Walter de Maria
American Sculptor and Conceptual Artist
Los Angeles, CA
Summary of Walter de Maria
Walter de Maria bridged multiple movements of artistic practice that blossomed in the 1960s creating interactive sculptural installations and providing conceptual underpinnings to larger-scale sculptural work. In later projects he also connected viewers to nature by either embedding visual elements in nature itself, or by bringing components of nature inside gallery spaces. His most ambitious works were not only physically large-scale but also extreme in terms of exhibition duration - some lasting decades, whether indoors or out, conversely some were exceptionally ephemeral because they were exposed to the elements. His active participation in non-visual musical performances were similarly minimalist and large-scale and helped lay the foundations for later generations of musical performers using those characteristics.
- As an early proponent of Minimalism, de Maria invested heavily in unusually stripped down, fundamental visual forms including everything from simple, yet bold lines to other abstract geometric shapes - channeling his study of the Eastern philosophical emphasis on simplicity.
- Perhaps most significantly, he developed a conceptual approach to earth-based works that both used the landscape as immersive "canvas" in what were exceptionally large-scale projects for his time, and also brought aspects of nature inside to force attention on the viewers' relationship to it in insistent ways that transcended previous representations by other artists.
- He was also influential on generations of the musical avant-garde, drawing on his studies in jazz and leanings toward a stripped down aesthetic to perform and develop intensely minimalist and conceptualist approaches to making sound which influenced composers and performers from La Monte Young to Sonic Youth.
Biography of Walter de Maria
Walter de Maria was born in Albany, California, just across the bay from San Francisco. His parents owned a local restaurant and were socially active in the community, but their son was shy and focused on music as an early creative outlet. He learned to play the piano initially, and then moved on to perform on percussion instruments. He was also fond of cars and sports, which were among the first subjects for his drawings
Important Art by Walter de Maria
This work consisted of two parallel lines drawn with chalk twelve feet apart, extending for one mile in the Mojave Desert in California. It was a simple and temporary piece, and one of the first of de Maria's works associated with the Land art movement, moving beyond the boundaries of gallery-based art as he brought a minimalist ideology outdoors into the landscape. The two dramatic lines focus attention on the characteristics of order, space, time, and measurement, and through this, de Maria began to explore some of the ways that people categorize nature along with the human impulse to make marks in the external world, possibly pointing to the ancient Inca Nazca Lines.
The work also calls attention to the ephemerality of time, as its marks faded with the effects of the natural world. This ephemerality asks viewers to meditate on the reality of their lives as well, where change is constant and nothing remains intact forever. As the Mile Long Drawing disappears into its desert landscape it reflects upon time and memory. It becomes a living artwork revealing multiple meanings as its visual aspects change.
This work consists of three brushed stainless steel sculptures, each approximately 3 feet (1 meter) inwidth and length. The simple geometric forms demonstrate de Maria's earlier interests in minimalist sculptures, and his more conceptually-oriented inspiration fromZen Buddhist thinking. Asian influence was large during the 1960's in American art, as artists sought to transform human consciousness through a religious-like contemplation present in Asian philosophies. The Zen influence permeated the arts scene in many ways with notions of simplicity, sensitivity to nature, and a leaning towards intuition over rationalist knowledge. This particular piece was inspired by the work of a Japanese Zen monk named Sengai Gibon (1750-1837) and his painting Circle, Triangle, and Square in which he attempted to decidedly embody the universe. These three forms have been interpreted as geometries that represent infinity. They are interactive works and are a part of a game experience. They have hollow interiors with metal spheres within and come with instructions that the pieces are, "to disturb the purity of the symbol." This work also represents his involvement in the participatory "happenings" of the 1950's and his interest in task-like projects that were audience-interactive and game-like, proposing an approach to art-viewing that shifted from passive viewer experiences to more socially engaged encounters.
This may be De Maria's most famous work. It is an expansive installation of 400 stainless steel poles placed in a one-mile by one-kilometer grid. The rods are each two inches in diameter but extend upwards at varying heights ranging from 15 feet to 26 feet nine inches, in order to create a perfectly horizontal plane where their pointed tips stop.
This work is a significant piece of the Land art movement of the late 1960's, which began in the Southwestern United States. This piece lives in an obscure desert plain near Quemado, New Mexico, specially selected for its frequent lightning storms and isolation. The work incorporates the natural environment into art in a meaningful way, seeing the land as a critical aspect of the work, not merely a site for it. The locale was scouted precisely for its distance from other signs of human development and its ability to reflect the enormity of the landscape. The work communicates a variety of experiences of being in the landscape, and simultaneously asks individual visitors to meditate on the moment, while contemplating shifts in light and perceptions of time and space in their changing vastness.
The poles were placed outside, rather than in a museum or gallery so the work reveals the significance of the setting, beyond the built, sculptural aspect. The title calls attention to the tantalizing possibility of highly ephemeral illumination from irregularly occurring natural lighting strikes, potentially drawn down from the sky into the field by the rods. It also calls for awareness of the surrounding landscape, and the relationship between art and nature. The earth is an integral part of the artwork and acts as a canvas while also drawing attention to the sky as part of the larger environment, and our relationship to it. Visitors must travel to this remote location in order to view the work, therefore incorporating the journey away from the everyday as part of the experience of the piece, which initiates a total immersion of the senses while creating an unusual degree of intimate encounter with a liberating spirit.
Influences and Connections
Useful Resources on Walter de Maria
- Walter De Maria: Trilogies (Menil Collection)By Joseph Helfenstein, Clare Elliot
- The Lightning Field (Dia Foundation)By Kenneth Baker, Lydia Cooke
- Oral History Interview with Walter De MariaOur PickArchives of American Art / 1972 October 4
- Land Art: Earthworks that Defined Postwar American ArtBy Dana Micucci, Art Antiques
- Under The Radar: The Broken Kilometer, Grand Life
- Walter De Maria, Artist on Grand Scale, Dies at 77Our PickBy Roberta Smith / The New York Times / July 23, 2013
- Walter De Maria's Grand and Gritty HomeOur PickBy Robin Finn / The New York Times / January 31, 2014
- ALONE IN A CROWD: THE SOLITUDE OF WALTER DE MARIA'S NEW YORK EARTH ROOM AND BROKEN KILOMETEROur PickBy Jeffrey Kastner / Afterall: A Journal of Art, Context and Enquiry / Issue 2 (2000), pp. 69-73