Sentences with phrase «1970s land art»

Not exact matches

After the dissolution of the Zero Group in the mid-1960s, Uecker's work took a turn toward body, Conceptual, and Land art, and in the 1970s he designed stage sets for several operas.

Previously an independent curator, Morris organized, among other projects, Decoys, Complexes and Triggers: Women and Land Art in the 1970s at SculptureCenter, New York; 9 Evenings Reconsidered: Art, Theatre and Engineering, 1966 for the List Visual Arts Center, MIT, Cambridge, Massachusetts; and two exhibitions, Gloria: Another Look at Feminist Art of the 1970s and Food at White Columns, New York.

He returned to his artistic practice in 2005, and has since exhibited in several group exhibitions including State of Mind: New California Art Circa 1970 co-organized by the Berkeley Art Museum and the Orange County Museum of Art; Ends of the Earth: Art of the Land to 1974 at the Museum of Contemporary Art, Los Angeles; and Afterlife: A Constellation, curated by Julie Ault as part of the 2014 Whitney Biennial.

To return to where I began, I shopped around this review of an equally important history of the 1970s, «Feminism and Land Art,» but the print editor wanted something closer to the New York scene — something young, something in Manhattan, and something hot.

So argues «Decoys, Complexes, and Triggers: Feminism and Land Art in the 1970s.»

Smithson, meanwhile, created what is arguably the best known work of land art in the world with his monumental Spiral Jetty (1970), a rock formation built into northern Utah's Great Salt Lake.

and» «OPEN, # 121 (BOLTON LANDING ELEGY)» Robert Motherwell 1969» on back of canvas Liquitex brand acrylic on sized canvas, 96 x 174 (244 x 432) Presented by the artist through the American Federation of Arts 1969 Exh: L'Art Vivant aux Etats - Unis, Fondation Maeght, Saint - Paul, July - September 1970 (works not numbered, repr.)

As A.i.A. senior editor William S. Smith pointed out in his essay on Michael Heizer (whose 1970 installation Actual Size: Munich Rotary is on view at the Whitney Museum of American Art through April 10) our April issue, «Land art was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.&raqArt through April 10) our April issue, «Land art was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.&raqart was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.»

Troublemakers: The Story of Land Art unearths the history of land art in the tumultuous late 1960s and early 19Land Art unearths the history of land art in the tumultuous late 1960s and early 197Art unearths the history of land art in the tumultuous late 1960s and early 19land art in the tumultuous late 1960s and early 197art in the tumultuous late 1960s and early 1970s.

A staunch modernist might scoff that with the «Night Landings» of 1970 Jane Frank's art begins to «go gentle into that good night» (perhaps even lapsing into «postmodernism»).

The latter's Land Art was shown by Lisson in the gallery's early days in the 1970s, so this show of standing stones of Cornwall slate, expressive walk works made from mud, text pieces and landscape photographs represent something of a homecoming for the Academician.

J.B. Blunk: Curriculum Vitae Chronology 1926 Born August 28, Kansas City, MO 1946 Moved to California 1949 B.A. University of California, Los Angeles 1949 — 1950 Drafted, Korean War 1952 — 1954 Lived and worked in Japan as potter's apprentice 1954 — 1955 Artist in Residence at Palos Verdes College 1955 Moved to Northern California 1957 — 1962 Built house in Inverness, California 1962 Began working with wood 1969 — 1970 Travel to Mexico and Peru 1971 Apprenticeship Grant from Louis Comfort Tiffany Foundation 1979 Cultural Exchange Travel Grant to Indonesia, U.S.I.C.A. 1983 Travel to Japan 1986 California State Art in Public Places Program competition award for sculpture 1999 Lectured at California College of the Arts, San Francisco, CA 1990 Art Consultant to Land Studio Landscape Architects and MW Steele Group 2002 Died June 15, Inverness, CA

The installation will provide a deeper look into Dwan Gallery's operations, highlighting its evolution as it shifted from a West Coast venue for established New York and European avant - garde artists in the early 1960s to become one of New York's leading galleries devoted to new movements including minimalism, conceptual art, and land art in the late 1960s and early 1970s.

Previous exhibitions include, Everything Loose Will Land, an examination of architecture and the arts in LA in the 1970s, part of the Getty sponsored Pacific Standard Time series.

Indian Land # 4 is from the artist's Indian Land series that is more abstract and darker than the bright Pop - Art Indian portraits he created in the 1970s.

1 With nods to historical movements from the 1960s and 1970s, including Arte Povera, Land art, Conceptual art, and Minimalism, Gallaccio's work is unique in its conceptual temporality and its site - specific intent, whereby the artist sources a region for its unique geographical characteristics and reflects these qualities within a particular work.

A leading patron of land art, Dwan sponsored Michael Heizer's monumental sculptures Double Negative (1969) and Complex One of City (begun 1972), Robert Smithson's masterpiece Spiral Jetty (1970), Walter De Maria's 35 - Pole Lightning Field (1974), and Charles Ross's Star Axis (begun 1971).

Following the themes in the related exhibition, In the Library: Selections from the Dwan Gallery and Virginia Dwan Archives provides a deeper look into the Dwan Gallery's evolution from a West Coast outpost for established New York and European avant - garde artists in the early 1960s to one of New York's leading galleries devoted to minimalism, conceptual art, and land art in the late 1960s and early 1970s.

Robert Smithson, an artist associated with the Land Art and Post-Minimalist movements, used natural objects in both his large - scale land installations, such as Spiral Jetty (1970), and his smaller museum installations made of stones and dirt removed from specific locatiLand Art and Post-Minimalist movements, used natural objects in both his large - scale land installations, such as Spiral Jetty (1970), and his smaller museum installations made of stones and dirt removed from specific locatiland installations, such as Spiral Jetty (1970), and his smaller museum installations made of stones and dirt removed from specific locations.

The photographs» bucolic landscapes are the result of a «walk through nature,» in a region once inhabited by the artist's family, echoing the style of the photo - documented art of 1970s Land Artists, an act infused with the ideals of Romanticism.

Perhaps the most famous example of land art is Smithson's Spiral Jetty of 1970, a monumental sculpture of a winding coil formed by thousands of tons of basalt rocks and earth.

Since the 1970s, Stuart has been internationally recognized for pioneering works that synthesize Land Art, drawing, and sculpture.

Troublemakers unearths the history of land art in the tumultuous late 1960's and early 1970's.

Decoys, Complexes, and Triggers: Feminism and Land Art in the 1970s, Sculpture Center, Long Island City, New York.

Simon Roberts has several pieces included in this group show, an Arts Council Collection National Partner Exhibition entitled A Green and Pleasent Land - British Landscape and the Imagination: 1970 to Now.

The gallery was founded in 1967 and specializes on positions of the 1960s and 1970s, such as Concept Art, Minimal Art, Land Art, and Arte Povera.

Cuban - born American artist Ana Mendieta brilliantly synthesized and advanced emergent art forms of the early 1970s, such as performance, body art, land art and film, with personal and political explorations of the gendered and raced body, ancient cultures and belonging.

In the late 1960s and the 1970s, Land art, Performance art, Conceptual art, and other new art forms had attracted the attention of curators and critics, at the expense of more traditional media.

Land Art emerged in the 1970s when a handful of New York's more adventurous artists departed the gallery scene to make work in the open landscapes of the American West — Robert Smithson, James Turrell and Walter De Maria among them.

His practice is similar in intent to that of many of the Land art and Light artists coming out of the 1960s and 1970s (Nancy Holt, Robert Irwin, Long, Robert Smithson, James Turrell), who took public space and appropriated it, transforming the environment into something novel and often sculptural This engagement with natural conditions and phenomena necessitated the dematerialisation of the art object and the extension of the «gallery» site for art.

By partially dismantling large - scale structures to make something entirely new, Matta - Clark defined an urban equivalent of Land Art, the massive earthwork installations created in remote settings during the 1960s and 1970s by Michael Heizer, Walter de Maria, Richard Long, and, above all, Robert Smithson, best remembered for his Spiral Jetty in Utah's Great Salt Lake.

Thus the events of his career are sandwiched between world events (like Kennedy's 1963 «Ich bin ein Berliner» speech, or the 1969 moon landing) and art historical ones (such as Christo and Jeanne - Claude wrapping the Bern Kunsthalle in 1968, or Robert Smithson building the Spiral Jetty in 1970).

Opening: «Michelle Stuart, Theatre of Memory: Photographic Works» at the Bronx Museum of the Arts An artist closely identified with the avant - garde Land Art Movement of the 1970s, Michelle Stuart has exhibited her earthworks, sculptures and installation art related to the natural world for over 40 yeaArt Movement of the 1970s, Michelle Stuart has exhibited her earthworks, sculptures and installation art related to the natural world for over 40 yeaart related to the natural world for over 40 years.

Stemming from the 1970s feminist art movement, NO MAN»S LAND plays with images of the female body and the process of making, subverting the convention of handcraft as «women's work» into a beautiful, visual conversation reclaiming the female form.

Drawing inspiration from Land Art of the 1970s, Harlan avails himself of the most common materials at hand — including such hardware store staples as ladders, shipping palettes, and one - ton metal pipe — in his large industrial works.

1970 String and Rope, Sidney Janis Gallery, New York, US 995,000, The Vancouver Art Gallery, Vancouver, CA; 3,549,000, CAYC, Buenos Aires, AR Conceptual Art & Conceptual Aspects, The New York Cultural Center in cooperation with Farleigh Dickinson University, Madison, New Jersey, New York, US Art in the Mind, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, US 18 Paris IV 70, 66 rue Mouffetard, Paris, FR Umwelt - Akzente / Die Expansion der Kunst, Kunstkreis Monschau, Monschau, DE Using Walls, The Jewish Museum, New York, US Concept Art, Arte Povera, Land Art, Galleria Civica d'Arte Moderna, Torino, IT 3rd Salon International des Galeries Pilots: Artistes et Découvereures de Notre Temps, Musée Cantonale des Beaux - Arts, Lausanne, CH; Musée d'Art Moderne de la Ville de Paris, Paris, FR Summer Show, Studio International, London, UK Information, Museum of Modern Art, New York Summer, Art & Project, Amsterdam, NL Software, The Jewish Museum, New York, US; The Smithsonian Institution, Washington D.C, US American Drawings, Yvon Lambert, Paris, FR Halifax Conference, Nova Scotia College of Art and Design, Halifax, CA 3 - 00; New Multiple Art, Whitechapel Art Gallery, London, UK Identifications, Fernsehgalerie Gerry Schum, Hannover, DE Beached, presentation Nirvana Exhibition, Kyoto Municipal Museum of Fine Art, Kyoto, JP Huebler, Antin, Salvo, Weiner, Galerie Sperone, IT

About Michelle Stuart Since the 1970s, Michelle Stuart has been internationally recognized for innovative works that synthesize Land Art, drawing, sculpture, and photography.

Widely recognized as one of the very few female pioneers of Land Art, Stuart is known for her nature - based art dating to the late 1960s and 197Art, Stuart is known for her nature - based art dating to the late 1960s and 197art dating to the late 1960s and 1970s.

1991 Telekinesis, curated by Patrick Painter, Mincher / Wilcox Gallery, San Francisco, California, US 20th Century Collage, Margo Leavin Gallery, Los Angeles, California, US Children in Crisis, Lorence Monk Gallery, New York, US The Readymade Boomerang (Print Portfolio), DAAD Galerie, Berlin, DE L'Art Se Porte Bien, Confort Moderne, Poitiers, FR Metamemphis 1991, Galerie Tanit, Cologne, DE Arte Fiera» 91, Mostra Mercato Internazionale d'Arte Contemporanea Bologna, IT Saga 91, Eric Linard Editions, Grand Palais, Paris, FR The Political Arm, John Weber Gallery, New York, US The Collection of Jason Rubell, Duke University Museum of Art, Durham, North Carolina, US Group Show, Daniel Newburg Gallery, New York, US Poet's Walk (public sculpture), Citicorp Plaza, Los Angeles, California, US The Fetish of Knowledge, Real Art Ways, Hartford, Conneticut, US Artists» Sketchbooks, Matthew Marks, New York, US Solaris, Mai 36 Galerie, Lucerne, CH Tokyo Art Expo, Harumi New Hall, Tokyo International Trade Center, Tokyo, JP Audio Arts, Wiens Laden & Verlag, Berlin, DE Blast Art Benefit, The X-Art Foundation Inc., New York, US Designated Space, Museum Dhondt - Dhaenens, Deurle, BE Franklin Furnace's 15th Anniversary Art Sale, Marian Goodman Gallery, New York, US This Land..., Marian Goodman Gallery, New York, US Tre Opera / 1965 -1975, Primo Piano, Rome, IT Inheritance and Transformation, The Irish Museum of Modern Art, Dublin, IR Tabula Rasa, Biel / Bienne, CH Für die Stimme, Wiens Laden & Verlag, Berlin, DE Group Show, Galerie Edouard Merino, Palais Albany, Monte Carlo, FR Learn to Read Art - An Exhibition of Artists» Books and Multiples From the Permanent Collection of Art Metropole, Basel Art Fair, Basel, CH Multipels en Andere Multipels, De Warande, Turnhout, NL Beyond the Frame / American Art 1960 - 1990, Setagaya Art Museum, Tokyo, JP; The National Museum of Art, Osaka, JP; Fukuoka Art Museum, Fukuoka, JP Metamemphis Exposition, Kunstlerkolonie Museum, Darmstadt, DE Summer Group Exhibition 1991, Leo Castelli Gallery, New York, US A View From The Sixties: Selections from the Leo Castelli and the Michael and Ileanna Sonnabend Collection, Guild Hall Museum, East Hampton, New York, US Artists» Books from A to B: Contemporary Artists» Books, A Center for Book Arts Exhibition, New York, US Group Show, Neues Museum Weserburg Bremen, Bremen, DE Books by Artists, Imschoot, Uitgevers, The Archives, Documentatie / Informatie Hedendaagse Beeldendekunst, Gent, BE Art for Children's Survival, Unicef Auction at Sotheby's, New York, US Topographie I, Wiener Festwochen, Vienna., AT Collage of the Twentieth Century, Musee d'Art Moderne et d'Art Contemporain, Nice, FR Group Show, Galerie Pietro Sparta, Chagny, FR Aussenraum - Innenstadt, Sprengel Museum, Hannover, DE Les Couleurs de l'Argent, Musee de la Poste, Paris, FR Act - Up Benefit, Matthew Marks Gallery and Paula Cooper Gallery, New York, US Jorge Luis Borges, ICA / Amsterdam, NL Wanderlieder, Stedelijk Museum, Amsterdam, NL Group Show, Holly Solomon Gallery, NL Tattoo Collection, Air de Paris X-Mas Show, Nice, FR Arte Americana 1930 - 1970, Lingotto, Torino, IT 1969, Daniel Newburg Gallery, New York, US

Arguably the most novel form of 20th century public art, Land Art is exemplified by the monumental earthworks, such as Spiral Jetty created in Utah (1970) by Robert Smithson, and the encirclement of eleven Florida islands in pink fabric (1983) by Christo and Jeanne - Claude (b. 193art, Land Art is exemplified by the monumental earthworks, such as Spiral Jetty created in Utah (1970) by Robert Smithson, and the encirclement of eleven Florida islands in pink fabric (1983) by Christo and Jeanne - Claude (b. 193Art is exemplified by the monumental earthworks, such as Spiral Jetty created in Utah (1970) by Robert Smithson, and the encirclement of eleven Florida islands in pink fabric (1983) by Christo and Jeanne - Claude (b. 1935).

About The Artist Ruby Neri (b. 1970, San Francisco) has participated in numerous exhibitions, including most recently Villa of Mysteries, Los Angeles Museum of Art (2016); Napa Valley Collects, Napa Valley Museum, Yountville, California (2016); NO MAN»S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami (2015); Fertile Ground: Art and Community in California, Oakland Museum of California in collaboration with the San Francisco Museum of Modern Art (2014); The Oracle, The Underground Museum, Los Angeles (2014); Energy That is All Around: Mission School, Grey Art Gallery, New York University, and San Francisco Art Institute (2013 - 14); The Possible, Berkeley Art Museum and Pacific Film Archive, University of California (2014); Busted, High Line Art, New York (2013); and Made in L.A. 2012, Hammer Museum, Los Angeles (2012).

Since the 1970's, Kaltenbach's work has been included in many conceptual art surveys including «1965 - 1975: Reconsidering The Object As Art ``, Museum of Contemporary Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (201art surveys including «1965 - 1975: Reconsidering The Object As Art ``, Museum of Contemporary Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (201Art ``, Museum of Contemporary Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (201Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (201Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (201Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (201Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (201Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (2013).

Group exhibitions include Conceptual Art, Arte Povera, Land Art, Galleria Civica d'Arte Moderna, Turin (1970); documenta 6, Kassel (1977); Biennale di Venezia (Venice), 2007; When Attitudes Became Form: Bern 1969 / Venice 2013, Fondazione Prada, Ca» Corner della Regina, Venice (2013).

Since the 1970's, Kaltenbach's work has been included in many conceptual art surveys including «1965 - 1975: Reconsidering The Object As Art ``, Museum of Contemporary Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201art surveys including «1965 - 1975: Reconsidering The Object As Art ``, Museum of Contemporary Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201Art ``, Museum of Contemporary Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201Art to 1974», MOCA, Los Angeles (2012), «When Attitudes Become Form: Bern 1969 / Venice 2013», Prada, Venice, Italy (2013), and «Materializing «Six Years»: Lucy R. Lippard and the Emergence of Conceptual Art», Brooklyn Museum (201Art», Brooklyn Museum (2013).

One of only a few women associated with the land art movement of the 1970s, Michelle Stuart has also had an abiding interest in photography.

This restaging offers an opportunity to consider the photographs both in the context of the newly central role photography was playing in 1970s contemporary art as well as in relation to the period's prevailing cultural concerns, such as land use, national identity, environmentalism, and nostalgia.

In the 1970s, Judd acquired a number of massive buildings and tracts of land in Marfa, Tex., where he established the Chinati Foundation, which exhibits his own works and those of other minimalists, as well as related art.

Morris has organized several exhibitions that explored issues related to feminism and its impact as a social, political, and intellectual construct on the development of visual culture — among them Decoys, Complexes and Triggers: Feminism and Land Art in the 1970s at the Sculpture Center, Long Island City, New York, and Gloria and Regarding Gloria at White Columns, New York.

Smithson's Spiral Jetty (1970), a huge spiral of rock and salt crystal in the Great Salt Lake, Utah, is a characteristic example of the land art form.

For the public symposium held on November 19, 2016, in conjunction with the exhibition Los Angeles to New York: Dwan Gallery, 1959 — 1971 at the National Gallery of Art, Emily Taub Webb explores the contributions that Dwan Gallery made to site - oriented practices — including minimalism, conceptual art, and land art — through close analysis of several exhibitions held between 1967 and 19Art, Emily Taub Webb explores the contributions that Dwan Gallery made to site - oriented practices — including minimalism, conceptual art, and land art — through close analysis of several exhibitions held between 1967 and 19art, and land art — through close analysis of several exhibitions held between 1967 and 19art — through close analysis of several exhibitions held between 1967 and 1970.