Wednesday, March 10, 2010
  • Robert Smithson, Spiral Jetty, 1970. Photo © George Steinmetz/Corbis
    Located on Utah’s Great Salt Lake, Spiral Jetty is Smithson’s masterpiece. Since its creation it has been weathered by the elements, and has recently come under threat from proposed oil drilling operations in Utah. The Dia Art Foundation currently owns the work and is leading the fight to preserve it.

  • Charles Jencks, Garden of Cosmic Speculation, 1989–2007. Image courtesy of Paulus Maximus, 2010
    Considered the father of architectural postmodernism, Charles Jencks created his Garden of Cosmic Speculation at his mother-in-law’s house in Portrack, Scotland. The cascading mounds of earth are shaped to symbolize the evolution of the universe, from the human genome to the great equations of physics.

  • Aerial View of Line Drawing, Nazca, 1970–1997. Image © Yann Arthus-Bertrand/CORBIS
    Among the world’s most puzzling art mysteries, the giant geoglyphs of the Nazca desert in Peru were inscribed into the earth between 500 BC and AD 500. Depicting stylized plants, animals and deities, they cover 450 square kilometers.

  • James Turrell, Roden Crater: Complete Site Plan, 1983. Private collection, Munich
    James Turrell has been working on his Roden Crater since 1979. The earthwork occupies an extinct volcano and is designed to channel natural light for a unique, transcendental viewing experience. The crater is set to open to the public in 2011.

  • Christo, Surrounded Islands, 1983. Photo by Susan Greenwood/Liaison/Getty Images
    Christo and his late partner Jeanne-Claude never allied themselves with the land art movement, but their wrapping of monuments and natural features have often toyed with geography. For Surrounded Islands, the duo swathed eleven islands in Miami’s Biscayne Bay with 6.5 million square feet of pink plastic.

  • Robert Morris, Observatorium, 1971–77
    Designed to outline the rays of the sun at equinox in September and March, Robert Morris’s Observatorium was initially built for a temporary exhibition in Santpoort, the Netherlands, in 1971, but since 1977 has been permanently located in the country's Flevoland region.

  • Francis Alys (in collaboration with Cuauhtémoc Medina and Rafael Ortega), When Faith Moves Mountains, 2002
    Francis Alÿs’s ambitious performance piece saw 500 volunteers shift a 1600-foot sand dune four inches from its original position, just outside of Lima, Peru.

  • Jim Denevan, Untitled (meeting place of two three-mile circumference circles, looking south, Nevada desert), 2009. Image courtesy Jim Denevan
    Jim Denevan creates ephemeral works on beaches and dry lakes, drawing in the sand with found pieces of driftwood. In 2009 he produced the world’s largest freehand drawing—a three-mile wide work in the Nevada Desert that was washed away by a rainstorm the week after its completion.

  • Palm Island, NASA/GSFC/METI/ERSDAC/JAROS, and U.S./Japan ASTER Science Team
    This pair of palm tree-shaped artificial islands on Dubai’s waterfront are part of an intended trio. The third is currently on hold as recession hits the city and it seems less likely that investors will come up with the rest of the $50 billion required to finish the development.

Wednesday, March 10, 2010 Replay
Vertiginous Vistas
David Maisel’s Aerial Photos, scored by Howie B
Stranger Than Paradise
The World’s Best Land Art
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Stranger Than Paradise

The World’s Best Land Art

"The strata of the Earth is a jumbled museum,” wrote land art pioneer Robert Smithson in Artforum in 1968. Smithson earnestly advocated an art that would escape the commercial confines of indoor exhibition and engage with the world. He and his cohorts (including Walter de Maria, Nancy Holt and Michael Heizer) were to define the concept of “earth works” in the early 70s, creating striking site-specific outdoor interventions that impacted the landscape as much as they did the art world’s critical dialectic. But these artists were far from the first to treat the natural world as both muse and canvas. From the giant geoglyphs of the Nazca desert in Peru, dating as far back as 200 BC, to Francis Alÿs’s earth-moving performance piece When Faith Moves Mountains, to the extravagant built-for-leisure landmasses of the Palm Islands in Dubai, our planet’s history is punctuated by man’s tangoing with the fabric of nature itself. “For me, marking the earth is an opportunity to measure and consider what is directly at hand and what is cosmic,” says Californian chef-turned-artist Jim Denevan, who last year outdid even the enormous Nazca lines with his three mile-wide sand drawing in the Nevada deserts. “The big curves I cut in the earth are intimate and superfluous,” he continues. "They can be considered or ignored. They are left.” Today, we present a gallery of the world's finest collisions between art and land.
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