February 17, 2014
Edgar Arceneaux, studio with model of Michael Heizer’s 45º, 90º, 180º/City (1980-99) and dog, 2014

Edgar Arceneaux, studio with model of Michael Heizer’s 45º, 90º, 180º/City (1980-99) and dog, 2014

January 15, 2014
Michael Heizer, Displaced/Replaced Mass, Silver Springs, Nevada, 1969

Michael Heizer, Displaced/Replaced Mass, Silver Springs, Nevada, 1969

August 12, 2013
Michael Heizer, Actual Size, 1972 — with Gianfranco Gorgoni and, possibly, we think, Walter De Maria as measure.

Michael Heizer, Actual Size, 1972 — with Gianfranco Gorgoni and, possibly, we think, Walter De Maria as measure.

July 22, 2013
Michael Heizer, Double Negative, 1969 — as seen alongside Artforum editor Philip Leider’s essay “How I Spent My Summer Vacation or, Art and Politics in Nevada, Berkeley, San Francisco and Utah,” September 1970. 
This, then, might have been before Heizer embarked on the second bout of work on the cuts in 1970, digging the trenches wider and deeper.
"Jesus Christ, look at that — bombs!"

Michael Heizer, Double Negative, 1969 — as seen alongside Artforum editor Philip Leider’s essay “How I Spent My Summer Vacation or, Art and Politics in Nevada, Berkeley, San Francisco and Utah,” September 1970. 

This, then, might have been before Heizer embarked on the second bout of work on the cuts in 1970, digging the trenches wider and deeper.

"Jesus Christ, look at that — bombs!"

March 1, 2013
Michael Heizer, Isolated Mass/Circumflex, 1968—aerial view

Michael Heizer, Isolated Mass/Circumflex, 1968—aerial view

July 8, 2012
Michael Heizer, Five Conic Displacements, 1969
Stephen Maine reviews the book form of MOCA’s exhibition Ends of the Earth for Art In America — with brief but appreciated mention of Julian’s contribution.

Michael Heizer, Five Conic Displacements, 1969

Stephen Maine reviews the book form of MOCA’s exhibition Ends of the Earth for Art In America — with brief but appreciated mention of Julian’s contribution.

April 24, 2012
installator:

Michael Heizer’s Bern Depression, 1969.
“Installation of “Bern Depression” outside the Kunsthalle Bern for the exhibition “Live in Your Head—When Attitudes Become Form: Works, Concepts, Processes, Situations, Information.” Photo by Balthasar Burkhard.” - submission from carciofi

installator:

Michael Heizer’s Bern Depression, 1969.

“Installation of “Bern Depression” outside the Kunsthalle Bern for the exhibition “Live in Your Head—When Attitudes Become Form: Works, Concepts, Processes, Situations, Information.” Photo by Balthasar Burkhard.” - submission from carciofi

March 16, 2012

Lawrence Weiner and Michael Heizer interviewed on the occasion of When Attitudes Become Form, curated by Harald Szeemann at the Kunsthalle Bern, 1969.

Things to love: Weiner clutching a beer and cigarette in one hand while chiseling the wall with the other.

The perplexed interviewer’s question for Michael Heizer: “You were digging. And now, they are digging. Why.” Heizer’s laconic answer: “‘Cause I don’t like to work.”

Via mm and gesamtkunstwords

March 10, 2012
contemporary art double takes

After the incongruous references to Queen and Guns ‘N Roses in this article on Michael Heizer’s boulder arriving at LACMA last night—to wit:

The scene on Miracle Mile was reminiscent of the excited and diverse crowd that has come out at night to watch the convoy as it zigged and zagged through the region. There were cameras, baby strollers, folding chairs, politicians and other people of every race and economic class. There was also a surfeit of rock puns: Someone was even playing “We Will Rock You” as the truck passed the La Brea Tar Pits.

and then

Jeff Miller, 32, went to a Guns N Roses show at the Hollywood Palladium that lasted, he reported, until close to 3 a.m. At that point, he figured he would just make a night of it and headed over to museum.

—after that, our friend Erica could be forgiven for reading “Axl Rose” in the next paragraph:

But none of this distracted from the weird awe of the early morning spectacle. “There must be 1,000 people here,” said Alex Rose, 32, who drove over from Venice. “I’ve been really fixated by this, that something like this can get so many people out here.”

Combine this with references to “ubiquitous city councilman” Tom La Bonge and you have a very skewed scene indeed, over by the tar pits.

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