This season, Los Angeles’ Museum of Contemporary Art mounts a major retrospective of land art, the ambitious 1960s and ’70s movement that saw artists literally sculpting the earth to create works of grand scale. Often considered a renunciation of the commercial art world, pieces like Robert Smithson’s 1970 Spiral Jetty (a 1,500-foot coil of salt, mud, and rock in Utah’s Great Salt Lake) and Hans Haacke’s 1967-69 Grass Grows (a conical mound of dirt planted with grass seed) have inspired more sculpturally minded landscape architects ever since.
The owners of this Camden, Maine, home love to throw large dinner parties, so Rockport-based designer Deborah Chatfield kept the design simple. “They wanted the feeling of Tuscan loggia, so we used stone and had our cabinet maker build a long wood table,” she says.
Photo © Guy Laramée
Lori Nix is a "faux" landscape photographer. In other words, she builds her subject matter, rather than seeking it out. Her dioramas are precise snapshots in a longer story—surreal narratives with epic consequences. Varnished with a dash of humor and a touch of doom, her fantasticl landscapes arouse a perfect balance of curiosity and trepidation. Her built landscapes include remote pastures, suburban corners, and urban towers, and, quite often, her work depicts the quiet confrontations between these worlds.