Robert Smithson

Post image for A Google Earth Perspective on Land Art

Earlier today @museumnerd tweeted out a link to a view of Michael Heizer’s land work “Double Negative” (1969) in Google Maps. Viewed in satellite, from high above, Heizer’s 1,500-foot-long trenches looks almost incidental, like cuts made with scissors into the skin of the earth.

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Post image for A Summer Pilgrimage to Nevada’s Double Negative

Michael Heizer’s “Double Negative” (1969), located two hours northeast of Las Vegas, is a quintessential piece of the Land Art canon. Yet if you don’t have a clear image of what you’re looking for, you may not find it — this is no “Spiral Jetty.”

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Post image for Making Gestures: Land Art’s Moment in the UK

LONDON — Land art is having a moment in the UK. It was building last year with two shows, in Margate and Birmingham, by perambulatory artist Hamish Fulton. More ‘walking art’ is afoot in Sunderland. April found Nancy Holt on show in Manchester. And in maritime city Southampton, we have not one but two land art exhibitions, one of which will take a three stop tour of the region. The genre has nothing if not geographical spread.

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Post image for What’s Wrong With Technological Art vs. the Maker Faire

“What’s Wrong With Technological Art?” was the vexing question posed by the tony New Museum panel assembled by Megan Heuer featuring Heather Corcoran, the new executive director of Rhizome, and art historians Judith Rodenbeck, and Gloria Sutton. The event indadvertedly dove tailed with the recent September Artforum issue about the frayed divide between the art world and technological art. The bon mot award for the evening came from rehashing the 1967 quote of Philip Leider, editor of Artforum, who once penned the uber snarky statement, “I can’t imagine Artforum ever doing a special issue on electronics or computers in art, but one never knows.”

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Post image for Are the Repo Men Still Coming for Spiral Jetty?

When we last left you in this saga, the Utah Department of Natural Resources had accused Dia Art Foundation of not renewing their lease on Robert Smithson’s iconic work of land art “Spiral Jetty.” As it stood then, the state appeared to be taking a backseat approach to the problem, not immediately putting the land (art) up for auction. But now it seems things have complicated a bit.

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Post image for Spiral Jetty Has Lease Problems, Just Like Your Sublet

Could the Dia Foundation lose its lease to the most iconic work of land art ever? The Utah Department of Natural Resources recently informed Dia that it had failed to renew its lease on the land that holds Robert Smithson’s “Spiral Jetty” (1970) in Rozel Point, Utah.

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Post image for Is The Art Show a Senior Citizen’s Swinger’s Club Past its Prime?

The Art Show has been hosted by the Art Dealers Association of America (ADAA) for the last 23 years, reigning supreme as the longest running national art fair. The ADAA consists of 175 galleries but only seventy exhibitors enrolled this year, excluding stunners like Andrea Rosen, Betty Cunningham, PPOW and Gavin Brown. A large majority of the participants are located uptown between 50th Street and 90th Street. The generalized content (“cutting-edge, 21st century works” and “museum quality pieces from the 19th and 20th centuries”) and my fears of dated academia prepped me for the deflated viewing that was The Art Show. The ADAA’s Executive Director spoke to the “calm and intimate atmosphere” of The Art Show. Although the Park Avenue Armory’s soaring “balloon shed” construction is partially responsible, the cavalcade of elderly patrons weren’t exactly rambunctious. The air-kisses exchanged between crotchety senior citizens summoned a swinger’s club way past its prime.

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Essays

Die Die Die: A Survey

by John Powers on July 2, 2010

Post image for Die Die Die: A Survey

This is an artist’s essay that explores some of the ideas put forward in Powers’ three-part essay, “Art, Not Suicide,” published earlier this week. -Ed. Note

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