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Sean J Patrick Carney on Land art and American entropy
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Hit the Road With These 4 Unforgettable Land Art Road Trips, From a Visit to the Lightning Field to a Cruise Through the Ghost Ranch
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On the shore of Utah s Great Salt Lake, a strange, almost-supernatural coil 1,500 feet long and 15 feet wide can be seen. Its form seems cosmic, but its origins are entirely human. It is probably one of the most well-known land artworks to date: Robert Smithson s Spiral Jetty. Consisting primarily of black basalt rocks and salt crystals (as the lake is aptly named), this work changes with the water levels and will be experienced differently depending on the time of day. You can even view this work from the airplane if you are flying into Salt Lake airport. Spiral Jetty is one of many monumental works of art that started cropping up in the 1960s and 70s. Artist of the Land Art movement were using nature not only as a source of inspiration, but as a part of the artwork itself. Some of these works are temporary and others are permanent but what unites each of them is their use of the environment around them within their work.
Julie Mehretu
Until 8 August at the Whitney Museum of American Art, 99 Gansevoort Street, Manhattan
Julie Mehretu’s massive mid-career survey which has travelled from the Los Angeles County Museum of Art includes more than 70 paintings and works on paper that date from 1996 to today. It offers a chance for viewers to track the progression of Mehretu’s style from early pieces that focus more heavily on mapping and drawing to her sprawling abstractions with innumerable layers of visual information. Some of the most recent works on view also smartly deal with contemporary social issues, as the process begins with photographs one started with police in riot gear following the killing of Michael Brown, for example, while another began with images of climate change-related firescapes. These images are then blurred and erased beyond recognition before paint and other materials are stacked on, and are then sanded and erased, creating a pentimento surface where older layers peer through
Dawoud Bey: An American Project
Until 3 October at the Whitney Museum of American Art, 99 Gansevoort St, Manhattan
The US photographer Dawoud Bey has been preoccupied with conveying and documenting the history of the African American experience for more than four decades. This travelling retrospective begins with the artist’s first series of street photography in Harlem in 1975 and ends with his 2017 nocturnal landscapes called Night Coming Tenderly Black, where he set out to visualise the path of fugitive slaves escaping under the cover of darkness to freedom on the Underground Railroad in Ohio. Among the highlights, Bey’s
Class Pictures series (2001-2006) features colour portraits of high school students taken during various artist residencies at different museums around the country. His mission, in part, has for many years been to facilitate accessibility. “It’s a way of getting the museum as an institution to engage in an expanded conversation and to reconsider just
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