The only sport I liked as I grew up was riding motorcycles, and you do that alone.” As Heizer said of his childhood in a New York Times Magazine profile in 2005: “I didn’t have many friends. The drawing dissipated in time, but the legend of its making lives on in the legacy of an artist whose biking past is well-chronicled.
#California landscape art series
That was his tool of choice for Circular Surface Planar Displacement Drawing, a series of lines inscribed into the earth in circles measuring around 900 by 500 feet. Others-like Michael Heizer at the height of his handsome dark-and-brooding wild cowboy prime-draw with the tires of a motorcycle speeding across a dry desert lakebed. Michael Heizer, Circular Surface Planar Displacement Drawing (1970) Michelle Stuart, Niagara Gorge Path Relocated, 1975. Monumental yet fleeting-like a lot of Land art that exists now only in the historical record-Michelle Stuart’s Niagara Gorge Path Relocated was a 460-foot-long roll of paper descended down a gorge that had been, per a description in Stuart’s book Sculptural Objects: Journeys In & Out of the Studio, “the original location of Niagara Falls at the time of the last glacier approximately 12,000 years ago.” That original location is now Lewiston, New York-seven miles from the Falls’ current location and, back in the ’70s, the home of Artpark, an important site for Land art that featured works by other artists including Agnes Denes and Nancy Holt as well as a residency memorializing Robert Smithson (after his death in a plane crash in 1973 while working on another Land art project in Texas). Michelle Stuart, Niagara Gorge Path Relocated (1975) But it remains in place and is open for visits, about a two-hour drive from Salt Lake City. A room could be made to take on the immensity of the solar system.” Over the decades, the structure has come and gone, changing through states of submersion or resting on dry land as the lake itself expands and contracts.
#California landscape art crack
“A crack in the wall if viewed in terms of scale, not size, could be called the Grand Canyon. “Size determines an object, but scale determines art,” he wrote. Robert Smithson had been intrigued by the lake since he’d been told that certain organism-infested waters in it could be, as he wrote, “the color of tomato soup,” and among his many interests in the sculpture itself was playing with the sense of scale.
The most iconic of the major earthworks of the ’70s, Spiral Jetty (pictured above) is a 1,500-foot vortex constructed with more than 6,000 tons of basalt rocks spinning out into Utah’s Great Salt Lake. Below are 15 works that help tell the story of Land art as it has expanded and evolved.
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