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us</span></div></a> <a href="/about-us.htm"><div class="bage about-us-bage"><span>About The Art Story</span> a 501(c)3 Non-Profit Org</div></a> <div class="breadcrumbs"> <a href="/"> <div class="breadcrumb-home"></div> </a> <ol itemscope itemtype="https://schema.org/BreadcrumbList"><li itemprop="itemListElement" itemscope itemtype="https://schema.org/ListItem"> <a itemprop="item" href="https://www.theartstory.org/movements/"> <span itemprop="name">Movements</span> </a> <meta itemprop="position" content="1"/></li><li itemprop="itemListElement" itemscope itemtype="https://schema.org/ListItem"><span itemprop="name">Earth Art</span><meta itemprop="position" content="2"/></li></ol></div><div class="movement-card"><div class="bio-img-container"><div class="img-btn-holder"><img src="/images20/new_design/collage/earth_art.jpg" alt="Earth Art Collage" width="558" height="263"></div></div><div class="movement-info"><h1 class="title">Earth Art</h1><div class="start-end-container"><div class="start-end"><span class="bold">Started:</span> 1960s </div></div><div class="timeline"><img src="/images20/new_design/tl/tl_earth_art.png" alt="Earth Art Timeline" width="430" height="86"></div></div></div></div></div><div class="content-container"><div class="content"><div class="upright-banner"><div class="tas-ad ad-160x600"><div align="center" id="theartstory_sticky_right"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_sticky_right",slotId:"theartstory_sticky_right"});/*]]>*/</script></div></div></div><div class="upleft-banner"><div class="tas-ad ad-160x600"><div align="center" data-freestar-ad="__300x600" id="theartstory_left2"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_left2",slotId:"theartstory_left2"});/*]]>*/</script></div></div></div><div class="single-page-content"><div class="two-column-content"><div class="nav-column"><div class="nav-column-inner"><div class="artist-nav"><div class="artist-nav-header"><div class="artist-nav-ttip"><img class="lazyload" data-src="/images20/ttip/earth_art.jpg" alt="Earth Art"></div><div class="artist-nav-name"> Earth Art </div></div><div class="artist-nav-content"><div class="artist-nav-item artist-nav-item-active" data-anchor="summary"><div class="anchor-link" onclick="return scrollToAnchor('summary')">Summary</div></div><div class="artist-nav-item" data-anchor="ideas"><div class="anchor-link" onclick="return scrollToAnchor('ideas')">Key Ideas</div></div><div class="artist-nav-item" data-anchor="key-artists"><div class="anchor-link" onclick="return scrollToAnchor('key-artists')">Key Artists</div></div><div class="artist-nav-group artist-nav-group-closed"><div class="artist-nav-group-title" data-anchor="artworks"> Important Art </div><div class="artist-nav-group-content"><div class="artist-nav-item" data-anchor="pnt_1"><div class="anchor-link" onclick="return scrollToAnchor('pnt_1')">A Line Made By Walking (1967)</div></div><div class="artist-nav-item" data-anchor="pnt_2"><div class="anchor-link" onclick="return scrollToAnchor('pnt_2')">Double Negative (1969-70)</div></div><div class="artist-nav-item" data-anchor="pnt_3"><div class="anchor-link" onclick="return scrollToAnchor('pnt_3')">Spiral Jetty (1970)</div></div><div class="artist-nav-item" data-anchor="pnt_4"><div class="anchor-link" onclick="return scrollToAnchor('pnt_4')">Sun Tunnels (1973-76)</div></div><div class="artist-nav-item" data-anchor="pnt_5"><div class="anchor-link" onclick="return scrollToAnchor('pnt_5')">The Lightning Field (1977)</div></div><div class="artist-nav-item" data-anchor="pnt_6"><div class="anchor-link" onclick="return scrollToAnchor('pnt_6')">Wheatfield (1982)</div></div><div class="artist-nav-item" data-anchor="pnt_7"><div class="anchor-link" onclick="return scrollToAnchor('pnt_7')">Pebbles, broken and scraped white with another stone (1985)</div></div></div></div><div class="artist-nav-section"><div class="artist-nav-section-label">History and Ideas</div><div class="artist-nav-section-content"><div class="artist-nav-group artist-nav-group-closed"><div class="artist-nav-group-title" data-anchor="beginnings"> Beginnings </div><div class="artist-nav-group-content"><div class="artist-nav-item" data-anchor="extending_minimalist_and_conceptual_ideas"><div class="anchor-link" onclick="return scrollToAnchor('extending_minimalist_and_conceptual_ideas')"> Extending Minimalist and Conceptual Ideas </div></div><div class="artist-nav-item" data-anchor="the_1960s_and_virginia_dwan"><div class="anchor-link" onclick="return scrollToAnchor('the_1960s_and_virginia_dwan')"> The 1960s and Virginia Dwan </div></div><div class="artist-nav-item" data-anchor="institutional_exhibitions_and_global_ambitions"><div class="anchor-link" onclick="return scrollToAnchor('institutional_exhibitions_and_global_ambitions')"> Institutional Exhibitions and Global Ambitions </div></div></div></div><div class="artist-nav-group artist-nav-group-closed"><div class="artist-nav-group-title" data-anchor="concepts_styles_and_trends"> Concepts, Styles, and Trends </div><div class="artist-nav-group-content"><div class="artist-nav-item" data-anchor="site_specificity_and_environmentalism"><div class="anchor-link" onclick="return scrollToAnchor('site_specificity_and_environmentalism')"> Site-specificity and Environmentalism </div></div><div class="artist-nav-item" data-anchor="decay"><div class="anchor-link" onclick="return scrollToAnchor('decay')"> Decay </div></div><div class="artist-nav-item" data-anchor="invasive_and_non_invasive"><div class="anchor-link" onclick="return scrollToAnchor('invasive_and_non_invasive')"> Invasive and Non-invasive </div></div></div></div><div class="artist-nav-item" data-anchor="later_developments"><div class="anchor-link" onclick="return scrollToAnchor('later_developments')"> Later Developments </div></div></div></div><div class="artist-nav-item" data-anchor="resources"><div class="anchor-link" onclick="return scrollToAnchor('resources')">Useful Resources</div></div><div class="artist-nav-item" data-anchor="similar"><div class="anchor-link" onclick="return scrollToAnchor('similar')">Similar Art and Related Pages</div></div></div></div></div> </div><div class="sep-column"></div><div class="content-column"><div class="article-anchor" id="quotes" style="top: -118px;"></div><div class="quotes"><div class="quote-prev"></div> <div class="quotes-box noselect"><div class="quote" id="q1"><div class="q-text">"I want to get under the surface. When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it. When I leave it, these processes continue."</div><div class="q-info"><div class="q-inline-counter"> 1 of 9 </div><div class="q-author"> <a href="/artist/goldsworthy-andy/"><img width="142" height="44" src="/images20/chart/signature_goldsworthy_andy.png" alt="Andy Goldsworthy Signature" title="Andy Goldsworthy Signature – Visit Andy Goldsworthy Page"></a> </div></div></div><div class="quote" id="q2"><div class="q-text">"When a finished work of 20<sup>th</sup> century sculpture is placed in an 18<sup>th</sup> century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us."</div><div class="q-info"><div class="q-inline-counter"> 2 of 9 </div><div class="q-author"> <a href="/artist/smithson-robert/"><img width="142" height="44" src="/images20/chart/signature_smithson_robert.png" alt="Robert Smithson Signature" title="Robert Smithson Signature – Visit Robert Smithson Page"></a> </div></div></div><div class="quote" id="q3"><div class="q-text">"A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world."</div><div class="q-info"><div class="q-inline-counter"> 3 of 9 </div><div class="q-author"> <a href="/artist/smithson-robert/"><img width="142" height="44" src="/images20/chart/signature_smithson_robert.png" alt="Robert Smithson Signature" title="Robert Smithson Signature – Visit Robert Smithson Page"></a> </div></div></div><div class="quote" id="q4"><div class="q-text">"My work has become a simple metaphor of life. A figure walking down his road, making his mark. It is an affirmation of my human scale and senses."</div><div class="q-info"><div class="q-inline-counter"> 4 of 9 </div><div class="q-author"> <a href="/artist/long-richard/"><img width="142" height="44" src="/images20/chart/signature_long_richard.png" alt="Richard Long Signature" title="Richard Long Signature – Visit Richard Long Page"></a> </div></div></div><div class="quote" id="q5"><div class="q-text">"It is a very desolate area, but it is totally accessible, and it can be easily visited, making <i>Sun Tunnels</i> more accessible really than art in museums. Eventually, as many people will see <i>Sun Tunnels</i> as would see many works in a city - in a museum anyway."</div><div class="q-info"><div class="q-inline-counter"> 5 of 9 </div><div class="q-author"><div class="q-author">Nancy Holt</div></div></div></div><div class="quote" id="q6"><div class="q-text">"I feel that the need to look at the sky - at the moon and the stars - is very basic, and it is inside all of us. So when I say my work is an exteriorization of my own inner reality, I mean I am giving back to people through art what they already have in them."</div><div class="q-info"><div class="q-inline-counter"> 6 of 9 </div><div class="q-author"><div class="q-author">Nancy Holt</div></div></div></div><div class="quote" id="q7"><div class="q-text">"Every good work should have at least ten meanings."</div><div class="q-info"><div class="q-inline-counter"> 7 of 9 </div><div class="q-author"> <a href="/artist/de-maria-walter/"><img width="142" height="44" src="/images20/chart/signature_de_maria_walter.png" alt="Walter De Maria Signature" title="Walter De Maria Signature – Visit Walter De Maria Page"></a> </div></div></div><div class="quote" id="q8"><div class="q-text">"You could say that my work is also a balance between the patterns of nature and the formalism of human, abstract ideas like lines and circles. It is where my human characteristics meet the natural forces and patterns of the world, and that is really the kind of subject of my work."</div><div class="q-info"><div class="q-inline-counter"> 8 of 9 </div><div class="q-author"> <a href="/artist/long-richard/"><img width="142" height="44" src="/images20/chart/signature_long_richard.png" alt="Richard Long Signature" title="Richard Long Signature – Visit Richard Long Page"></a> </div></div></div><div class="quote" id="q9"><div class="q-text">"If you want to see the <i>Pieta</i>, you go to Italy. To see the Great Wall, you go to China. My work isn't conceptual art, it's sculpture. You just have to go see it."</div><div class="q-info"><div class="q-inline-counter"> 9 of 9 </div><div class="q-author"> <a href="/artist/heizer-michael/"><img width="142" height="44" src="/images20/chart/signature_heizer_michael.png" alt="Michael Heizer Signature" title="Michael Heizer Signature – Visit Michael Heizer Page"></a> </div></div></div></div><div class="quote-next"></div> </div><div class="article"><div class="article-anchor" id="summary"></div><h2 class="article-header summary-header">Summary of Earth Art</h2><p class="article-text summary-text">Earth art, also referred to as Land art or Earthworks, is largely an American movement that uses the natural landscape to create site-specific structures, art forms, and sculptures. The movement was an outgrowth of <a href="/movement/conceptual-art/">Conceptualism</a> and <a href="/movement/minimalism/">Minimalism</a>: the beginnings of the environmental movement and the rampant commoditization of American art in the late 1960s influenced ideas and works that were, to varying degrees, divorced from the art market. In addition to the monumentality and simplicity of Minimalist objects, the artists were drawn to the humble everyday materials of <a href="/movement/arte-povera/">Arte Povera</a> and the participatory "social sculptures" of <a href="/artist/beuys-joseph/">Joseph Beuys</a> that stressed performance and creativity in any environment.</p><div class="ad-container"><div class="tas-ad ad-horizontal ad-728x90"><div align="center" id="theartstory_leaderboard_atf"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_leaderboard_atf",slotId:"theartstory_leaderboard_atf"});/*]]>*/</script></div></div><div class="remove-ads"><a href="/donate.htm?from=remove-ads">Remove Ads</a></div></div><div class="article-anchor" id="ideas"></div><h2 class="article-header key-ideas-header"> Key Ideas & Accomplishments </h2><ul class="key-ideas"><li>The favored materials for Earthworks were those that could be extracted directly from nature, such as stones, water, gravel, and soil. Influenced by prehistoric artworks such as Stonehenge, Earth artists left their structures exposed to the elements. The resulting ephemerality and eventual disintegration of the works put them outside of the mainstream where works of art were typically coddled and protected in controlled environments.</li><li>Earth artists often utilized materials that were available at the site on which their works were constructed and placed, honoring the specificity of the site. Locales were commonly chosen for particular reasons. <a href="/artist/smithson-robert/">Robert Smithson</a>, for example, picked damaged sites for his works in order to suggest renewal and rebirth. This idea of site-specificity was something introduced to the art world by Earth art, again placing the artists at the vanguard because their pieces often required wide, open spaces, meaning that many of their works were not available to the average viewer and thus questioned the very purpose of art as something to be viewed.</li><li>The rejection of traditional gallery and museum spaces defined Earth art practice. By creating their works outside of these institutions, Earth artists rebuffed the commodity status these venues conferred on art, again challenging traditional definitions of art as something to be bought and sold for profit.</li></ul><div id="related-artists"><div class="article-anchor" id="key-artists"></div><h2 class="article-header">Key Artists</h2><div class="related-artists-block"><div class="show-all-key-artists"></div><ul class="related-artists"><li><div class="artist-row"> <a href="/artist/smithson-robert/"><img class="lazyload" data-src="/images20/ttip/smithson_robert.jpg" alt="Robert Smithson Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/smithson-robert/"> <div class="artist-name">Robert Smithson</div> </a> <div class="artist-links"> <a href="/artist/smithson-robert/">Overview, Artworks, and Biography</a> </div></div></div></li><li><div class="artist-row"> <a href="/artist/de-maria-walter/"><img class="lazyload" data-src="/images20/ttip/de_maria_walter.jpg" alt="Walter De Maria Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/de-maria-walter/"> <div class="artist-name">Walter De Maria</div> </a> <div class="artist-links"> <a href="/artist/de-maria-walter/">Overview, Artworks, and Biography</a> </div></div></div></li><li><div class="artist-row"> <a href="/artist/goldsworthy-andy/"><img class="lazyload" data-src="/images20/ttip/goldsworthy_andy.jpg" alt="Andy Goldsworthy Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/goldsworthy-andy/"> <div class="artist-name">Andy Goldsworthy</div> </a> <div class="artist-links"> <a href="/artist/goldsworthy-andy/">Overview, Artworks, and Biography</a> </div></div></div></li><li><div class="artist-row"> <a href="/artist/heizer-michael/"><img class="lazyload" data-src="/images20/ttip/heizer_michael.jpg" alt="Michael Heizer Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/heizer-michael/"> <div class="artist-name">Michael Heizer</div> </a> <div class="artist-links"> <a href="/artist/heizer-michael/">Overview, Artworks, and Biography</a> </div></div></div></li><li class="hidden"><div class="artist-row"> <a href="/artist/holt-nancy/"><img class="lazyload" data-src="/images20/ttip/holt_nancy.jpg" alt="Nancy Holt Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/holt-nancy/"> <div class="artist-name">Nancy Holt</div> </a> <div class="artist-links"> <a href="/artist/holt-nancy/">Overview, Artworks, and Biography</a> </div></div></div></li><li class="hidden"><div class="artist-row"> <a href="/artist/long-richard/"><img class="lazyload" data-src="/images20/ttip/long_richard.jpg" alt="Richard Long Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/long-richard/"> <div class="artist-name">Richard Long</div> </a> <div class="artist-links"> <a href="/artist/long-richard/">Overview, Artworks, and Biography</a> </div></div></div></li><li class="hidden"><div class="artist-row"> <a href="/artist/lin-maya/"><img class="lazyload" data-src="/images20/ttip/lin_maya.jpg" alt="Maya Lin Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/lin-maya/"> <div class="artist-name">Maya Lin</div> </a> <div class="artist-links"> <a href="/artist/lin-maya/">Overview, Artworks, and Biography</a> </div></div></div></li><li class="hidden"><div class="artist-row"> <a href="/artist/turrell-james/"><img class="lazyload" data-src="/images20/ttip/turrell_james.jpg" alt="James Turrell Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/turrell-james/"> <div class="artist-name">James Turrell</div> </a> <div class="artist-links"> <a href="/artist/turrell-james/">Overview, Artworks, and Biography</a> </div></div></div></li><li class="hidden"><div class="artist-row"> <a href="/artist/mendieta-ana/"><img class="lazyload" data-src="/images20/ttip/mendieta_ana.jpg" alt="Ana Mendieta Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/mendieta-ana/"> <div class="artist-name">Ana Mendieta</div> </a> <div class="artist-links"> <a href="/artist/mendieta-ana/">Overview, Artworks, and Biography</a> </div></div></div></li><li class="hidden"><div class="artist-row"> <a href="/artist/oppenheim-dennis/"><img class="lazyload" data-src="/images20/ttip/oppenheim_dennis.jpg" alt="Dennis Oppenheim Biography, Art & Analysis"></a> <div class="artist-info"> <a href="/artist/oppenheim-dennis/"> <div class="artist-name">Dennis Oppenheim</div> </a> <div class="artist-links"> <a href="/artist/oppenheim-dennis/">Overview, Artworks, and Biography</a> </div></div></div></li></ul></div></div><div class="ad-container noprimis-ad"><div class="tas-ad ad-horizontal ad-728x90"><div align="center" id="theartstory_incontent_1"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_incontent_1",slotId:"theartstory_incontent_1"});/*]]>*/</script></div></div><div class="remove-ads"><a href="/donate.htm?from=remove-ads">Remove Ads</a></div></div><h2 class="article-header">Overview of Earth Art</h2><div class="grey-box"><div class="short-bio-container"><div class="bio-img-container"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/new_design/bio_box/bio_box_earth_art.jpg" alt="Earth Art Photo" data-initial-src="/images20/new_design/bio_box/bio_box_earth_art.jpg" width="596" height="250"><div class="btn c-info-button"></div></div></div><div class="short-bio"><p class="article-text">"In my Land art dealing with astronomical phenomena, I am putting 'centers of the universe' wherever I go," Nancy Holt said. Her <i>Sun Tunnels</i> in the desert of Utah were meant, she said, "to make people conscious of the cyclical time of the universe."</p><div class="buttons-container"><div class="blue-button"><a href="#" onclick="return scrollToAnchor('article')"><div>Beginnings and Development</div></a></div><div class="blue-button"><a href="#" onclick="return scrollToAnchor('concepts_styles_and_trends')"><div>Concepts, Trends, & Related Topics</div></a></div><div class="blue-button"><a href="#" onclick="return scrollToAnchor('later_developments')"><div>Later Developments and Legacy</div></a></div></div></div></div></div><div class="article-anchor" id="artworks"></div><h2 class="article-header artworks-header"> Artworks and Artists of Earth Art </h2><div class="progression-art">Progression of Art</div><div class="artworks-box progression-artworks-box"><div class="article-anchor" id="pnt_1"></div><div class="important-art-element important-art-element-pnt important-art-element-first"><div class="arwrork-img-container"><div class="arwrork-pnt-container"><div class="artwork-img lazy-box"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/pnt/pnt_earth_art_1.jpg" alt="Richard Long: A Line Made By Walking (1967)" width="95" height="95"></div></div><div class="google-images"> <a href="#" onclick="return openGoogleImage('Richard Long A Line Made By Walking (1967)')"> <span>Artwork Images</span> </a> </div></div></div><div class="artwork-data-container"><div class="year-line"></div><div class="artwork-year">1967</div><h3 class="artwork-title">A Line Made By Walking</h3><p class="artwork-author">Artist: <a href="/artist/long-richard/">Richard Long</a></p> <p class="artwork-description">Made while Richard Long was a student in London, <i>A Line Made By Walking</i> documents a work he created as he walked back and forth across the same path in Wiltshire. Here, Long emphasizes the experiential factor of nature through the act of walking and the temporal factor involved in artistic practice, while also having an impact on the land. The subject matter is the interaction of the journey, marking the ground, and making a simple adjustment to the landscape. With its simple, geometric shape and minimal intervention on the site, the work is also reminiscent of - and perhaps influential to - later Minimalist works such as Richard Serra's <i>To Encircle Base Plate Hexagram, Right Plates Inverted</i> (1970). Like most Earthworks, the piece is site specific and ephemeral. The photographs document the work's temporary existence, but do not solely constitute the work itself. While the photographs simply mark the performance of the work, the documentation process was sometimes important to artists working in Earth art, as it was often the only way to evidence the creation of the work. The work was groundbreaking in its utter simplicity and ephemerality as it would have been invisible within hours or days as nature would have taken its course, thus also making the piece useless as a commodity object.</p><p class="artwork-materilas-location"> Documentation of performance </p></div></div><div class="article-anchor" id="pnt_2"></div><div class="important-art-element important-art-element-even important-art-element-pnt"><div class="arwrork-img-container"><div class="arwrork-pnt-container"><div class="artwork-img lazy-box"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/pnt/pnt_earth_art_2.jpg" alt="Michael Heizer: Double Negative (1969-70)" width="95" height="95"></div></div><div class="google-images"> <a href="#" onclick="return openGoogleImage('Michael Heizer Double Negative (1969-70)')"> <span>Artwork Images</span> </a> </div></div><div class="artwork-ad noprimis-ad"><div class="tas-ad ad-300x250"><div align="center" id="theartstory_medrec_1"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_medrec_1",slotId:"theartstory_medrec_1"});/*]]>*/</script></div></div></div></div><div class="artwork-data-container"><div class="year-line"></div><div class="artwork-year">1969-70</div><h3 class="artwork-title">Double Negative</h3><p class="artwork-author">Artist: <a href="/artist/heizer-michael/">Michael Heizer</a></p> <p class="artwork-description">In 1969, with financial assistance from Virginia Dwan, Michael Heizer began this massive work that cut 240,000 tons of rhyolite and sandstone from cliffs to create two trenches on the eastern edges of the Mormon Mesa, northwest of Overton, Nevada. As few could visit the site after the work's completion, Heizer documented the production of the work in photographs and exhibited them at the Dwan Gallery in New York. With <i>Double Negative</i>, Heizer enacts a heroic gesture by removing earth from its site, forcing a contemplation of the manmade processes that constitute the artwork and the natural, physical elements that exist outside of it. He places <i>Double Negative</i> directly in the context of art history and architecture, touching upon megalithic ancient monuments as well as modern feats of engineering in the industrial age. Although the work required a great deal of labor, it consists of negative space; it is basically a 1,500-foot-long canyon into which a viewer would enter to be surrounded on three sides by 50-foot walls of earth. Its site-specificity and remoteness are typical of Earth art, as few viewers would be able to visit it. Its presence in the open air of the desert also means that it is subject to the environment and will eventually disintegrate. Connecting the work to Minimalism is its simplicity of design, the importance of the kinesthetic response of the viewer to its meaning, and its monumental size that was meant to overwhelm the spectator, which, much like Ronald Bladen's <i>X</i> (1967-68), makes them feel their smallness within the immensity of nature (and the work of art).</p><p class="artwork-materilas-location"> Two trenches dug out in the Mormon Mesa </p></div></div><div class="article-anchor" id="pnt_3"></div><div class="important-art-element important-art-element-work"><div class="arwrork-img-container"><div class="artwork-img lazy-box"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/works/earth_art_3.jpg" alt="Robert Smithson: Spiral Jetty (1970)" width="800" height="450"><div class="btn c-info-button"></div><div class="btn zoom-button"></div></div></div></div><div class="artwork-data-container"><div class="year-line"></div><div class="artwork-year">1970</div><h3 class="artwork-title">Spiral Jetty</h3><p class="artwork-author">Artist: <a href="/artist/smithson-robert/">Robert Smithson</a></p> <p class="artwork-description">Realized in April 1970, Robert Smithson's <i>Spiral Jetty</i> is one of the most recognizable works from the Earth art movement. Smithson constructed a 1,500-foot-long and fifteen-foot-wide spiral made of stones, algae, and other organic materials (6,000 tons in all) in the northeastern part of Utah's Great Salt Lake. The Ace Gallery of Vancouver and Dwan financed an earth-moving company to create the spiral out of basalt rock and earth from the surrounding area. In 1972, when the water level rose, the work became submerged. Thirty years later, as the lake's water levels changed, <i>Spiral Jetty</i> became visible again, revealing the basalt rock crusted over with white salt. The work was inspired by the Pre-Columbian structure <i>Serpent Mound</i>, which Smithson had seen on a site visit in Ohio. <i>Spiral Jetty</i> and Smithson's body of work as a whole were typical of Earth art in their protest against the commodification of the art market since it was impossible to buy or sell the work. The physical mutability and even invisibility of the work resulting from natural processes, such as water currents and erosion, were essential to its meaning. As a work of art that was not only remote, but also at times impossible to view because of the forces of nature, <i>Spiral Jetty</i> is one of the best examples of Earth art and also underscores the movement's roots in Conceptualism.</p><p class="artwork-materilas-location"> Basalt rock, limestone, earth, and algae configured in a spiral off the shore of the Great Salt Lake </p></div></div><div class="article-anchor" id="pnt_4"></div><div class="important-art-element important-art-element-even important-art-element-work"><div class="arwrork-img-container"><div class="artwork-img lazy-box"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/works/earth_art_4.jpg" alt="Nancy Holt: Sun Tunnels (1973-76)" width="789" height="593"><div class="btn c-info-button"></div><div class="btn zoom-button"></div></div></div><div class="artwork-ad noprimis-ad"><div class="tas-ad ad-300x250"><div align="center" id="theartstory_medrec_2"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_medrec_2",slotId:"theartstory_medrec_2"});/*]]>*/</script></div></div></div></div><div class="artwork-data-container"><div class="year-line"></div><div class="artwork-year">1973-76</div><h3 class="artwork-title">Sun Tunnels</h3><p class="artwork-author">Artist: <a href="/artist/holt-nancy/">Nancy Holt</a></p> <p class="artwork-description">Positioning four gigantic concrete hollow cylinders, each measuring nine feet in diameter, Nancy Holt arranged her tunnels at precise geographical points to correspond with the sunrise and sunset during the summer and winter solstices, much like Stonehenge. Fascinated by astronomy, Holt punctured the cylinders with holes of differing sizes to create shadows of select constellations. Like some other Earth artists, Holt had a significant interest in science and ecology, actively informed by her undergraduate work at Tufts University. <i>Sun Tunnels</i> closely examines the physical qualities of perception, marking accurate positions of the sun on the horizon and allowing light to filter through the starry holes according to the position of available light. Holt created preparatory light works on paper, which captured the play of sunlight in two- and three-dimensional models. Her research-based practice and interest in remote locales connected Holt not only to other artists working in this mode, but also to the Conceptual interest in the intersection of art and ideas. The work is not meant to disintegrate as the majority of Earthworks, but it draws attention to the details of nature in a site-specific and remote locale.</p><p class="artwork-materilas-location"> Four 18 foot concrete cylinders </p></div></div><div class="article-anchor" id="pnt_5"></div><div class="important-art-element important-art-element-pnt"><div class="arwrork-img-container"><div class="arwrork-pnt-container"><div class="artwork-img lazy-box"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/pnt/pnt_earth_art_5.jpg" alt="Walter De Maria: The Lightning Field (1977)" width="95" height="95"></div></div><div class="google-images"> <a href="#" onclick="return openGoogleImage('Walter De Maria The Lightning Field (1977)')"> <span>Artwork Images</span> </a> </div></div></div><div class="artwork-data-container"><div class="year-line"></div><div class="artwork-year">1977</div><h3 class="artwork-title">The Lightning Field</h3><p class="artwork-author">Artist: <a href="/artist/de-maria-walter/">Walter De Maria</a></p> <p class="artwork-description">This work consists of 400 poles that are each set 220 feet apart in a grid format. The height of the piece varies from 15 to 26 feet depending on the level of the land. While the highly polished poles are meant to visually mark the undulations of the landscape, their primary function is to attract lightning, especially during lightning storm season in late summer when lightning strikes the rods and illuminates the installation. De Maria's use of a precise grid format is drawn from Minimalism, but the viewer's experience will depend on a number of environmental factors outside of the artist's control. For example, the work's visual impact is based on fluctuations in weather and the change of seasons; the piece would lose much of its attraction at times of the year when lightning is infrequent. As with most Earthworks, the site is remote and viewing is made more difficult by the requirement for viewers to stay overnight at cabins on site; no children are allowed. Much like Nancy Holt's <i>Sun Tunnels</i>, De Maria's work pairs fleeting moments of nature with the heroic materials of manmade industry.</p><p class="artwork-materilas-location"> 400 stainless steel poles arranged in a grid measuring 1 x 1 km </p></div></div><div class="article-anchor" id="pnt_6"></div><div class="important-art-element important-art-element-even important-art-element-pnt"><div class="arwrork-img-container"><div class="arwrork-pnt-container"><div class="artwork-img lazy-box"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/pnt/pnt_earth_art_6.jpg" alt="Agnes Denes: Wheatfield (1982)" width="95" height="95"></div></div><div class="google-images"> <a href="#" onclick="return openGoogleImage('Agnes Denes Wheatfield (1982)')"> <span>Artwork Images</span> </a> </div></div><div class="artwork-ad noprimis-ad"><div class="tas-ad ad-300x250"><div align="center" id="theartstory_medrec_3"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_medrec_3",slotId:"theartstory_medrec_3"});/*]]>*/</script></div></div></div></div><div class="artwork-data-container"><div class="year-line"></div><div class="artwork-year">1982</div><h3 class="artwork-title">Wheatfield</h3><p class="artwork-author">Artist: <a href="/artist/denes-agnes/">Agnes Denes</a></p> <p class="artwork-description">Denes and her assistants cleared the Battery Park landfill and planted nearly two acres of golden wheat. The planting cycle was completed between May and August of that year, and the process involved establishing an irrigation system, weeding, fertilizing, and protecting the wheat from mildew. After much tending, one thousand pounds of wheat was eventually harvested and traveled around the world in the exhibition "The International Art Show for the End of World Hunger," which highlighted larger issues of human struggle inherent in agriculture and land use as well as the uncomplicated pleasures of nature.</p><p class="artwork-materilas-location"> Two acres of wheat planted in the Battery Park landfill </p></div></div><div class="article-anchor" id="pnt_7"></div><div class="important-art-element important-art-element-last important-art-element-pnt"><div class="arwrork-img-container"><div class="arwrork-pnt-container"><div class="artwork-img lazy-box"><div class="img-btn-holder"><img class="lazyload" data-src="/images20/pnt/pnt_earth_art_7.jpg" alt="Andy Goldsworthy: Pebbles, broken and scraped white with another stone (1985)" width="95" height="95"></div></div><div class="google-images"> <a href="#" onclick="return openGoogleImage('Andy Goldsworthy Pebbles, broken and scraped white with another stone (1985)')"> <span>Artwork Images</span> </a> </div></div></div><div class="artwork-data-container"><div class="year-line"></div><div class="artwork-year">1985</div><h3 class="artwork-title">Pebbles, broken and scraped white with another stone</h3><p class="artwork-author">Artist: <a href="/artist/goldsworthy-andy/">Andy Goldsworthy</a></p> <p class="artwork-description">Like his fellow countryman, Richard Long, Andy Goldsworthy seeks to establish a temporal relationship in his work. Goldsworthy manipulates nature, reworking organic materials such as stone, branches, flora, water, and snow to create fleeting impressions in a natural setting. The seemingly "final" work is recorded through documentation, but the process and the eventual disintegration of the work inform its status as well. The title of this work, <i>Pebbles, broken and scraped white with another stone</i>, dutifully explains the process by which the work was created, the materials that were used, and the physical properties of the work. Although Goldsworthy has documented an artwork, the work will eventually erode and lose its status as art through the passage of time. As with the work of all Earth artists, Goldsworthy's work questions the relationship that humans have with history, time, landscape, and natural processes.</p><p class="artwork-materilas-location"></p></div></div></div><br><div class="ad-container"><div class="tas-ad ad-horizontal ad-728x90"><div align="center" id="theartstory_incontent_2"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_incontent_2",slotId:"theartstory_incontent_2"});/*]]>*/</script></div></div><div class="remove-ads"><a href="/donate.htm?from=remove-ads">Remove Ads</a></div></div><div class="article-anchor" id="article"></div><div class="article-anchor" id="beginnings"></div><div class="article-img-new-line"></div><h2 class="article-header biography-header">Beginnings of Earth Art</h2><div class="article-anchor" id="extending_minimalist_and_conceptual_ideas"></div><h3 class="article-subheader">Extending Minimalist and Conceptual Ideas</h3> <div class="article-img-placeholder" data-src="/images20/photo/earth_1.jpg" data-alt="Neil Jenney, Dennis Oppenheim, Gunther Uecker, Jan Dibbets, Richard Long, and Robert Smithson (left to right) with Thomas W. Leavitt (1930-2010), Director, A. D. White Museum of Art, Cornell University (standing)."></div><p class="article-text">The late 1960s and 1970s was one of the most experimental periods in the history of Western art with many concurrent movements and artists working simultaneously in more than one style, making it sometimes difficult to definitively attach stylistic labels to works from the period. The ethos of Earth art, for example, shared certain characteristics with Minimalism, including its concerns with how objects occupied their space; the interaction of humans with works of art; and, especially, simplicity of form. However, although the adoption of the pared down Minimalist aesthetic was often central to Earth art, the artists were typically hands-on with the documentation and process of production, at times even including a performative element; these characteristics aligned Earth artists more with <a href="/movement/post-minimalism/">Post-Minimalist</a> tendencies such as <span class="marked_text chart-tooltip-target-top tooltip_id-process_art">process art</span>, <a href="/movement/installation-art/">installation art</a>, and <a href="/movement/performance-art/">performance Art</a>. Earthworks, largely existing outdoors and made of natural elements, were also subject to the natural degradation and erosion that would occur with time, which was antithetical to Minimalism's more industrial and urban aesthetic, making it one of the most unique elements of the Earth art movement.</p><p class="article-text">Like Conceptual art, Earth art was not just about the beauty and aesthetic pleasure offered by the artwork. Almost all Earthworks stressed the rejection of commodity status and mainstream exhibition venues, focusing instead on ephemerality. So while the majority of Earth art was visually stunning, at its core, the pieces were imbued with these concepts.</p><div class="article-anchor" id="the_1960s_and_virginia_dwan"></div><h3 class="article-subheader">The 1960s and Virginia Dwan</h3> <p class="article-text">Earth artists were typically products of the Vietnam era, many of whom had been drafted to fight in the war and were college educated through the G.I. Bill. Most, like <a href="/artist/smithson-robert/">Robert Smithson</a> and <a href="/artist/heizer-michael/">Michael Heizer</a>, began their careers as painters. Smithson's first paintings evolved from figurative abstractions to geometrical canvases, and then eventually to sculpture. In 1966, Smithson began showing with the influential gallerist Virginia Dwan, who would shape the Earth art movement significantly.</p><p class="article-text">At the same time, Smithson began working as a consultant for a New York City engineering firm, a position that inspired him to plan what he called "Aerial Art" for the Dallas Fort Worth airport. Aerial Art comprised monumental works to be constructed between airport runways that were meant to be viewed from above during takeoff and landing. As an art form, Aerial Art never came to fruition, but Smithson and his colleagues, such as <a href="/artist/andre-carl/">Carl Andre</a>, <a href="/artist/holt-nancy/">Nancy Holt</a>, <a href="/artist/morris-robert/">Robert Morris</a>, and <a href="/artist/heizer-michael/">Michael Heizer</a>, were inspired by the idea to explore various unexploited territories in nearby New Jersey and in various western states that provided large, open spaces.</p><p class="article-text">Dwan, who was the heiress to the Minnesota Mining & Manufacturing Company (3M) and had studied art, often accompanied artists to far-flung sites and provided generous patronage and support to produce Earth art projects that would have foundered with no funding. In 1968, Dwan exhibited a show entitled <i>Earth Works</i> at her gallery space in New York City, publicly identifying a group of pioneering artists. Some of the artists in the show were having a difficult time finding available land for their site-specific projects, so <i>Earth Works</i> exhibited the documentation of these projects by artists such as <a href="/artist/lewitt-sol/">Sol LeWitt</a>, <a href="/artist/morris-robert/">Robert Morris</a>, <a href="/artist/oldenburg-claes/">Claes Oldenburg</a>, <a href="/artist/oppenheim-dennis/">Dennis Oppenheim</a>, and Stephen Kaltenbach. The show cataloged the conception of their work through maps, photographs, transparencies, and drawings. There is some irony in the fact that while these artists tried to eschew traditional institutions, they were often required to accept funding from them in order to further their projects. In addition, the remoteness of certain sites, many of which could only be viewed from private aircraft, meant that the movement was sometimes accused of elitism.</p><div class="ad-container noprimis-ad"><div class="tas-ad ad-horizontal ad-728x90"><div align="center" id="theartstory_incontent_1"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_incontent_1",slotId:"theartstory_incontent_1"});/*]]>*/</script></div></div><div class="remove-ads"><a href="/donate.htm?from=remove-ads">Remove Ads</a></div></div><div class="article-anchor" id="institutional_exhibitions_and_global_ambitions"></div><h3 class="article-subheader">Institutional Exhibitions and Global Ambitions</h3> <p class="article-text">In February of 1969, the Herbert F. Johnson Museum of Art at Cornell University became the first American museum to show an exhibit of Earth art, entitled simply, <i>Earth Art</i>. The works were displayed both at the museum and throughout the grounds of Cornell's campus in Ithaca, thus providing an institutional setting for works that would continue to question the commodity status of art, particularly those works placed on the campus which served to blur boundaries between the object and its context. Curated by Willoughby Sharp, an independent scholar and cofounder of the avant-garde art magazine <i>Avalanche</i>, <i>Earth Art</i> exhibited new works created onsite by American artists such as <a href="/artist/smithson-robert/">Robert Smithson</a>, <a href="/artist/morris-robert/">Robert Morris</a>, <a href="/artist/heizer-michael/">Michael Heizer</a>, <a href="/artist/de-maria-walter/">Walter De Maria</a>, and <a href="/artist/oppenheim-dennis/">Dennis Oppenheim</a>. International artists such as British artist <a href="/artist/long-richard/">Richard Long</a> and German artist <a href="/artist/haacke-hans/">Hans Haacke</a> were also included. The 1970s would usher in a new decade of extremely ambitious projects in far-flung American locales, further expanding the American contribution to Earth art.</p><div class="article-anchor" id="concepts_styles_and_trends"></div><div class="article-img-new-line"></div><h2 class="article-header">Earth Art: Concepts, Styles, and Trends</h2><div class="article-anchor" id="site_specificity_and_environmentalism"></div><h3 class="article-subheader">Site-specificity and Environmentalism</h3> <p class="article-text">Smithson delineated the concepts of "Site" and "Nonsite" to designate theoretical differences in the physical context of work produced. "Nonsite" was termed as an "indoor earthwork" and indicated a piece that could be exhibited in a gallery setting, displacing natural materials from their original sites with accompanying drawings or photographs. "Site" referred to those works created outside the gallery infrastructure in site-specific locales with materials taken from that location. Smithson's iteration of these new frameworks along with the activist mentality of the late 1960s underscored the interest of some Earth artists in socially engaged art that explored humans' relationship with the land (soon evolving into the related, but independent <a href="/movement/environmental-art/">Environmental Art</a> movement). For many artists, this was a conscious movement away from Greenbergian modernism that instead stressed art's lack of connection to the mundane world.</p><div class="article-anchor" id="decay"></div><h3 class="article-subheader">Decay</h3> <p class="article-text">Earth artists were influenced by prehistoric and ancient monuments such as Stonehenge and Native American burial mounds that were monumental in size and scale. Heizer experienced these prehistoric sites firsthand as a child, visiting various excavations with his father, who was an archaeologist. The prehistoric monuments, by means of their continued existence incorporated the passage of time through natural decay and erosion. The entropy of the materials, which were both manmade and organic, was integral to Earthworks. The pieces created outdoors by the likes of Smithson and Heizer were naturally subjected to the depredations of the elements so that decay and disintegration were part of their meaning; preservation was understood as a conceit.</p><div class="article-anchor" id="invasive_and_non_invasive"></div><h3 class="article-subheader">Invasive and Non-invasive</h3> <p class="article-text">Earthworks are sometimes divided into those works that make great changes to the landscape and those that do not. Works in the former category generally require earth-moving equipment to make massive alterations to a site, such as Robert Heizer's <i>Double Negative</i> (1969-70). Those works that are non-invasive and are seen as more respectful to the land include Richard Long's <i>A Line Made by Walking</i> (1967), along with pieces by <a href="/artist/goldsworthy-andy/">Andy Goldsworthy</a> and Alan Sonfist.</p><div class="article-anchor" id="later_developments"></div><div class="article-img-new-line"></div><h2 class="article-header">Later Developments - After Earth Art</h2><div class="article-anchor" id=""></div><p class="article-text">During the mid-1970s, the recession impacted the funding of Earth art dramatically. Many artists were dependent on patrons to purchase expensive tracts of land to complete large-scale work. In addition to the economic slump, Robert Smithson's sudden death in 1973 while surveying possible sites in Texas changed the momentum of the movement. Those who established their names through Earth art, such as De Maria, Heizer, Morris, and Andre, took their careers in other directions, reorienting their production to accommodate institutional and gallery spaces. De Maria's <i>New York Earth Room</i> (1977) was executed in 1977 and several international iterations were created. Heizer would also create gallery-appropriate works, reconfiguring notions of site-specificity to adapt to art world institutions. Along with other postwar Conceptual artists, Earth artists ushered in a new period of art that favored installations over discrete objects, challenging the expectations of artistic production.</p><div class="ad-container noprimis-ad"><div class="tas-ad ad-horizontal ad-728x90"><div align="center" id="theartstory_incontent_2"><script data-cfasync="false" type="text/javascript">/*<![CDATA[*/freestar.config.enabled_slots.push({placementName:"theartstory_incontent_2",slotId:"theartstory_incontent_2"});/*]]>*/</script></div></div><div class="remove-ads"><a href="/donate.htm?from=remove-ads">Remove Ads</a></div></div><p class="article-text">The tenets of Conceptualism became dominant in the art world during this period, as many movements began to share ideas and encourage artists working in multiple institutional frameworks. Post-Minimalist movements such as Process art were strongly connected to Earth art, and many artists working between the movements would shift towards the gallery model as the economy weakened and cheap alternative spaces became available in urban locales. Conceptual art also ushered in an era of performance that translated well in gallery settings and, like Earth art, challenged traditional notions of art as a commodity because of its transitory nature. Organic materials were sometimes utilized within the gallery space, and an emphasis on the ephemeral was understood through site-specific and temporary installations.</p><div class="article-img-new-line"></div><div class="article-anchor" id="resources" style="top: -118px;"></div><h2 class="article-header resources-header">Useful Resources on Earth Art</h2><div class="resources"><div class="resources-nav"><div class="resources-nav-element resources-nav-element-active" id="resource_nav_featured_books">Books</div><div class="resources-nav-element" id="resource_nav_websites">websites</div><div class="resources-nav-element" id="resource_nav_articles">articles</div><div class="resources-nav-element" id="resource_nav_video_clips">video clips</div></div><div class="resources-part resources-part-opened" id="resource_part_featured_books"><div class="resources-part-title">Books</div><div class="resources-part-content" style="display:block;"><div class="resources-part-text">The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.</div><ul><li> <a href="http://www.amazon.com/gp/product/379135194X?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Ends of the Earth: Land Art to 1974</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By Philipp Kaiser, Miwon Kwon, Tom Holert, Julian Meyers, Emily Scott, and Jane McFadden</div></div></div> </a> </li><li> <a href="http://www.amazon.com/gp/product/0714865516?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Art & Place: Site-Specific Art of the Americas</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By Editors of Phaidon</div></div></div> </a> </li><li> <a href="http://www.amazon.com/gp/product/0714856436?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Land and Environmental Art</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By Jeffrey Kastner and Brian Wallis</div></div></div> </a> </li><li> <a href="http://www.amazon.com/gp/product/0789208814?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Earthworks and Beyond: Contemporary Art in the Landscape</span></div><div class="resource-desc">By John Beardsley</div></div></div> </a> </li><li class="resource-hidden"> <a href="http://www.amazon.com/gp/product/156898040X?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Land Art</span></div><div class="resource-desc">By Gilles Tiberghien</div></div></div> </a> </li><li class="resource-hidden"> <a href="http://www.amazon.com/gp/product/0791461947?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Art Nature Dialogues: Interviews with Environmental Artists</span></div><div class="resource-desc">By John K. Grande and Edward Lucie-Smith</div></div></div> </a> </li><li class="resource-hidden"> <a href="http://www.amazon.com/gp/product/0520267893?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Destination Art</span></div><div class="resource-desc">By Amy Dempsey</div></div></div> </a> </li><li class="resource-hidden"> <a href="http://www.amazon.com/gp/product/0520203852?tag=tharst-20" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-book-bio"></div><div class="resource-info"><div class="resource-name"><span>Robert Smithson: The Collected Writings</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By Robert Smithson and Jack Flam</div></div></div> </a> </li></ul><div class="white-button view-more-resources"><div>View more books</div></div></div></div><div class="resources-part resources-part-closed" id="resource_part_websites"><div class="resources-part-title">websites</div><div class="resources-part-content" style="display:none;"><ul><li> <a href="http://museum.cornell.edu/earth-art-1969" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-website"></div><div class="resource-info"><div class="resource-name"><span>Earth Art Exhibition - 1969</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">At the Johnson Museum of Art, Cornell University</div></div></div> </a> </li><li> <a href="http://www.daringdesigns.com/earthworks.htm" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-website"></div><div class="resource-info"><div class="resource-name"><span>Monumental Land Art: A List of Selected Websites on Earthworks</span><span class="our-pick">Our Pick</span></div></div></div> </a> </li><li> <a href="https://umfa.utah.edu/land-art" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-website"></div><div class="resource-info"><div class="resource-name"><span>Land Art</span></div><div class="resource-desc">Info from the Utah Museum of Fine Arts</div></div></div> </a> </li><li> <a href="http://www.alansonfist.com" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-website"></div><div class="resource-info"><div class="resource-name"><span>Alan Sonfist: Official Website</span></div></div></div> </a> </li><li class="resource-hidden"> <a href="http://doublenegative.tarasen.net/index.html" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-website"></div><div class="resource-info"><div class="resource-name"><span>Double Negative: A Website About Michael Heizer</span></div></div></div> </a> </li></ul><div class="white-button view-more-resources"><div>View more websites</div></div></div></div><div class="resources-part resources-part-closed" id="resource_part_articles"><div class="resources-part-title">articles</div><div class="resources-part-content" style="display:none;"><ul><li> <a href="http://www.fairobserver.com/content/rethinking-land-art" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-article"></div><div class="resource-info"><div class="resource-name"><span>Rethinking "Land Art"</span></div><div class="resource-desc">By Bianca Nandzik / Fair Observer / May 26, 2013</div></div></div> </a> </li><li> <a href="https://www.artandantiquesmag.com/land-art-earthworks-postwar-american-art/" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-article"></div><div class="resource-info"><div class="resource-name"><span>Land Art: Earthworks that Defined Postwar American Art</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By Dana Micucci / Art & Antiques Magazine / April 2012</div></div></div> </a> </li><li> <a href="http://www.nytimes.com/2008/07/27/books/review/Vanderbilt-t.html" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-article"></div><div class="resource-info"><div class="resource-name"><span>Earth Markers</span></div><div class="resource-desc">By Tom Vanderbilt / The New York Times / July 27, 2008</div></div></div> </a> </li><li> <a href="http://www.nytimes.com/2008/06/13/arts/design/13femi.html" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-article"></div><div class="resource-info"><div class="resource-name"><span>This Land Is Her Land (and Her Artwork, Too)</span></div><div class="resource-desc">By Karen Rosenberg / The New York Times / July 13, 2008</div></div></div> </a> </li><li class="resource-hidden"> <a href="https://www.blumandpoe.com/sites/default/files/press/Artforum0908.pdf" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-article"></div><div class="resource-info"><div class="resource-name"><span>On the Road: Jeffrey Weiss on Land Art Today</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By Jeffrey Weiss / Artforum / September 2008</div></div></div> </a> </li><li class="resource-hidden"> <a href="http://www.artnews.com/2004/06/01/moving-mountains-walking-on-water/" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-article"></div><div class="resource-info"><div class="resource-name"><span>Moving Mountains, Walking on Water</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By Ann Landi / ARTnews Magazine / June 1, 2004</div></div></div> </a> </li></ul><div class="white-button view-more-resources"><div>View more articles</div></div></div></div><div class="resources-part resources-part-closed" id="resource_part_video_clips"><div class="resources-part-title">video clips</div><div class="resources-part-content" style="display:none;"><ul><li> <a href="https://www.youtube.com/watch?v=vrbNsHs7ptE" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-video"></div><div class="resource-info"><div class="resource-name"><span>Spiral Jetty by Robert Smithson</span><span class="our-pick">Our Pick</span></div><div class="resource-desc">By SmartHistory</div></div></div> </a> </li><li> <a href="http://www.youtube.com/watch?v=UiimctQ9qWI&index=8&list=PLn1Ld44t8STg4SNtUWQmkyjQ9ikmDv-eN" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-video"></div><div class="resource-info"><div class="resource-name"><span>Floating Island by Robert Smithson</span></div></div></div> </a> </li><li> <a href="http://www.youtube.com/watch?v=i8A8FQ2hq6A" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-video"></div><div class="resource-info"><div class="resource-name"><span>Double Negative by Michael Heizer</span><span class="our-pick">Our Pick</span></div></div></div> </a> </li><li> <a href="http://www.youtube.com/watch?v=hRNeN9Y1YQo&list=PLn1Ld44t8STg4SNtUWQmkyjQ9ikmDv-eN&index=3" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-video"></div><div class="resource-info"><div class="resource-name"><span>Keynote Lecture by Nancy Holt, Princeton University Art Museum</span><span class="our-pick">Our Pick</span></div></div></div> </a> </li><li class="resource-hidden"> <a href="https://www.youtube.com/watch?v=Unv20cR_UTw" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-video"></div><div class="resource-info"><div class="resource-name"><span>Andy Goldsworthy: Rivers and Tides</span><span class="our-pick">Our Pick</span></div></div></div> </a> </li><li class="resource-hidden"> <a href="http://www.youtube.com/watch?v=krF9DEH327w&index=3&list=PLX-ReP6YNwR2jHEBq70RwqrCV-hbxFuu-" target="_blank" rel="noopener"> <div class="resource-row"><div class="resource-type-icon resource-type-video"></div><div class="resource-info"><div class="resource-name"><span>The New York Earth Room by Walter De Maria</span></div></div></div> </a> </li></ul><div class="white-button view-more-resources"><div>View more video clips</div></div></div></div></div><div class="article-anchor" id="similar"></div><h2 class="article-header">Similar Art</h2><div class="similar-art"><div class="similar-art-element"><div class="artwork-img lazy-box"><div class="img-btn-holder"> <a href="/artist/lin-maya/#pnt_3"> <img class="lazyload" data-src="/images20/pnt/pnt_lin_maya_3.jpg" alt="Maya Lin: The Wave Field (1995)" width="95" height="95"> 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class="artwork-img lazy-box"><div class="img-btn-holder"> <a href="/movement/minimalism/artworks/#pnt_3"> <img class="lazyload" data-src="/images20/pnt/pnt_minimalism_3.jpg" alt="Carl Andre: Lever (1966)" width="95" height="95"> </a> </div></div> <a href="/movement/minimalism/artworks/#pnt_3"> <h3 class="artwork-title">Lever (1966)</h3> </a> <div class="artwork-author"> <a href="/artist/andre-carl/">Carl Andre</a> </div><div class="from-movement"> <a href="/movement/minimalism/">Minimalism</a> </div><div class="blue-button"><a href="/movement/minimalism/artworks/#pnt_3"><div>Read more</div></a></div></div></div><div id="related-artists"><h2 class="article-header">Related Artists</h2><div class="related-artists-block"><ul class="related-artists"><li><div class="artist-row"> <a href="/artist/smithson-robert/"><img class="lazyload" data-src="/images20/ttip/smithson_robert.jpg" alt="Robert Smithson Biography, Art & Analysis"></a> <div class="artist-info"> <a 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