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Artists Michael Heizer

Michael Heizer

American Land and Enviromental Artist

Movements: Land Art, Environmental Art

Born: November 4, 1944 - Berkeley, California

Quotes

"There are works of art that can be considered works of art but don't have to be in the collection of the Metropolitan Museum."
Michael Heizer
"I'm a quiet man. I just want to make art."
Michael Heizer
"I think earth is the material with the most potential because it is the original source material."
Michael Heizer
"With size you get space and atmosphere: atmosphere becomes volume. You stand in the shape, in the zone."
Michael Heizer
"If you've even been in a field of alfalfa with the meadowlarks and the rabbits and the kingbirds, well, that's a God moment. You haven't lived until then. It's what has kept me alive."
Michael Heizer
"I'm building this work for later. I'm interested in making a work of art that will represent all the civilization to this point."
Michael Heizer
"There is nothing there, yet it is still a sculpture."
Michael Heizer
"Immense, architecturally sized sculpture creates both the object and the atmosphere."
Michael Heizer
"I'm an artist. I don't work with drawings or models. This is a creative process. It's an act of faith."
Michael Heizer
"It is interesting to build a sculpture that attempts to create an atmosphere of awe. Small works are said to do this but it is not my experience. Immense, architecturally sized sculpture creates both the object and the atmosphere. Awe is a state of mind equivalent to religious experience, I think if people feel commitment they feel something has been transcended."
Michael Heizer
"If you want to see the Pieta, you go to Italy. To see the Great Wall, you go to China. My work isn't conceptual art, it's sculpture. You just have to go see it."
Michael Heizer

"As long as you're going to make a sculpture, why not make one that competes with a 747, or the Empire State Building, or the Golden Gate Bridge."

Synopsis

Michael Heizer brought the childhood fascination of 'playing in the sand' to entirely new levels! His large-scale sculptures, set in specific environments so as to create dialogue with the land, helped pioneer Earth or Land art, a distinctly American art movement of the late 1960s and early 1970s. Shunning the commercial art market and its product, Heizer took the art experience out of the austere gallery setting and placed it synergistically in the landscape, using the earth as his medium and canvas. A location-scouter par excellence, Heizer is an early proponent of the concept of site-specificity, which becomes key to later postmodern artists involved in installation and public art. Along with Walter de Maria, Robert Smithson, and others, Heizer's pioneering work coincided with and perhaps gave momentum to the larger social and political environmental movement in the United States, with its ethic of environmental restoration, preservation, and consciousness. Like Earth Day, Earth art is very much a product of its time.

Key Ideas

Heizer's innovation comes with his rejection of traditional understandings of sculpture, where volume or mass is manipulated at the hands of a virtuoso carver or welder. In Heizer's work, volume is an absence rather than a presence, a void usually left as a result of displacement. Thus, he invites us to contemplate space, land, and our relationship to it.
While Heizer's projects are ambitious and grand in scale, the results are often subtle and poetic. He re-introduces nineteenth century Romantic art's interest in the sublime, where contemplation of the infinite leads to feelings of transcendence. These metaphysical aspects, coupled with the artist's secluded, modest life, also echo Eastern philosophies - of interest to many in his generation.
While viewers are familiar with geometric forms and the play of volume and interpenetrating space from earlier modernist sculpture, Heizer is first to magnify and superimpose those concerns on the land. Likewise, while artists had been idealizing geometry for millennia, none had previously imposed geometry at such a scale into the organic landscape.
In offering a measure of perceptual disorientation, disequilibrium, and optical illusion through his sculptural environments, Heizer spoke metaphorically about our relationship to the land, raising environmental consciousness.
By surrendering control to the elements, letting his work decay and disappear, Heizer helped to usher in the idea of impermanence as an aesthetic choice. His short-lived projects emphasized time and duration, very much in common with the concurrent ideas in Happenings and Performance Art.

Most Important Art

North, East, South, West (1967/2002)
The original 1967 version of this sculpture marks Heizer's first experiment with Earth art. Adapting the geometric paintings he had been working on in New York into three dimensions, Heizer effectively began using the land as his canvas. He excavated a cube and a cone shape out of the Sierra Nevada Mountains, each four feet across and four feet deep. He was interested in the potential impact of the negative space created by the displaced gravel. In essence, Heizer was experimenting with a new kind of sculpture made of air, where the artist is merely a facilitator or 'framer' of what is already there in nature. Modest and somewhat metaphysical, this experiment represented a pivotal turn in his early career, though this particular work remained unfinished.

Thirty-five years later, Heizer was commissioned to re-create North, East, South, West as a permanent, indoor installation. The new version features four geometric recesses or depressions in the gallery floor: again a cube to represent the North, a cone to represent the South, a triangular trough representing West, and an inverted, truncated cone for East. When measured together, their total length is now an impressive 125 feet. Furthermore, each depression now falls 20 feet below the gallery floor, which is where the shape may be fully observed.

This artwork contrasts traditional understandings of sculpture, where volume or mass are the focus. In Heizer's work, the volume is an absence rather than a presence. By 'framing the emptiness,' the artist invites us to contemplate, or even meditate on very earth we walk upon. Viewers are encouraged to gaze upon and consider the void left by the displaced earth, but only with their eyes. The switch in perception might be understood as a metaphor for human humility and greater environmental sensitivity, in keeping with his sympathies for both Eastern philosophy and the environmental movement.
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Michael Heizer Artworks in Focus:

Biography

Early Years

Michael Heizer Biography

Michael Madden Heizer was born on November 4, 1944 in Berkeley, California, where he lived for most of his childhood. His parents were Robert Heizer and Nancy Elizabeth Jenkins. Making structures always came naturally to Heizer, and he began creating small-scale cities at the age of six. Out on the school yard, he used found objects, cans, glass, and rocks and built a small city on a nearby hill. The school's janitor destroyed Heizer's structure, but the principal recognized the young sculptor's potential and allowed him to rebuild.

Heizer's father Robert was a prominent archaeologist and professor at UC Berkeley who became internationally recognized for his study of the early cultures of the Americas. He was a solitary figure, addicted to his work - as Heizer would become. As a child, Heizer accompanied his father on archeological expeditions to Mexico City, Bolivia, and Peru, and was greatly inspired. He never finished high school, dropping out after a year abroad in France. Heizer admits he was a "straight F student anyway," with few friends, and little interest in sports. Both of Heizer's grandfathers were also involved in excavation; one was a chief geologist and the other ran the largest tungsten mining operation in Nevada. Thus, in line with family tradition, Heizer would return to work with the rocks of Nevada later in life.

Middle Period

Michael Heizer Photo

Heizer studied at the San Francisco Art Institute from 1963 to 1964 and began producing geometric paintings there. In 1966, he moved to New York City where he lived paycheck-to-paycheck, painting buildings for a living. One of his clients was artist Walter de Maria, and the two became friends. Heizer also befriended Carl Andre, Dan Flavin, Tony Smith, and Frank Stella, all of whom he admired, both for their aesthetic and their tough attitude. All of these artists were concerned with geometry, abstract reduction, and elementary forms. Heizer and de Maria began collaborating on ideas that would become the foundation of Land or Earth art. Through these new ideas, they sought to use the earth as the primary medium, and indeed would go on to create work far from the confines of studios and galleries.

Heizer lived in SoHo at the time and continued working on small-scale paintings, carving geometric shapes out of his canvases. In 1968 he and de Maria were a part of an "Earthworks" show at Virginia Dwan's gallery. Heizer was sensitive, trying to find his way in the art world. He eventually found that neither the gallery scene nor New York were conducive for the type of art he wanted to create. He subsequently moved back west and landed in Nevada, where he began working on the type of large-scale works for which he would become known and which would consume his life.

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Michael Heizer Biography Continues

Gallery owner Virginia Dawn financially supported Heizer's first major work in the desert, Double Negative. She also purchased the first parcels of land for his project The City. Michael moved onto that land and into a small trailer where he lived with his wife Barbara. Sometimes the desert would encroach and he would be stuck inside his trailer for months because of the overgrowth on his trail. Living remotely as he did, the only other signs of life were the occasional pick-up truck passing by and his one assistant. Michael shunned media attention and was seen by his peers as a recluse, but he preferred it that way. He referred to himself as "self-entertaining," a person who didn't need friends or critics to provide feedback. He regarded his own piece Double Negative as the most incredible sculpture he had ever seen. With such confidence, Heizer believed that he had started a revolution with Land Art. He eventually came to believe that others who had followed his lead, like artist Robert Smithson, had stolen his ideas and his glory (he called Smithson a "high-speed hustler.") Heizer realized that his solitude kept him from the limelight and the credit he felt he deserved, but he preferred his lifestyle to the "frivolous" parties and gallery shows in New York City and Los Angeles. Over the years, he lost friends and further isolated himself on his ranch. Those who remained by his side admired his focus, grit, and eccentricity.

Later Years

Michael Heizer Portrait

In 1995, Michael was working on The City for 12 hours a day. He thought he was invincible; he hadn't visited a doctor or dentist in over twenty years. Suddenly, his hands and feet began to hurt and he thought he might have frostbite from working long hours in the cold. When the pain increased, he finally visited a doctor who simply prescribed Tylenol along with less drinking and smoking. When the condition persisted, he flew urgently to see another doctor in New York City. On the way, he collapsed and nearly died. Heizer was diagnosed with a neurological disorder called polyneuropathy, which causes progressive loss of the use of his hands. He spent the next four months in the hospital. Being forced to be sedentary was difficult for Heizer. His morale plummeted and he decided he wanted to halt work on City and have what was left destroyed. However, his loyal following of collectors and foundations recognized the value of the project and contributed the necessary funds and the encouragement to allow Heizer to continue his work.

After recovering, Heizer returned to his ranch and continued his work, hunkering down and investing all of his energy into his projects. The City remained the most demanding project, but he undertook other pieces as well. In subsequent years, he continued a life of isolated work, accompanied only by his second wife and former assistant, Mary Shanahan. Together they raised cattle and buffalo, and grew alfalfa. Just as Heizer was finishing his epic City in 2015, he and Mary split, and he has been living and working in the Nevada desert with only his dog, Tomato Rose, by his side. He has explained that once the work is finally complete, he plans on getting back to the studio to paint.


Legacy

Michael Heizer was one of the first American artists to move art outdoors. Along with Richard Long, Walter de Maria, Nancy Holt and Robert Smithson, he pioneered the genre of Land art or Earth art. His use of the earth as both material and setting, along with his massive scale, paved the way for younger artists such as James Turrell, Andy Goldsworthy and Maya Lin.

Heizer created and built upon the concepts of the "un-sculpture," "negative sculpture," or "sculpture in reverse," where large-scale negative spaces became the significant focus in a piece. Artists such as Colombian Doris Salcedo, Gordon Matta-Clark, and Rachel Whiteread have followed in these footsteps, working with the negative space aspects of large-scale installations. Heizer effectively added "negation, duration, and decay" to the vocabulary of sculpture and art. He pushed the envelope with his ambitious scale and long project timelines, inspiring artists like Jeanne-Claude and Christo to conceive of ever-larger works and new thresholds of persistence, in order to realize artistic vision. As a most unique individual in America culture, Heizer provides a latter-day model for an artist's 'American Dream' and 'Manifest Destiny,' where the heroic will of a self-reliant individual may fulfill any vision and achieve the highest triumph.

Influences and Connections

Influences on artist

Artists, Friends, Movements

Influenced by artist

Artists, Friends, Movements

Michael Heizer
Interactive chart with Michael Heizer's main influences, and the people and ideas that the artist influenced in turn.
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View Influences Chart

Artists

Walter de Maria
Tony Smith
Carl Andre
Henry Moore
Barbara Hepworth

Friends

Heiner Friedrich
Virginia Dwan

Movements

Minimalism
Modern Sculpture
Michael Heizer
Michael Heizer
Years Worked: 1960s - Present

Artists

James Turrell
Robert Smithson
Maya Lin
Richard Serra
Andy Goldsworthy

Friends

Richard Bellamy
Sam Wagstaff

Movements

Land Art
Environmental Art

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Useful Resources on Michael Heizer

Books
Websites
Articles
More
The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
written by artist
Sculpture in Reverse

By Michael Heizer and Julia Brown

Michael Heizer

By Michael Heizer

artworks
Michael Heizer: Alters

By Ruth Fine

Effigy Tumuli: The Reemergence of Ancient Mound Building

By Douglas C. McGill

Double Negative

Information on artist, works, and movement

Art's Last Lonely Cowboy

By Michael Kimmelman
Feb. 6, 2005

Michael Heizer's calling is set in stone

By Jori Finkel
May 25, 2012

Review: LACMA's new hunk 'Levitated Mass' has some substance

By Christopher Knight
June 22, 2012

Art That Puts You in a Man-Made Crater

By Andy Battaglia
March 25, 2016

More Interesting Articles about Michael Heizer
interviews
Michael Heizer

By Heiner Friedrich
3/24/16

Greg.org: the making of

By Greg Allen
April 1, 2016

films
Levitated Mass

Directed by Doug Pray
2013

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