Michael Heizer, Etched Window, Max’s Kansas City, 1972
Michael Heizer, Actual Size, 1972 — with Gianfranco Gorgoni and, possibly, we think, Walter De Maria as measure.
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, 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’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
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