Michael Heizer
17 Jul 2012 - 24 Feb 2013
MICHAEL HEIZER
Actual Size
17 July 2012 – 24 February 2013
Michael Heizer’s ambitious, large-scale projects are often difficult to realize and just as difficult to document. In the documentation of his own work and of natural sites, the artist took a radical approach, creating photographs and projections scaled back up to actual size.
In the Resnick Pavilion, and shown for the first time in more than three decades, Actual Size: Munich Rotary (1971) uses six custom film projectors to exhibit six spliced images at the original actual size of the artist’s 1969 negative sculpture, Munich Depression, built in the outskirts of Munich, Germany—a depression measuring one hundred feet in diameter by sixteen feet deep which displaced 1,000 tons of rock and earth.
Installed in BCAM is Michael Heizer: Actual Size, a series of fifteen individual photographic prints from 1970 of actual size monolithic rocks. Taken together, Levitated Mass and these installations make a statement about humanity that is both sweeping in scope and specific to our time. “We live in a world that’s technological and primordial simultaneously,” Heizer has said. “I guess the idea is to make art that reflects this premise.”
Actual Size
17 July 2012 – 24 February 2013
Michael Heizer’s ambitious, large-scale projects are often difficult to realize and just as difficult to document. In the documentation of his own work and of natural sites, the artist took a radical approach, creating photographs and projections scaled back up to actual size.
In the Resnick Pavilion, and shown for the first time in more than three decades, Actual Size: Munich Rotary (1971) uses six custom film projectors to exhibit six spliced images at the original actual size of the artist’s 1969 negative sculpture, Munich Depression, built in the outskirts of Munich, Germany—a depression measuring one hundred feet in diameter by sixteen feet deep which displaced 1,000 tons of rock and earth.
Installed in BCAM is Michael Heizer: Actual Size, a series of fifteen individual photographic prints from 1970 of actual size monolithic rocks. Taken together, Levitated Mass and these installations make a statement about humanity that is both sweeping in scope and specific to our time. “We live in a world that’s technological and primordial simultaneously,” Heizer has said. “I guess the idea is to make art that reflects this premise.”