Wednesday, October 27, 2010

BorderXing (slideshow)

Heath Bunting and Kayle Brandon, BorderXing, 2002
Click on the TITLE above to see the artists' slideshow and commentary ....

And see the artists' website for LOTS more subversive land art approaches at:

Moyra Davey - The Problem with Reading

(click on title for more info)
You will have to email the artist/writer to get this one!!! Go here for details!!!

Tuesday, October 26, 2010

Heather Gray

Click on "Heather Gray" above to read the article about her on Hunger Mountain and to see many more of Heather's images ....

Heather Gray -- photo/installation/performative -- Neo-feminist environmental (land art) as mother/artist/lover

Wednesday, October 20, 2010

Marina Abramovic (of Abramovic and Ulay)

The Lovers, Abramovic and Ulay, 1988
Marina Abramovic and Uwe Laysiepn (Ulay) met in 1976 and became lovers and partners in a conceptual collaborative relationship that lasted 12 years.  In 1988, after years of tumultuous relations, they performed their last piece together - The Lovers - in which each of them beginning at opposite ends of the Great Wall of China walked for many many days and until they met... in the middle.  At their meeting they said goodbye ... forever.  Abromavic describes it as "That walk became a complete personal drama.  Ulay started from the Gobi Desert and I from the Yellow Sea.  After each of us walked 2500 km, we met int he middle and said good-bye."

Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.

Cal-Earth Eco Dome Homes

Land Art - Fire

Tuesday, October 12, 2010

Monday, October 11, 2010

Yucatan Mirror Displacements


In 1969 Robert Smithson was given the job of traveling throught the Yucatan Penninsula to speak about ancient land art and write an article for Art Forum. What he did was culturally, artistically, and journalistically incredible ...
The travelogue piece that incurred, “Incidents of Mirror Travel in the Yucatan” suggests a retribution of John Loyd Stephens’ invasive travelogue in 19th c. Smithson's theory, unlike Stephens', suggests – “one is always crossing the horizon, yet it always remains distant.... The distance seem [S] to put restrictions on all forward movement, thus bringing the car to a countless series of standstills” – See article by JenRoberts(1) 0n Jstor: Landscapes of Indifference
(1): Landscapes of Indifference: Robert Smithson and John Lloyd Stephens in Yucatán. Jennifer L. Roberts, The Art Bulletin, Vol. 82, No. 3 (Sep., 2000), pp. 544-567 / Jstor:

Saturday, October 9, 2010


Mark Cline, Foamhenge, Natural Bridge, Virginia

Foamhenge -- Post-consumer product land art or visionary venture of Celtic dream?

Wednesday, October 6, 2010

Ana Mendieta

Simple sculptural Land Art form whose content involves Santeria?
Read Here: 

See article from The Brooklyn Rail:

And this one by Erin Dziedzic:

Ana Mendieta, Rupestrian Sculpture Series, 1981

Tuesday, October 5, 2010

Robert Smithson's Partially Buried Woodshed

It seems that Rober Smithson's art continues to entropically MOVE - as he wished. As Smithson and Walter Benjamin both agree - time is circular and therefore time is best expressed as a "kaleidoscope of events" ... always moving, and repeating ...

See the Center for Land Use Interpretation's page on this entropic phenomena ... Partially Buried Woodshed ... and below for more info on this historic monument ...