A Quote by Virginia Dwan
I didn't know Michael Heizer until I was preparing for my "Earthworks" show in 1968, and somebody called and told me to look at his work. Heizer had already made land art before any of the others and was deeply into it. But he was very young and working out West, so I wasn't aware of his work until he came and showed it to me.
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I think Michael Heizer and Walter De Maria had a love-hate relationship because they both had a lot in common. But inevitably one would get more publicity than another. Of course, Robert Smithson's gotten so much attention through the years. One of the reasons is not only that his work is quite wonderful, but the fact that he was a writer himself.
I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.
Once we played at the Fillmore opposite The Cream. Eric Clapton was there and he played his ass off that night ... backstage Michael Bloomfield introduced me to Eric, and Eric was so nice. He came up to me, put his arms around me and said "Barry, it's such a pleasure to meet you" ... I couldn't figure it out... then Michael told me that he had told Eric I had cancer and two months to live...
I stand before you as the governor of Texas but also stand before you the son of two tenant farmers. Ray Perry who came home after 35 bombing missions over Europe to work his little corner of land out there and Amelia who made sure that my sister Milla and I had everything that we needed, included hand sewing my clothes until I went off to college.
I think that Walter De Maria's Lightning Field, Michael Heizer's City, and Charles Ross's work in Star Axis New Mexico , all three will last for a millennium.
People should go to the works and experience them. Because just having an idea or picture in mind is absolutely not the experience that's necessary. Even just landing in Albuquerque or Salt Lake City or Las Vegas was immediately part of the experience. And then you'd get in a car from the airport and take these very long trips - in Michael Heizer's case, it was three hours by car to get to his work. And then there's walking around and into the piece and seeing it from different angles. The kinetic experience of being a part of it physically was very important for me.
Art wasn't for selling. Actually, we once did have an offer on Double Negative. Things could be sold actually - everything could be for sale. But we had very few buyers. I think it was Michael Heizer who said that the point was to have a bigger canvas, and I've used that expression quite a bit. But I was thinking today that a canvas has boundaries; it has limit to it. And for earthwork, it was the very openness and feeling that there were no boundaries that made it so exciting.
I have a very dear friend, a great painter, called me up very upset, the work wasn’t going well… He asked me to come to his studio -- which I did -- I looked around at the work, dozens of sketches, drawings, large pictures, and I was very close to his work, intensely involved with his work, and he asked me, ‘What’s wrong?’ And I said, ‘Simple – it’s a loss of nerve.
If people ask me about it, I think it would be great for me to be like, 'Look, [Kanye West] called me and told me the line before it came out. Like, joke's on you guys, we're fine'.
My doctor told me I shouldn't work out until I'm in better shape. I told him, 'All right; don't send me a bill until I pay you.'
You know something?" He lifted his head, and when he turned to me, he had this strange look in his eyes. Almost as if he was really seeing me for the first time. "I don't think I ever really lived until this. I've never done anything that mattered before, but now I'm fighting to save my life, and yours. And I know it sounds really cheesy and lame, but I don't think I ever really felt alive. Not until I met you.
I grew up with him [Michael Jackson] and I've spent a lot of time at Neverland and nothing has ever happened with me in any way. You have to look at both sides. I do think it is very convenient that his album came out and all this stuff is happening. I definitely do think that's very convenient... It really hurts me to see that his whole life is ruined.
I'd never seen [Haughton] Forrest's work before until I came across it on the front of an ANZ book. I then researched a whole lot of his work.
I was a commercial roofer before this, until about age thirty. I will not work others under me and do not want to work under others.
I think the four land artists I showed all worked within a few years of each other. And they were standard bearers, I suppose, for land art. They each did very separate things. Apparently, later in California, a lot of artists started working in that medium and there was something of a rush of earthworks. But I wasn't involved with that.
To me, no painter has ever quite understood the light, the distances, the aboriginal ghostliness of the American West as well as Maynard Dixon. The great mood of his work is solitude, the effect of land and space on people. While his work stands perfectly well on its claims to beauty, it offers a spiritual view of the West indispensable to anyone who would understand it.
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