Size is real. Scale is imagined size.
Gagosian New York is pleased to present the work of legendary sculptor Michael Heizer. Heizer’s first exhibition with the gallery comprises rarely or never-before-seen early paintings, the Altar series of new monumental steel sculptures, and negative wall sculptures featuring metamorphic and igneous rocks.
Working largely outside the confines of gallery and museum, Heizer has redefined sculpture in terms of size, mass, gesture, and process. In the late 1960s, he relocated to New York, while continuing to travel and live in the open terrain of the American West, where he has since created awe-inspiring land artworks. Heizer draws on both ancient and contemporary architecture and art, cultivating tons of materials, including dirt, rock, and steel, in his quest to create a “permanent American art.” These influences are present in City, the vast land sculpture in Nevada that he has been building continuously since 1972. North, East, South, West, which he first executed in the Sierra Nevada mountains in 1967 and finally resolved at Dia:Beacon in 2002, comprises four geometric depressions, each sinking twenty feet below the ground. Double Negative (1969–70), a pair of cuts fifty feet deep in facing cliff edges of Mormon Mesa in Nevada, was made by displacing 240,000 tons of sandstone and rhyolite.
The shaped canvases from the 1960s and 1970s demonstrate Heizer’s early exploration of positive and negative forms; such harmonies of presence and absence, matter and space, are essential to his art. In Trapezoid Painting (1966) and Track Painting (1967), he emphasizes the perimeters of raw canvases by painting them black, while the white interiors are perceived as negative spaces. These hard-edged “displacement paintings” parallel the immense geometries he achieves when moving earth. The slate gray contours of U Painting (1975), for example, anticipate the shapes of the depressions and angular mounds later created in City.
In works that he describes as “negative wall sculptures,” Heizer harnesses the beauty and bulk of rock and mineral specimens, such as the 10-by-12-inch Blue Diorite (1981) that sits 14 inches deep into a wall; Asteroid (c. 2000), a cinnamon-hued 12-ton ore rock; and Potato Chip (2015), an 18-ton granite monolith. Such sculptures find their origins in Displaced Replaced Mass (1969), the artist’s first negative sculpture, which was prompted by his desire to “create an absence and then refill the same void.” Here, the rocks are edged into rectangular cavities cut into the gallery walls, creating a tension between viewer, nature, and architecture that Heizer epitomized with Levitated Mass, the granite megalith perched above a sloping concrete trench through which viewers pass, on permanent view at the Los Angeles County Museum of Art since 2012.
Altar 1, Altar 2, and Altar 3 (all 2015) are tiered steel platforms measuring up to 40 feet by 40 feet, each of which presents curvilinear coated steel elements that lean dynamically and at contrasting angles. Echoing his Chaotic Geometric Sculptures of the late 1980s, many of Heizer’s latest sculptures are delineated by taped and stenciled lines around their perimeters; the surfaces are grounds for silkscreened, fragmented black-and-white images derived from the artist’s photographs and drawings. The massive forms—which he conceived three decades ago and only recently completed at this scale—are inspired by a range of pictographic influences, from ancient rock carvings to the cryptic icons of cattle branding. By unifying the images and architecture of different cultures and eras, Heizer strives to create a resonant art for a pluralistic world.
A fully illustrated catalogue with an essay by curator and art historian Ruth Fine and a conversation between Heizer and Gagosian director Kara Vander Weg is forthcoming.
Michael Heizer: Altars
Kara Vander Weg takes us through the artist’s 2015 Altars exhibition.
Gwen Allen recounts her discovery of cutting-edge artists’ magazines from the 1960s and 1970s and explores the roots and implications of these singular publications.
Gagosian Quarterly Fall 2019
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Intimate Grandeur: Glenstone Museum
Paul Goldberger tracks the evolution of Mitchell and Emily Rales’s Glenstone Museum in Potomac, Maryland. Set amid 230 acres of pristine landscape and housing a world-class collection of modern and contemporary art, this graceful complex of pavilions, designed by architects Thomas Phifer and Partners, opened to the public in the fall of 2018.
Gagosian Quarterly Spring 2019
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
Behind the Art
Michael Heizer: New Paintings and Sculpture
Michael Heizer’s impressive installation at Gagosian Beverly Hills features new paintings that deny the conventional rectangular or square confines of the canvas, alongside negative wall sculptures, known for their size, raw materials, and ability to awe viewers.