October 2023 Press Round-Up

From the Ground Up: Women Artists of Land Art

by Tom Teicholz

Forbes, October 8, 2023

“Groundswell: Women of Land Art is a milestone exhibition that just opened at the Nasher Sculpture Center in Dallas, Texas, and that reassesses and reasserts the importance of a coterie of women in the art historical narrative of works that have been labelled as conceptual, environmental, sculptural, and even as performance.”

The Women of American Land Art

by Lauren Smart

D Magazine, October 10, 2023

For decades, land art has been the province of three men. Curator Leigh Arnold and the Nasher are aiming to expand the canon with a groundbreaking new exhibition.

Divulging the Intimate Secrets of Artists’ Lives

by Arthur Lubow

The New York Times, October 12, 2023

“Does knowing Marie Laurencin’s sexual orientation, and Robert Smithson’s obsession with red, enrich our understanding of their creations? Yes, and no.”

Women of ‘Groundswell’: Thinking Outside the Spiral

by Deborah Solomon

The New York Times, October 18, 2023

“Revisiting the land artists at the Nasher Sculpture Center, a critic finds their work was never more relevant than it is today.”

In Santa Fe, a New Museum Brings the Local Art Scene Up to Date

by Ray Mark Rinaldi

The New York Times, October 12, 2023

“The first show at the new Vladem Contemporary, which opened last month, spotlights works from 1970 to 2000 and centers on New Mexico artists.”

A New Book Celebrates the Groundbreaking Women Who Changed Land Art

by Grace Ebert

Colossal, October 20, 2023

“As with most of art history, land art has generally been dominated by men, although a new book published by DelMonico offers a corresponding, if not corrective, narrative. Groundswell: The Women of Land Art is a 256-page volume that encompasses a range of works by renowned artists like Ana Mendieta, Nancy Holt, and Agnes Dean, to name a few.”

Archived News

Nancy Holt: Circles of Light at Gropius Bau, Berlin

Holt/Smithson Foundation and Gropius Bau are pleased to announce the most comprehensive presentation of Nancy Holt in Germany to date. Taking a journey through Holt’s output, starting with her first artwork made in 1966, Circles of Light expands over the Gropius Bau’s ground floor and atrium. Paying attention to Holt’s experimental approach to the interplay between the immaterial and the material, this exhibition underscores the singularity of Holt’s oeuvre.