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164:. His parents were the proprietors of a local restaurant in Albany and were socially very active, while their son was mostly concentrated on music. Walter De Maria's first academic interest was music—first piano, then percussion. He also took to sports and cars, of which he made drawings. By 1946 he had joined a musicians' union.
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is a one-kilometer-long brass rod, two inches in diameter, drilled into
Friedrichsplatz Park in central Kassel, Germany. The rod's circular top, flush to the earth's surface, is framed by a two-meter square plate of red sandstone. In 1979, De Maria meticulously arranged five hundred brass rods for
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projects in the deserts of the south-west US, with the aim of creating situations where the landscape and nature, light and weather would become an intense, physical and psychic experience. In his work, De Maria stressed that the work of art is intended to make the viewer think about the earth and
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De Maria went to
California in May 2013 to celebrate his mother's 100th birthday and had a stroke there a few days later. He remained there for treatment. He died in Los Angeles on July 25, 2013, at the age of 77. He was survived by his mother, Christine De Maria; his brother, Terry; four nieces;
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De Maria avoided participating in museum shows when he could, preferring to create his installations outdoors or at unconventional urban locations. His work was more widely shown outside the United States, and he had major exhibitions in Japan and Europe.
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opened the 9 Great Jones Street gallery in New York in 1963; the same year, De Maria's first solo show of sculpture was presented there. He had his first solo exhibition in a commercial gallery in 1965, at the Paula
Johnson Gallery on New York's
371:(1977) is De Maria's best-known work. It consists of 400 stainless steel posts arranged in a calculated grid over an area of 1 mile Ă— 1 km. The time of day and weather change the optical effects. It also lights up during
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134:(October 1, 1935 – July 25, 2013) was an American artist, sculptor, illustrator and composer, who lived and worked in New York City. Walter de Maria's artistic practice is connected with
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director
Michael Govan said, "I think he's one of the greatest artists of our time." Govan, who worked with De Maria for a number of years, found De Maria's work "singular, sublime and direct".
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is also part of De Maria's series of monumental sculptures using a horizontal format, which feature groupings of elements ordered according to precise calculations. This series includes
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was one of twelve documentary films selected by the 53rd New York Film
Festival, September 25–October 11, 2015. The film released theatrically at IFC Center, New York, January 8, 2016.
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191:(1961) is inscribed with the instructions, "Transfer things from one box to the next box back and forth, back and forth, etc. Be aware that what you are doing is meaningless."
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purchased De Maria's studio for $ 27 million. Brant's plans for the space were unknown. The building was developed into the "Brant Art Center," part of the
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from 1953 to 1959. Trained as a painter, he soon turned to sculpture and began using other media. In 1960, De Maria and his friends, the avant-garde composers
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427:(1977), is a 3,600-square-foot room filled to a depth of 22 inches with 250 cubic yards of earth (the New York work is a permanent iteration of
187:, among others, De Maria developed an interest in task-oriented, game-like projects that resulted in viewer-interactive sculptures. For example, his
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Thompson, Your Pretty Face Is Going to Hell: The Dangerous Glitter of David Bowie, Iggy Pop, and Lou Reed (Backbeat Books, 2009), p. 5.
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in Paris, followed in 2000 and 2004 by works for two museums on
Naoshima Island in Japan, the Naoshima Contemporary Art Museum and the
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In 1965 De Maria became the drummer in the New York-based rock group the
Primitives and an artist/musician collaborative group called
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and theatrical productions in the San
Francisco area. From his exposure to the work of La Monte Young and dancer
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in 2011, "Walter De Maria: Trilogies" was the artist's first major museum exhibition in the United States.
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843:(Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, pp. 629-633
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in the city's
Friedrichsplatz Park. In 1977, a major exhibition of De Maria's sculpture was held at the
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Gallery in New York, which was then permanently reinstalled in 1980 at 141 Wooster Street, New York.
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Laura Poitras, Frederick Wiseman to Screen New Work at New York Film Festival, Hollywood Reporter
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Peter Brant Purchases Walter De Maria's Massive Home Studio for Reasons that Remain to be Seen
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607:(exhibition catalogue) (in German). Staatsgalerie Stuttgart. Stuttgart, Germany: Hatje.
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In contrast to the hard metal of both Kilometer pieces, the third of these urban works,
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In the 1960s and 1970s, De Maria created enduring urban works. As complementary pieces,
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in 1972. He has also since been the subject of numerous solo exhibitions organized by
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Also in the mid-1960s, he became involved in various artistic activities. His piece,
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Le Guide de la visite du Palais Bourbon et de l'HĂ´tel de Lassay: La Cour d'Honneur
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A New Documentary Sheds Light on the 'Troublemakers' of Land Art, T Magazine,
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Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings
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498:(1992) was the first work of art to inaugurate the Resnick Pavilion at the
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American American artist, sculptor, illustrator and composer (1935 – 2013)
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Walter de Maria: 5 Kontinente Skulptur, mit Essays zum Werk des KĂĽnstlers
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where he married his wife Susanne Wilson (later Susanna) one year later.
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A Computer Which Will Solve Every Problem in the World/3-12 Polygon
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In 1989 De Maria completed a sphere of polished granite for the
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Walter De Maria: Trilogies, September 16, 2011– January 8, 2012
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four nephews; and four grandnieces and two great-grandnieces.
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Spotlight on Documentary at the 53rd New York Film Festival
408:(1979), address the idea of unseen or abstracted distance.
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exhibit at the Jewish Museum in New York. He appeared in
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Oral history interview with Walter De Maria, 1972 Oct. 4
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in Kassel; he installed his permanent public sculpture
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His early sculptures from the 1960s were influenced by
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123:"Seen/Unseen Known/Unknown" at Benesse House,
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854:A Homeowner With No Savings, but Some Options
221:– materials which are also characteristic of
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636:Walter De Maria: Meaningless Work
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258:, 1968), and produced two films (
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675:Interview with Paul Cummings
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476:(2002) was installed in the
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292:. The Primitives included
189:Boxes for Meaningless Work
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883:August 22, 2016, at the
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494:, Kansas City. In 2010,
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772:"Walter de Maria"
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1177:May 4, 2015
506:Exhibitions
488:Steven Holl
326:Peter Brant
322:Peter Brant
256:Ocean Music
227:Ethel Scull
223:Minimal art
207:suprematism
177:Terry Riley
136:minimal art
1431:Categories
1112:2012-07-15
1057:, Houston.
806:15 January
777:2022-08-01
757:2013-08-06
689:References
592:Literature
345:Minimalist
306:Con Edison
248:happenings
181:happenings
108:Minimalist
58:1935-10-01
532:Documenta
478:TĂĽrkentor
298:John Cale
290:The Druds
238:John Cage
219:aluminium
98:sculpture
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360:Land art
318:Avenue A
294:Lou Reed
264:Hardcore
254:, 1964;
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104:Movement
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356:Erdraum
127:, Japan
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142:, and
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150:LACMA
1226:IMDb
1029:2013
808:2022
679:ISBN
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234:Cage
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