In light of a posthumously completed work by Walter De Maria at Dia:Beacon, I was curious what the average visitor made of his famous art installations.
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.
Collector and publisher Peter Brant — whose Brant Publications Inc. publishes Art in America, Interview, and Antiques — is joining the influx of museums to downtown Manhattan.
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.
Today, DIA disseminated the news that during spring 2013 Walter De Maria’s seminal “The Lightning Field” (1977), one of the foundation’s earliest commissions, will be receiving its first major preservation treatment in the artwork’s history.
Artist Fernando Orellana is making work for a very specific audience: the recently departed. His current project, Shadows, consists of interactive works designed for posthumous use. Inspired by paranormal research, spiritualism and ghost folklore, Orellana’s machines continuously search for the dead, attempting to allow the departed a chance to interact with the world they left.
Dirt is getting its moment in the sun. A cluster of recent shows in Chelsea and downtown make the most of soil, making it a good time to think about earth art again.
Christoph Buchel’s “Terminal” in Kern County (a few hours north of LA) was just approved, and Buchel will be purchasing a hulking 727 and burying it underground.
One of the most popular art feeds on Twitter right now doesn’t have a name or a face or a gender. It doesn’t represent an established arts institution or magazine, nor does it have any kind of credentials. And yet, less than a year since it started, it now boasts 10,000 followers.