In his new documentary, Troublemakers: The Story of Land Art, filmmaker and art historian James Crump digs beneath the surface to explore the personal lives, artworks, and historical treatment of three land artists: Michael Heizer, Walter De Maria, and Robert Smithson.
In March, the art world rallied to call for the protection of Nevada’s Basin and Range area, a landscape of rich archaeological resources and the site of Michael Heizer’s sprawling land art piece, “City” (1972–present).
WENDOVER, UTAH — Land use has got to be one of the least sexy topics of conversation.
In 1972, the Land Art pioneer Michael Heizer began buying up tracts of land near Nevada’s Garden and Coal valleys.
A bill quietly introduced by United States Senator Harry Reid would protect an 800,000-acre swath of Nevada desert containing the land art works of Michael Heizer, the Las Vegas Review-Journal reported.
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.
The pervasive, even immersive, nature of sound is the subject of an unassuming exhibition by Tim Bruniges, whose megalithic installation, MIRRORS, is on view at Brooklyn’s Signal gallery.
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.”
LOS ANGELES —There’s a giant rock in town. If you live in Los Angeles, it’s almost impossible to ignore this fact. Part of that is because the rock — Michael Heizner’s “Levitated Mass” — blocked traffic on its slow journey to the heart of LA and into the Los Angeles County Museum of Art. But it’s easy enough to skip that part of town if you want to. The biggest reason is that almost every Angeleno (at least in my art-loving circle) is talking about it.
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.
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