson (US, ) Spiral Jetty, 1970, Great Salt Lake, black rocks, salt crystals, Dia foundation collection
Summer 1983 with Artrek. High school summer program
organized by Dan Collins and Charles Garoian.
Fall Field trip with Laurie Lundquist, Mark Koven, and Dan Collins (Utah State University).

5. Robert Smithson (left) at site of Spiral Jetty, 1970 Minimalism – Post-Minimalism

8. Stonehenge, England, over 5000 years old

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

11. 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, pencil on paper. 19″ x 24″

13. Alan Sonfist, Time Landscape,
NYC, 1978.

14. Buster Simpson, Host Analog, 1991 – present
Seattle, Washington

15. Mark Dion, Neukom Vivarium, 2006
Seattle, Washington

16. Agnes Denes, Wheatfield Battery Park, NYC, 1986

17. 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.

18. 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

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

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

21. Turrell, Roden Crater, East Portal Entryway, 2000

22. "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

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

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

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

26. Goldsworthy’s photographs of art made on his walks in nature of stones, berries, leaves See also Goldsworthy’s art: Rivers and Tides, DVD available in Library

27. 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.”

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

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

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

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

34. Wrapped Coast, Little Bay, Australia, 1968-69

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

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

39. Christo & Jeanne-Claude, Running Fence, Sonoma and Marin Counties
, September 1976

41. Christo & Jeanne-Claude, The Gates, 2005, 7,500 gates, 23 miles of pedestrian walkways in Central Park, NYC, a 20-year project

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

43. Heizer, Double Negative, aerial view (right)

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

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

49. 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.

50. Postcommodity.
Currently on view at the Scottsdale Museum of Contemporary Art are presents two monumental installations by
Postcommodity: Promoting a More Just, Verdant and Harmonious Resolution (2011) and Pollination (2015). This arts
collective aims to question common national narratives and the commodification of nature, history, and culture.
Postcommodity is an interdisciplinary arts collective comprised of Nathan Young, Raven Chacon, Cristóbal Martínez, and Kade L. Twist

51. Postcommodity.
Repellent Fence – Land art installation and community engagement (Earth, cinder block, para-cord, pvc spheres, helium). US/Mexico Border, Douglas, Arizona / Agua Prieta, Sonora. The Repellent Fence is a social collaborative project among individuals, communities, institutional organizations, publics, and sovereigns that culminate with the establishment of a large-scale temporary monument located near Douglas, Arizona and Agua Prieta, Sonora. This 2 mile long ephemeral land-art installation is comprised of 26 tethered balloons, that are each 10 feet in diameter, and float 50 feet above the desert landscape. The balloons that comprise Repellent Fence are enlarged replicas of an ineffective bird repellent product. Coincidently, these balloons use indigenous medicine colors and iconography -- the same graphic used by indigenous peoples from South America to Canada for thousands of years. The purpose of this monument is to bi-directionally reach across the U.S./Mexico border as a suture that stitches the peoples of the Americas together—symbolically demonstrating the interconnectedness of the Western Hemisphere by recognizing the land, indigenous peoples, history, relationships, movement and communication.