Land art of the 60s and 70s was often monumental, expensive, laborious to produce, and once finished, difficult to visit. The documentation is frequently a vital access point for viewers who cannot see the work in situ. Some artists insist that the documentation of their piece is an inferior representation of the “real work.” But in other cases, as with Gerry Schum’s 1969 TV broadcast, Land Art, pieces were produced specifically for the TV format. The embrace of media is where this project begins.
I set about the task of creating a project that fits within the lineage of Land art—it is site specific and it responds to the landscape—as well as being native to the internet. Each video is recorded from a pre-existing webcam that I visited. This website is not a representation of the project, it is the final piece.
It is viewed online. If so inclined the viewer can participate—the videos can be moved to interact with one another and create a larger image, connecting fixed points in space as well as isolated moments in time.
“For artists who adhere to an idealist, even modernist, view of Land art as offering an unmediated, pure aesthetic experience, photographs, videos, films, texts, models, drawings, and the like are conceived as unacceptable substitutes. Lesser in relation to ‘the work’ ‘out there,’ these are considered mere documentation; they are not the work. For other artists, media is conceived not so much as a representational surrogate for ‘the work,’ but as a relay or extension of it.”
—Philip Kaiser & Miwon Kwon