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Walter De Maria’s ‘The 2000 Sculpture’ at LACMA’s Resnick Exhibition Pavilion, where it will go on display for six months starting Oct. 1. (Collection Walter A. Bechter Foundation / LACMA)

Walter De Maria’s “The 2000 Sculpture,” an expansive array of plaster rods laid out in 20 rows 164 feet long, will have the floor, literally, for six months at the Los Angeles County Museum of Art’s Resnick Exhibition Pavilion, starting Oct. 1.

The work may not be familiar to LACMA’s public, but the surroundings are familiar to the work, which occupied the same spot during the summer of 2010, when curators used “The 2000 Sculpture” to help fine-tune the new venue before its opening that fall.

“The sculpture provides an ideal way to test the Resnick Pavilion’s capacity to deal with large-scale work in the context of its architecture,” is how museum director Michael Govan put it at the time, in a post on LACMA’s “Unframed” blog. “The installation of a monumental work as we acclimate this building gives us the chance to test new strategies in anticipation of future projects where we may choose to use the entire space for major installations.”


Mike Boehm
LA Times


The Dia Art Foundation is hoping to raise $1.1m by the end of next month to protect 6,000 acres of land surrounding Walter De Maria’s land art installation Lightning Field.

The money will be used to pay a ranching family in western New Mexico, who own the land, for the right to restrict real estate and industrial development. This would create a three-mile radius around the installation. The restrictions on the property will bind all future landowners and become part of the chain of title for the estate.

According to Laura Raicovich, deputy director at the foundation: “The experience of Lightning Field depends upon the isolation of the site, and we’d like to preserve the setting for future generations.” She says the organisation has raised $900,000 to date, including $500,000 committed by the State of New Mexico, and says she is confident they will reach their goal by the official deadline in June.

Commissioned and maintained by the Dia, De Maria’s land sculpture consists of 400 polished stainless steel poles installed in a rectangular grid measuring 1.6km by 1km. The work is situated in an unpopulated area about four hours outside of Albuquerque, and is designed for viewers to observe the effects of meteorological phenomena on the installation over time. Visitation is strictly monitored to only six people per day, and reservations must be made months in advance through written correspondence. Since Lightning Field was completed in 1977, nearly 13,000 visitors have visited the site.

The Dia is currently in the midst of another preservation campaign for a land art installation in their permanent collection, Robert Smithson’s Spiral Jetty. The State of Utah will decide this month whether to permit oil drilling near the site.

The Art Newspaper