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Die Die Die: A Survey
Editor’s Note: This is an artist’s essay that explores some of the ideas put forward in Powers three part “Art, Not Suicide” essay published earlier this week (Part 1, Part 2, Part 3). Constantin...
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Is The Art Show a Senior Citizen’s Swinger’s Club Past its Prime?
Left to right, William Klein, "Candystory, New York, 1955" (1955) at Greenberg, installation shot of Kathy Butterly at Tibor de Nagy Gallery, and Gunther Uecker, "Kleine Wolke (Small Cloud)" (1963) at...
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Spiral Jetty Has Lease Problems, Just Like Your Sublet
Robert Smithson's “Spiral Jetty” (1977) (image via wikipedia.org) Could the Dia Foundation lose its lease to the most iconic work of land art ever? The Utah Department of Natural Resources recently...
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Are the Repo Men Still Coming for Spiral Jetty?
A beautiful image of "Spiral Jetty," Robert Smithson's greatest earthwork by Flickr user SP Hansen (via flickr.com/55465670@N02 When we last left you in this saga, the Utah Department of Natural...
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What’s Wrong With Technological Art vs. the Maker Faire
Robert Smithson, “The Eliminator” (1964) (Photo via Marina Galperina/Flavorwire) “What’s Wrong With Technological Art?” was the vexing question posed by the tony New Museum panel assembled by Megan...
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Making Gestures: Land Art’s Moment in the UK
Nancy Holt at Pentre Ifan dolmen, Pembroke National Park, Wales (1969). Photographed by Robert Smithson. (image ©Nancy Holt, VAGA, New York/DACS, London 2013) LONDON — Land art is having a moment in...
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A Summer Pilgrimage to Nevada’s Double Negative
The dirt road from Overton, Nevada to Michael Heizer’s “Double Negative” (1969) (all photographs by the author for Hyperallergic) Michael Heizer’s “Double Negative” (1969), located two hours northeast...
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A Google Earth Perspective on Land Art
Michael Heizer’s “Double Negative,” as seen in Google Earth (all screenshots by the author) Earlier today @museumnerd tweeted out a link to a view of Michael Heizer’s land work “Double Negative” (1969)...
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A Painter’s Reflective (and Reflected) Photographic Portraits
Florence Henri, “Composition” (1928), gelatin silver print, 27 x 37.1 cm (Museum Folkwang, Essen, Florence Henri © Galleria Martini & Ronchetti) (all images courtesy Jeu de Paume) PARIS — In 1683,...
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From Calder to Kruger, the New Whitney Museum’s First Show
Installation view, Whitney Museum, with work by George Segal, Keith Sonnier, and Peter Saul, from left to right (all photos by the author for Hyperallergic) The inaugural exhibition at the new Whitney...
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The Mythic Scale of History and Labor at Spiral Jetty
Robert Smithson, “The Spiral Jetty” (1970) (all photos by author for Hyperallergic) ROZEL POINT, Utah — Beginning with childhood visits to the American Museum of Natural History and continuing with...
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The 1969 Lunar Landing: One Giant Leap for Art
Neil Armstrong, “Aldrin Apollo 11 original,” photograph (image via Wikipedia) On July 20, 1969, the world watched, and was transfixed, as American astronaut Neil Armstrong — rendered on television as a...
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How the Space Race Altered Art in the Americas
Robert Smithson, “Proposal for a Monument at Antarctica” (1966), by negative photostat (courtesy the Metropolitan Museum of Art, © Estate of Robert Smithson / Licensed by VAGA) Space exploration and...
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Seeing Glass Boxes and Shards at Dia:Beacon
Robert Smithson, “Map of Broken Glass (Atlantis)” (1969) (photo by JasonParis/Flickr) At Dia:Beacon there is an installation by Fred Sandback, a series of giant shapes formed from brightly colored...
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A Documentary Mines the Stories of Three Pioneers of Land Art
Michael Heizer’s “Circular Surface, Planar Displacement Drawing,” El Mirage Dry Lake (1969), from ‘Troublemakers’ (photo © Gianfranco Gorgoni, courtesy Getty Research Institute, Los Angeles) They...
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Robert Smithson’s Sacred and Profane Pop
Robert Smithson, “Untitled [Pencil writes “less work for mother”/telephone cord spells “hello”/ man on orange blob]” (1963), pencil, crayon, spray paint and marker on paper, 30 x 22 in (© Holt-Smithson...
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The Met Breuer Traces the Unfinished to the Deliberately Incomplete in...
Installation view of ‘Unfinished: Thoughts Left Visible’ at The Met Breuer (all photos by the author for Hyperallergic) At a press preview earlier this month, Sheena Wagstaff, the Metropolitan Museum...
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As the Great Salt Lake Dries Up, “Spiral Jetty” May Be Marooned
Robert Smithson, “Spiral Jetty” (1970) (all photos by the author for Hyperallergic) The color red — the color of blood, of an imagined antediluvian ocean — figured prominently in the conception of...
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How Can Ecological Artists Move Beyond Aesthetic Gestures?
Image via Peter Leth/Flickr New evidence of a Southern Pacific Garbage patch has been found. Longtime combatant of oceanic plastic Captain Charles Moore has published new findings that further detail...
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When Art Refuses to Let Go
Sol LeWitt, “13/3” (1981), painted balsa wood, 31 3/8 × 31 3/8 × 31 3/8 inches, The Metropolitan Museum of Art, New York, Madeline Mohr Gift and Rogers Fund, 1982 (all photos by the author for...
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