The Frick Collection’s Russell Page–designed garden, planned for destruction as part of the Manhattan museum’s expansion project, is one of 11 land-based art pieces announced as under threat this week by the Cultural Landscape Foundation (TCLF). The organization’s annual compendium, Landslide 2014: Art and the Landscape, lists the Frick’s 70th Street Garden along with other works in the United States that TCLF says are at risk of disappearing, because of development, poor maintenance, or natural decay.
Charles A. Birnbaum, founder and president of TCLF, wrote an article on the Page garden for the Huffington Post earlier this year. In it he says:
Frick officials have the opportunity to acknowledge the importance of this garden and honor the artist who created it, landscape architect Russell Page. They should embrace it as a valued and unique part of its collection, and find a solution that addresses their programmatic needs and protects this important work of art.
Page’s work, like many of the others on the Landslide list, is easily overlooked, and illustrates the problem faced by much land-based art: people eventually want to fill the land with other things. TCLF’s 11 endangered sites for this year were selected from over a hundred submissions, and include more contemporary work that was never intended to be permanent. Leo Villareal’s 25,000 LED “Bay Lights,” draped on the Bay Bridge in San Francisco, were only meant to be illuminated through March 2015; a campaign has been formed to make that through 2026. The list also features large-scale art projects like Tyree Guyton’s Heidelberg Project in Detroit, which has experienced repeated arson in recent months, and Harvey Fite’s Opus 40 in Saugerties, New York, a huge environmental sculpture made of bluestone that was heavily damaged and destabilized in Hurricanes Sandy and Irene.
Other sites are examples of the difficulty of just conserving massive art projects when budgets and staff are limited, like the Watts Towers in Los Angeles or the White Rock Lake Wildlife Water Theater in Dallas; the latter, a wildlife viewing area by artists Frances Bagley and Tom Orr, has had its funding cut, leaving its poles rusting and solar-powered elements dark. Then there’s the Wells Petroglyph Preserve in New Mexico, where, due to recent drought and erosion, the ancient art that’s been viewable on its stones for so long is in danger of disappearing.
You can read narratives about each of the selections on the TCLF site. Landslide also includes new photography that shows the current state of each place, selections of which are presented below.
From art fairs to alternative spaces that may not be on your radar, here’s a run-down of what to see (and eat and sip) in Miami. No NFTs, we promise.
Protests are erupting across the country in response to President Xi Jinping’s strict zero-COVID policy.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
What does it mean when the world’s richest person trolls us?
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.
Many in the local Ukrainian community want the museum’s name to be changed to reflect the many artworks in its collection by artists from former Soviet states.