On view since 1980:

Earth Room
 Walter De Maria

141 Wooster St., NYC (bt Prince & Houston)
commissioned and maintained by Dia Art Foundation
Wednesday-Sunday, 12-6 pm (closed from 3-3:30 pm)

“Earth Room is a room full of dirt on the second floor of a loft on Wooster Street in Soho. 250 cubic yards of earth to be exact. That is pretty much it. Its quiet and calming.  It doesn’t do anything. You can’t walk into it, it is just for viewing from one vantage point. The person who works at the desk is probably extremely bored. It is considered an “interior earth sculpture” by Walter De Maria. The dirt in the sculpture is the same dirt from its conception in 1977. It is closed during summers for cleaning. (can you imagine the bio-graffiti you could do with just a handful of seeds?)” -ArtNerdNY

​Gagosian Gallery remembers Walter DeMaria, who would be celebrating his 80th birthday today, October 1st.


Image: Walter De Maria, Lightning Field, 1977. A permanent earth sculpture consisting of 400 stainless steel poles spaced 220 feet apart in a rectangular grid array (16 poles wide by 25 poles long). The average pole height is twenty feet seven inches. Solid steel pointed tips on the poles form an even plane covering an area of one mile by one kilometer. Located in western New Mexico. Commissioned by the Dia Art Foundation, New York. Photo: John Cliett.

100 untitled works in mill aluminum, 1982-1986

At the center of the Chinati Foundation’s permanent collection are 100 untitled works in mill aluminum by Donald Judd installed in two former artillery sheds. The size and scale of the buildings determined the nature of the installation, and Judd adapted the buildings specifically for this purpose. He replaced derelict garage doors with long walls of continuous squared and quartered windows which flood the spaces with light. Judd also added a vaulted roof in galvanized iron on top of the original flat roof, thus doubling the buildings’ height. The semi-circular ends of the roof vaults were to be made of glass.

Each of the 100 works has the same outer dimensions (41 x 51 x 72 inches), although the interior is unique in every piece.

Carl Andre: Sculpture as Place 1958 - 2010 in New York

Tracing the full evolution over five decades of the thinking of Carl Andre – a crucial figure in the redefinition of contemporary sculpture – Dia Art Foundation presents “Carl Andre: Sculpture as Place, 1958–2010” until 2nd of March, 2015 (so luckily still plenty of time for a visit) at Dia:Beacon.

This is the first museum survey of Andre’s entire oeuvre, and the first retrospective in North America since 1978–80. More info here.


Throwback Thursday: Robert Irwin will present the return of Excursus: Homage to the Square³, the artist’s landmark site-specific work. Originally named Prologue: x 18³, presented at Dia in the spring of 1998, Irwin changed the exhibition adding more colors to the fluorescent fixtures. Capitalizing on a subtle counterpointing of one hue with another throughout the chambers, Irwin posited a reference to the pioneering American abstractionist, Josef Albers. This second part will consequently be dedicated to his predecessor’s most famous series of paintings, Homage to the Square

Excursus: Homage to the Square³ opens June 1, 2015 at Dia: Beacon. 


Robert Irwin, Excursus: Homage to the Square³, Dia Center for the Arts, 548 West 22nd Street, New York City. September 13, 1998-June 13, 1999. © Robert Irwin/Artists Rights Society (ARS), New York. Photo: Thibault Jeanson

Robert Irwin, Excursus: Homage to the Square³, Dia Center for the Arts, 548 West 22nd Street, New York City. September 13, 1998–June 18, 2000. © Robert Irwin/Artists Rights Society (ARS), New York. Photo: Carl Picco. 

Bruce Nauman, Mapping the Studio I, (Fat Chance John Cage), 2001

The multiscreen projection Mapping the Studio I (Fat Chance John Cage) displays Nauman’s exploration of issues related to artmaking and the role of the artist. Over the course of the summer of 2000, he set up an infrared camera in multiple positions in his studio to track the nocturnal activities of mice, moths, and other creatures. The footage, which is roughly six hours per projector, offers a view on the mundanities of daily studio activity, as replete with languor as with moments of visionary insight. Each projection is accompanied by its own stereo soundtrack, which consists mostly of ambient noises: trees rustling in a gale, a heavy rainstorm, the occasional barking of a dog, and a train passing in the distance.

This week’s Modern Art Notes Podcast features Carl Andre.

Andre’s work is featured in “Carl Andre: Sculpture as Place, 1958-2010,” a retrospective organized by the Dia Art Foundation and co-curated by Yasmil Raymond and Philippe Vergne. The show will be on view at Dia’s museum in Beacon, New York through March 2, 2015, after which it will travel to Madrid, Berlin and Paris.

Andre is one of the most influential artists to emerge from the minimalist movement of the 1960s. The exhibition includes not just Andre’s sculptures, but also many of his poems. Both are featured in the exhibition catalogue, which was published by Yale University Press. Amazon offers it for $44.

Special thanks to Phyllis Tuchman and Jock Reynolds for their assistance with this week’s program.

The Modern Art Notes Podcast is an independent production of Modern Art Notes Media. The program is edited by Wilson Butterworth. The MAN Podcast is released under this Creative Commons license. 

Listen to or download this week’s program above, on SoundCloud, via direct-link mp3, or subscribe to The MAN Podcast (for free) at:

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On Kawara, Today Series

Each Date Paintings in On Kawara’s Today Series, the magnum opus that he began in 1966, is a monochrome field on which is written the date of the day on which the painting was executed, in the language and according to the calendar of the country Kawara was in at the time. If he does not complete a painting by midnight, he destroys it. Some days he makes two paintings; very occasionally, he makes three.

Every painting in the series conforms to one of eight sizes, all horizontal in orientation, ranging from eight by ten inches to sixty-one by eighty-nine inches. And for every painting the artist mixes the color afresh, so that the chroma of each is unique. Tonalities in the brown-gray and blue-black range have dominated in recent years. Four or five coats of acrylic are evenly applied to the canvas, creating a dense matte surface, onto which letters, numbers, and punctuation marks are then built up by hand, rather than with the aid of stencils. Variations in the letters or hues are of no significance, nor is the choice of a work’s color more connotative than that of its measurements.