WEEK 10: Land Art
11/14/12 (half lecture only)
One of the paradigms of land art: relationship btwn rural and city. Land works being “cited” in
difficult-to-access places; why is there an appeal to that?
Ppl were so fascinated by this opportunity to see the exhibition that they flocked to see it. Sense of
Eliasson’s work, The Weather Project, 2003 -> is about the weather.
A boulder was excavated from the desert and dragged through a specific route, and everone came
out to watch.
Plays with the fact that we always talk about the weather, as a social convention/social mediation,
but we’re not actually talking about the weather
The work was displayed alongside several visitor surveys that asked weather questions
Misty atmosphere; we can see the sun through a “haze”. There’s a mirrored ceiling. People came
and spelled out words on the floor with their bodies, and this gets mirrored out on the ceiling. Was a
big event. SOCIAL DIMENSION
Interactive environmental work of art. Sits inside some tension with other characteristic of land art -
> its remoteness
“matters of concern:” this work elicits a kind of response
Morris, Earthwork, Installation. An Oldenburg container with earth and worms in the alcove.
There are photographs in the background that show his original site, commenting on the
relationship btwn site and “non-site.” But Smithson challenges the pre-eminence of the museum
space in comparison to the original site. Here, he sets up the source of raw material as equally
important to the museum
NE. Thing Co. ¼ Mile Landscape, 1969
Pun on “anything”
A sign saying “start viewing” that calls the viewer to “Start viewing”
A “conceptual” point to land art? But what can be more MATERIAL and physical than the field,
highway, grass shown here? Yet the conceptual part lies in the perspectival shift; NNETCo the fake
company is telling you WHAT to see
Humor can be seen in Bagged Landscape, 1966
Netco makes these wacky landscapes with real water, sand, etc. inside. Looks like landscapes
NetCo was founded by Ian Baxter, and he changed it now as Baxter&… he likes the idea of addition,
of adding value and aesthetic interest N.E. Thing Co. ACT ART
Aesthetic value of this art is the art
“act” stands for aesthetically claimed things. The document says, “NetCO claims this field to be an
aesthetically claimed thing.”
“Art” stands for “aesthetically rejected thing” completely opposite of how we see art normally. He
shows a picture of a David Smith sculpture. This sculpture was a canon of ab ex. NetCo thinks we
often miscategorize art
NetCo mostly just wants to play around with art/have fun. Not shoving anyone down.
Eva Hesse, Hang Up
This is not a piece of land art, but does some of the same things as NetCo. It makes us look hard at
the norms of artistic hang ups. One of the norms is to hang art up and use this frame
Not really a sculpture but seems more like painting.
Is part of a series of art moving out of conceptual, going into the material discourse.
Alexander Calder, Grand Vitesse, 1969.
Tony Smith, Smoke, “Scale as Content” 1967
Is “sculpture in the expanding field” (someone describes Smith’s work)
In 67, Smithson wrote: “museums are tombs, and it looks like everything is turning into a museum.
Painting, sculpture, and architecture are finished, but the art habit continues.”
The art habit is what Eva Hesse and NetCo makes us think about: the conventions and etc. we take
Henry Moore, Three-Way Piece no. 2, “The Archer,” in Nathan Phillips Square, 1966
Even though this sculpture seems to look fine in the place, if you put it somewhere else, it would
have also melded perfectly fine with its surrounding. Has its own high modern autonomy
Moore was so pleased that the piece could be placed there that he donated many works to Toronto
This is the kind of monument that by the 60s was radical for some places, but also criticized. This
was paradigmatic high modernist sculpture
Morris, Untitled (Tangle), 1967
Did a variety of works: performance art, painting, sculpture, writer. Did pieces in the 60s that Hesse
and others challeneged the hegemony of viewing, painting, and the wall as the right surface
So much of our physical and mental ways of viewing are influenced by the way works are displayed
in front of us.
Feels more static than sculptures put out in public places
Movement of the inidivdual work. He claims “these works make themselves,” they are the shape
they are once you hang them up
Oldenburg, Placid Civic Monument, Central Park, New York, 1967 Partly a performance and excavation. Hires ppl to come and dig up a hole in the siteline of a more
traditional monument (the obelisk). This seems very humble, nor does it last
Issue over whether land art should last or not
Lipstick (Ascending), 1969
Pacifist monument, excavating and filling in. Activity is a work of art (this is conceptual basis)
Even more of this conceptual habitual work coming out of England
Richard Long, A Line Made by Walking
He walked back and forth until there was a line . Is process art and also land art
Relates to Native American housing, they made houses along a path?
Title here is printed right on the photo documentation
What is the status of the photo? Is it a work in its own right? Do we value it in