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The first career-spanning catalog of the work of Gianfranco Gorgoni, whose iconic photographs established Land Art as one of the major art movements of the twentieth century. For five decades, photographer Gianfranco Gorgoni (1941-2019) built his reputation as the premier documentarian of Land Art in the US and beyond. After leaving Italy, Gorgoni started making portraits of the major artists of the New York scene, including Michael Heizer, Robert Smithson, Nancy Holt, Walter De Maria, Carl Andre, and Richard Serra. It was not long before he was traveling with Heizer, Smithson, and De Maria to the American West in the late 1960s to plot the works that would famously break art practice out of the confines of the gallery world. In Nevada, New Mexico, and Utah, these artists embarked on major Land Art installations that would redefine contemporary art practice of the era. In many cases, Gorgoni was the only photographer on the ground to document their projects, and his images often serve as the definitive photographic record of the planning and creation of these groundbreaking works. Published to coincide with the first major exhibition of Gorgoni's photographic Land Art images at the Nevada Museum of Art, featuring over fifty of his large-scale photographs, Gianfranco Gorgoni: Land Art Photographs includes an introduction by Ann M. Wolfe, Andrea and John C. Deane Family senior curator and deputy director at the Nevada Museum of Art, an essay by the late art historian and critic Germano Celant, whose contribution here is among the last he wrote before his death in 2020, and William L. Fox, the Peter E. Pool Director of the Center for Art + Environment. A landmark collection of photographs of legendary and lesser-known works by Michael Heizer, Walter De Maria, Christo and Jeanne-Claude, Richard Serra, Robert Smithson, Ugo Rondinone, and Charles Ross, Gianfranco Gorgoni: Land Art Photographs is a major new assessment of one of the world's great art movements.
This volume features the work of Dan Flavin, Sol Lewitt, Carl Andre, Robert Morris, Robert Smithson, Richard Serra, Keith Sonnier, Bruce Nauman, Joseph Beuys, Mario Merz, Walter de Maria, and Michael Heizer.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
The most comprehensive account available of Michael Heizer's art by a writer and curator who has critical experience with the artist and his work. Michael Heizer is among the greatest, and often least accessible, American artists. As one of the last living figures who launched the Land Art movement, his legacy of works that are literally and metaphorically monumental has an incalculable influence on the world of sculpture and environmental art. But his seclusion in the remote Nevada desert, as well as his notorious obduracy, have resulted in significant gaps in our critical understanding. Michael Heizer: The Once and Future Monuments spans the breadth of Heizer's career, uniquely combining fieldwork, personal narrative, and biographical research to create the first major assessment in years of this titan of American art. Author William L. Fox, founding director of the Center for Art + Environment at the Nevada Museum of Art, has alternately been a sponsor, advocate, and critic of Heizer's work for decades. Fox's understanding of the artist's history and connection to landscape, his time spent with Heizer at the remote ranch where Heizer is finishing his magnum opus--the mile-long sculpture City--and his access to some of Heizer's key associates give him a unique position from which to discuss the artist's work. Fox has also made numerous site visits to Heizer's work--including early pieces in the Nevada desert now largely lost to the elements--to correct the often inconsistent accounts of their locations. Last, Fox imparts a crucial new understanding of Heizer's work by elaborating on the artist's bond with his father, the famed archaeologist and cultural ecologist Robert Heizer, who enlisted his son on important digs in Mexico and Peru, providing the young man with an appreciation of site, landscape, and geology that would thoroughly inform his work. Michael Heizer: The Once and Future Monuments is a long overdue addition to the critical and biographical literature of this major figure in American art.
This book is devoted to the masterpiece earthwork of Robert Smithson.
"In 2008, the Smithsonian American Art Museum acquired the definitive record of Running Fence, Sonoma and Marin Counties, California, 1972 – 76, a major early work by world-renowned artists Christo and Jeanne-Claude. Running Fence, the culmination of 42 months of collaborative efforts, was 24 1⁄2 miles long and 18 feet high, with one end dropping down to the Pacific Ocean. This monumental temporary artwork was made of 240,000 square yards of heavy woven white nylon fabric, 90 miles of steel cable, 2,050 steel poles, 350,000 hooks, and 13,000 earth anchors. Paid for entirely by Christo and Jeanne-Claude, the completed Running Fence existed for only two weeks in September of 1976."--
Key texts on beauty and its revival in contemporary art.
The untimely death of Robert Smithson in 1973 at age 34 robbed postwar American art of an unusually creative practitioner and thinker. Smithson's pioneering earthworks and installations of the 1960s and '70s anticipated concerns with environmentalism and site-specific artistic production. Gary Shapiro's insightful study of Smithson's career is the first book to address the full range of the artist's dazzling virtuosity.
"In the decades following World War II, artists and designers developed the land art movement, consisting of outdoor artworks that can exist only in a specific place. Major works within this genre include Walter De Maria's Lightning Field (1977) located on an isolated high-desert plain in New Mexico; Robert Smithson's Spiral Jetty (1970) in the Great Salt Lake, the concrete cylinders of Nancy Holt's Sun Tunnels (1976), located in the Great Basin Desert in Utah; and other projects that nestle into environments ranging from open fields to concrete cityscapes. These works are typically depicted as they were when originally constructed. Yet their environmental contexts have transformed due to weather, agriculture, climate change, land-use policy, and more. In Second Site, James Nisbet presents the first sustained argument on how to account for the passage of time and environmental change in site-specific artworks, ranging from Richard Serra's Shift (1970)-whose initial small-farm-setting is now a growing exurb of Toronto-to Ant Farm's Cadillac Ranch (1974) and Nancy Holt's Dark Star Park (1984). Nisbet argues for an ecological reading of the artworks' environments, and coins the term "second site" to argue that manmade artworks and non-living things have their own durations but co-exist in the continuous experience of an environment. Any single photograph or experience of a site can provide only one view of an ever-changing existence. Nisbet advocates for new methods of evaluation, conservation, and depiction in order to "read" the content of these sites of time. In doing so, he uses site-specific artworks to help understand what it means for humans and their cultural production to live in an ecologically volatile world"--