In his Inert Gas Series, Barry released five of the six noble gases into the atmosphere in various locations in Southern California, including Beverly Hills, Santa Monica, and the Mojave Desert (he did not release Radon because of its radioactive properties). (30.64 × 20.48 cm), collection of Lawrence & Alice Weiner, New York. John Baldessari, California Map Project, Part II: State Capitol, 1969, color photograph on archival paper, 12 1/16 × 8 1/16 in. For the final work in the project, Baldessari and Nicolaidis rendered the broken segment of the map’s boundary line between the United States and Mexico in the landscape using colored pigment powder. For the first part of the project, using a combination of found objects and materials they brought with them, the artists formed each of the letters that make up the word “California” at corresponding locations in the physical landscape, starting in Southern California with the last “A,” For the second part of the project, Baldessari fabricated a red star like that used on maps to indicate the state capital, placing it on the lawn of the capitol building in Sacramento. John Baldessari (with George and Judy Nicolaidis) California Map Project, Part II: State Capitol 1969 Xīeginning in the spring of 1969, John Baldessari and George Nicolaidis set out to overlay the California landscape with symbols commonly found on the state map.(26 × 18 cm), courtesy of the Keith Arnatt Estate and Maureen Paley, London. Keith Arnatt, Liverpool Beach Burial, 1968, gelatin-silver print, 10 1/4 × 7 1/16 in. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972, 50.) (4) When the holes were deep enough the partic- ipants were ‘buried’ by nonparticipants.” (Lucy R. (3) Each participant chose a site on the line and dug his/her own hole.
MCCALL COSMIC VIEW PLUS
Each mark representing a digging position for each of the hundred- plus participants. The artist recorded instructions for its making: “(1) Choosing a site and marking out a straight line. It was first exhibited in “Konzeption-Conception: Dokumentation einer heutigen Kunstrichtung/Documentation of Today’s Art Tendency” at the Städtisches Museum, Leverkusen, Germany, in 1969. Liverpool Beach Burial, which the artist described as a “situational sculpture,” was realized by Arnatt with his students at the Manchester College of Art. Keith Arnatt Liverpool Beach Burial 1968 X.
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