Early Land Art practices emerged as a protest against the commercialization of art at the end of the 1960’s and as a subsequent refusal of the museum or the gallery as a setting for artistic activity. (Oppenheim). — SOCKS
In addition to the examples in the article, my memory bank recalls one of my favorites, a 1986 Chris Burden piece at the inaugural show of then Temporary Contemporary, Exposing the Foundation of the Museum, 1986. MoCA-LA.
The fundamentally architectural character of "Urban Light" -- the artist called it "a building with a roof of light" -- was no anomaly for Burden, who grew up in France and Italy and studied at Pomona College and UC Irvine. Themes connected to architecture and urbanism run through his work, typically with the same wry attitude about the relationship between structure and art-making that the lampposts suggest. “Originally I was going to study architecture,” Burden said at a lecture...in 2003. — LA Times
Paul Schimmel, a close friend of the artist and the former chief curator at the Museum of Contemporary Art who had organized Burden’s first retrospective exhibition in 1988, said the cause was malignant melanoma. Burden was diagnosed 18 months ago, Schimmel said, but kept the information private except for a few family members and friends. — latimes.com
Burden's Small Skyscraper (Quasi-Legal Skyscraper), was intended to be "a modern day log cabin" that "two guys with a donkey could put up, and when the neighbor calls the building inspector, the guys can take it down again," he told LA Weekly back in 2003.
Burden's loophole (it's now closed) eventually led to the design of an aluminum-framed structure built in 2003 with the help of Linda Taalman and Alan Koch of Taalman Koch Architecture. — blogs.laweekly.com
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