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 first book devoted solely to Bruce Nauman’s corridors and other architectural installations, Bruce Nauman: Spatial Encounters deftly explores the significance of these works in the development of his singular art practice, examining them in the context of the period and in relation to other artists like Dan Graham, Robert Morris, Paul Kos, and James Turrell. Designed for viewer participation, Bruce Nauman’s architectural installations often confound expectations and induce physical and psychological unease. The essays in this book consider these works, which begin in 1969 and continue into the 1970s and beyond, in terms of the physical, perceptual, and psychological pressures they exert on the participant. Three interlocking perspectives on the topic—Constance M. Lewallen’s historical overview, Dore Bowen’s case study of Nauman’s 1970 Corridor Installation with Mirror—San Jose Installation (Double Wedge Corridor with Mirror), and a supplementary essay by Ted Mann on Nauman’s drawings—provide a comprehensive and in-depth approach. The book coincides with the major retrospective exhibition Bruce Nauman: Disappearing Acts at the Schaulager Museum, Basel, Switzerland (March 17–August 26, 2018) and the Museum of Modern Art and MoMA PS1, New York (October 21, 2018–March 17, 2019).

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.