{"id":32312,"date":"2014-09-03T14:11:06","date_gmt":"2014-09-03T12:11:06","guid":{"rendered":"https:\/\/magasin3.com\/?post_type=m3_publication&p=32312"},"modified":"2024-07-11T21:05:17","modified_gmt":"2024-07-11T19:05:17","slug":"walter-de-maria-2","status":"publish","type":"m3_publication","link":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/","title":{"rendered":"Walter De Maria"},"content":{"rendered":"\n

CONTENTS:

Prologue by David Neuman<\/strong>, Director Magasin 3 Stockholm Konsthall
Walter De Maria<\/em><\/em><\/em>, essay by Jeanne Silverthorne<\/strong>, American Sculptor<\/p>\n\n\n\n

\n\n\n\n
\n
\n

Exhibition catalogue no 2
No of pages: <\/strong>40, color, illustrated
Binding: <\/strong>soft cover
<\/p>\n<\/div>\n\n\n\n

\n

Language: <\/strong>Swedish and English
Year: <\/strong>1988
Publisher: <\/strong>Magasin 3 Stockholm Konsthall
<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n\n\n\n

EXCERPT:<\/p>\n\n\n\n

Walter De Maria<\/em> <\/em><\/em>by Jeanne Silverthorne<\/p>\n\n\n\n

\n
\n

Time passes and the vision of Walter De Maria\u2019s radical newness fogs over. The context of art is now an object of scrutiny. Charged with certain insensitivities, De Maria is no longer deemed innocent. No artist is. But, as Iris Murdoch says, \u201cWe would like to know what, as moral agents, we have got to do because of logic, what we have got to do because of human nature, and what we can choose to do.\u201d Despite the rigorous logic of De Maria\u2019s pieces, the most interesting aspect of his freely made choices is the way they demonstrate the strictures of \u201chuman nature,\u201d its incorrigibleness. His transgressions are our guilty pleasures, perhaps our guilty necessities. <\/p>\n\n\n\n

An imperialism of the self which subsumes and motivates a spatial and economic imperialism is a common charge levelled against De Maria. Yet, if De Maria leaves his mark for the ages, it is a mark which paradoxically dissolves itself, either perceptually or conceptually. Las Vegas Piece<\/em> (1969) is a barely visible path in the desert. The Lightning Field <\/em>(1977) is poles so thin and scattered as to have no mass and slight legibility. In The Broken Kilometer<\/em> (1979), the glitter of the brass rods tends to efface the floor, making it a glowing mass without definable edges. De Maria insists on the interval, plots exactly the space between each bar, but their aura is like the shimmering net of consciousness \u2013 itself pinpoints of light on a darker continuum, preening a purely delusional seamlessness. Although the kilometer De Maria has in mind is a linear measure, he disports his rods to calculate an area<\/em>, not a line, an area in itself interrupted, broken.<\/p>\n<\/div>\n\n\n\n

\n

On the way to the most famous American earthwork, Robert Smithson\u2019s Spiral Jetty<\/em>, travellers pass the Golden Spike Monument, so called in honor of the last spike, forged in gold, driven into the railroad line that united America\u2019s East and West. De Maria\u2019s The Broken Kilometer<\/em> is a railroad track of golden ties. Contradicting the golden spike, it commemorates the disruption<\/em> of a link between two points, the dispersal of that chain. In the end, it is an immaterial kilometer, an idea, which he implants in the viewer\u2019s mind, as he tries to do also with The Vertical Earth Kilometer <\/em>in Kassel (1977). This \u201cgolden spike\u201d revives the old fiction of reaching China by digging a hole through the center of the earth, a more global connection of East and West. De Maria tries to shove this shaft not so much into the earth as into the viewer\u2019s mind, which cannot accomodate it, cannot really conceive of such depth without the aid of analogy (e.g., it\u2019s five-hundred-fifty fully grown adults standing on each other\u2019s shoulders). Since only the button-like top of the cylinder is visible, we are left with a vague sense of depth, \u201chidden depths\u201d at that. Oddly, this intuition of depth would be weaker were we asked to imagine the kilometer without the rod. The fact that it abides makes its presence palpable, preventing our dismissal of the riddle as too difficult. De Maria shows that without objectification ideas lose their force. (\u2026)<\/p>\n<\/div>\n<\/div>\n","protected":false},"featured_media":100540,"template":"","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"71163,77084,98780,98778,71377,77092","_relevanssi_noindex_reason":"","_links_to":"","_links_to_target":""},"class_list":["post-32312","m3_publication","type-m3_publication","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nWalter De Maria - Magasin III<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Walter De Maria - Magasin III\" \/>\n<meta property=\"og:description\" content=\"CONTENTS: Prologue by David Neuman, Director Magasin 3 Stockholm KonsthallWalter De Maria, essay by Jeanne Silverthorne, American Sculptor Exhibition catalogue no 2No of pages: 40, color, illustratedBinding: soft cover Language: Swedish and EnglishYear: 1988Publisher: Magasin 3 Stockholm ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Magasin III\" \/>\n<meta property=\"article:modified_time\" content=\"2024-07-11T19:05:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cdn.magasin3.com\/uploads\/2014\/09\/52_walter-de-maria_katalog_omslag.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"1500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"4 minutes\" \/>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Walter De Maria - Magasin III","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/","og_locale":"en_US","og_type":"article","og_title":"Walter De Maria - Magasin III","og_description":"CONTENTS: Prologue by David Neuman, Director Magasin 3 Stockholm KonsthallWalter De Maria, essay by Jeanne Silverthorne, American Sculptor Exhibition catalogue no 2No of pages: 40, color, illustratedBinding: soft cover Language: Swedish and EnglishYear: 1988Publisher: Magasin 3 Stockholm ...","og_url":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/","og_site_name":"Magasin III","article_modified_time":"2024-07-11T19:05:17+00:00","og_image":[{"width":1200,"height":1500,"url":"https:\/\/cdn.magasin3.com\/uploads\/2014\/09\/52_walter-de-maria_katalog_omslag.jpg","type":"image\/jpeg"}],"twitter_misc":{"Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/","url":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/","name":"Walter De Maria - Magasin III","isPartOf":{"@id":"https:\/\/www.magasin3.com\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/#primaryimage"},"image":{"@id":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/#primaryimage"},"thumbnailUrl":"https:\/\/cdn.magasin3.com\/uploads\/2014\/09\/52_walter-de-maria_katalog_omslag.jpg","datePublished":"2014-09-03T12:11:06+00:00","dateModified":"2024-07-11T19:05:17+00:00","breadcrumb":{"@id":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/#primaryimage","url":"https:\/\/cdn.magasin3.com\/uploads\/2014\/09\/52_walter-de-maria_katalog_omslag.jpg","contentUrl":"https:\/\/cdn.magasin3.com\/uploads\/2014\/09\/52_walter-de-maria_katalog_omslag.jpg","width":1200,"height":1500},{"@type":"BreadcrumbList","@id":"https:\/\/magasin3.com\/en\/publication\/walter-de-maria-2\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Hem","item":"https:\/\/magasin3.com\/en\/"},{"@type":"ListItem","position":2,"name":"Walter De Maria"}]},{"@type":"WebSite","@id":"https:\/\/www.magasin3.com\/en\/#website","url":"https:\/\/www.magasin3.com\/en\/","name":"Magasin III","description":"Museum for Contemporary Art","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.magasin3.com\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/magasin3.com\/en\/wp-json\/wp\/v2\/m3_publication\/32312","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magasin3.com\/en\/wp-json\/wp\/v2\/m3_publication"}],"about":[{"href":"https:\/\/magasin3.com\/en\/wp-json\/wp\/v2\/types\/m3_publication"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magasin3.com\/en\/wp-json\/wp\/v2\/media\/100540"}],"wp:attachment":[{"href":"https:\/\/magasin3.com\/en\/wp-json\/wp\/v2\/media?parent=32312"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}