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An interview with artist Lucy Raven is presented. When asked about becoming conscious about living in the Southwest, she refers to her childhood experience of visiting to the Museum of Modern Art in New York. She also presents her views on her first thought of Arizona as a distinct place within the region as a whole and landscape photography and land art.

The article focuses on the artwork City, by artist Michael Heizer, an early progenitor of the earthworks movement, in the Nevada desert. Topics discussed include comparison of the City to Manhattan's Central Park, earthworks he had already made including 'Nine Nevada Depressions' and 'Double Negative', and description on the artwork called 'Complex One'.

An interview is presented with artist Bryan Hunt. When asked about his art in the context of outer space, he talks about the artist as an explorer and his relationship with his father. When asked about his career transition from rocket engineering to art, he discusses the influence of art teacher Miles Forst. Other topics include airship sculptures, earthworks, and works such as "Hoover Dam" and "Empire State Building."

The article reports that Michael Heizer has worked on a vast sculpture in the desert. Topics include examines several artists began working outdoors with earth and rock in the 1960, inspired by the photographs of Earth floating in a sea of black that were beamed back by the Apollo space missions; and considered "City" is the most ambitious land-art project of the lot.

The article features American contemporary artist Michael Heizer who spent much of the past half century in Nevada working on his sculpture "City" which was inspired by ancient ritual cities like Mexico's Teotihuacan and which he began in 1972. Topics include Heizer's reputation as a pioneer of earthworks movement, the aesthetic themes explored by his paintings and sculptures such as emptiness and displacement, and why Heizer considers drama and suffering as requisite conditions for making art.

An interview with the American artist Dennis Oppenheim is presented. Topics of discussion include: his lack of a signature style and work in various genre including conceptual art, land art, body art and performance art; his interrogation of the art system in works such "Variations on Gallery Structures" from 1967 and "Gallery Transplant" of 1969; and the notion of risk in some of his works from the 1970s such as "Rocked Circle: Fear."

The article discusses a visit to Italian poet and artist Giuseppe Penone's art studio and foundry in Turin, Italy, on the occasion of his exhibition at the château de Versailles in Versailles, France, from June 11 to October 30, 2013. The author discusses Penone's experimentation with land art and arte povera, describes his work space and some of the featured bronze tree sculptures created for the exhibition, and mentions his book "Respirer l'ombre," which is part of the book series Écrits d'artistes. INSET: UN GESTE D'ÉPURE À VERSAILLES.

An interview is presented with Jean-Paul Goude, a French drawer, designer, photographer, and filmmaker. Goude discusses his exhibition "Goudemalion, sa vie, son œuvre" and his mother's influence. He discusses the various art forms which influenced his life such as graphic novels and land art. Further topics include his career in the U.S. as an artistic director for the periodical "Esquire" and his artistic style as a photographer.

The article focuses on Cappadocia, Turkey where Australian artist Andrew Rogers is building a series of earthworks. His sculpture park, "Time and Space," which contains basalt slabs with geoglyphs, is described. Another of his basalt slab constructions at the same site, "Predicting the Past," is mentioned. Highlights of the artist's career are also mentioned.

Focuses on the life and works of professional artist Robert Smithson. Early beginnings of his career; Influences in his works; Career highlights; Achievements and awards. INSET: New Publications on Smithson.

Features the Spiral Jetty earth art, made by Robert Smithson, in Utah. Discussion of his career as an artist; Description of Smithson's Spiral Jetty; Views of people regarding Earth Art.

Presents a roundtable discussion on changing trend in land art. Artists who have made high-profile projects in remote places; Differences between land artists of the late 1960s-1970s and modern artists; Value of landscape backdrops; Tendency to consider high desert test sites as a remote project; Importance of the idea of use value on land projects.

Relates the artists' experiences while searching for art ideas in high desert test sites in the United States. Artists with several art projects in the desert; Awareness that art has both a positive and a corrupting effect on the landscape; Relationship with other artists involved in the project; Photography works.

Explores the earthwork concepts of artists Dennis Oppenheim, Michael Heizer and Robert Smithson. Relationship between the outdoors and the gallery; Spatialization of art; Outdoor practice of the artists; Debate over the politics of a place.

Presents insights about land art. Limit of virtuality in Earth art; Return of land art's concerns in the context of identity politics; Structured shared by land art and subsequent site-specific work; Characteristics of mediascapes; Works of several artists.

Features Ahn Kyu-chul, a conceptual artist from Korea. Role of Ahn Kyu-chul in the development of conceptual art in Korea; Elements of conceptual art; Phases of the development of the work of art of Ahn Kyu-chul.

Discusses the group of artists who emerged in the 1960's and 70's referred to as the Dia generation. Artists who thought art was nothing more than an idea; American artists that influenced Europeans; Minimalism, Post-Minimalism, Earth art, video art, and Conceptualism; Dia which is a museum dedicated to abstract art.

The article profiles Michael Heizer, an artist who helped initiate the earth-art movement in the 1960s. He was born in 1944 in Berkeley, California and even as a child, he was acquainted with ancient petroglyphs and megaliths and prehistoric architectural structures in several parts of the world. In the early 1960s, Heizer studied painting at the San Francisco Art Institute in California and in 1966 he headed for New York where he started making geometric abstractions on eccentrically shaped canvases. In December 1967 he traveled to the Sierra Nevada in California where he made a series of negative sculptures, digging geometric holes and lining them with plywood and sheet metal. In 1968 he made numerous trips to California's Mojave Desert where he created a group of impermanent sculptures, ground paintings and drawings. He also worked in Nevada making Nine Nevada Depressions which consisted of shallow linear cuts in several dry lake beds, spaced out along a 520-mile route. The first monumental sculpture called Complex One/City completed in 1974 suggests a mastaba, a huge, horizontal, rectilinear mound of earth with its longer sides sloped at a 45-degree angle, bounded at either end by concrete walls and framed on one side by a discontinuous partly cantilevered concrete banding.

The article features the loft of conceptual artist Dennis Oppenheim in New York City. With the help of an architect, the artist transformed a neglected and dilapidated former local union office to his grand domain that also serves to display his conceptual works, such as mechanized marionettes and sweeping earthworks. The loft reportedly projects an environment so visually stunning that a visitor's focus is constantly attracted by its many segments simultaneously.

Features the works of several earthwork artists. Mike Heizer; Sol LeWitt; David Smith; Robert Morris.

This article focuses on the different forms of contemporary art. Land art, by taking the earth itself as a medium, has expanded the scale possible for artists and body art, by making the artist's organism his subject, has abolished the need for hardware. Conceptual art, as it is propositional in form, reduces the physical presence of art to whatever is needed to point to an idea. It is not objectless art, but the kind of object is usually common and repeatable. At present artists working in these ways are visible in terms of movements, because the comparative unfamiliarity of their work outweighs recognition of their individual styles.

The article offers information on the works of U.S. artist Lauren Ewing. It states that Ewing depicts in her works her passion for land art as well as site-specific sculpture. It mentions that the artist was influenced by the groundbreaking works of U.S. artist Robert Smithson. According to the author, the artist was the first woman to lead the sculpture team of the Rhode Island School of Design but she retired after serving the unit for three decades and transferred as a sculpture teacher at Rutgers University.

The article features artist Nora Naranjo-Morse of Santa Clara Pueblo. She is into ceramics and sculpture as well as film, earth art, and multimedia installations. Her inspiration comes from New Mexico, clay, and the family and community in Santa Clara Pueblo. Her character Pearlene is a female caricature who signifies the limiting expectations of social behavior for native women. She said that she wants to collaborate with young artists such as her daughter Eliza Morse and cousin Rose B. Simpson.

Deals with the fire sculptures of artist Nina Hole. Approach of Hole in making her fire sculptures; Description of Hole's fire sculptures; Personal background of Hole.

The article announces Canadian contemporary arts awards given to various Canadian artists during the year 2010 such as the Canadian Sobey Awards given to the Winnipeg artist Daniel Barrow, the Louis-Comtois Prize awarded to the Montréal sculptor Valérie Blass, and the Paul-Emile-Borduas prize given to Land Art pioneer Bill Vazan.

Interviews artist Matthew Coolidge about the Center for Land Use Interpretation (CLUI) in Los Angeles, California. History of establishment of CLUI; CLUI-style analysis of a site; Land art.

Announces three art exhibitions at the Art Gallery of New South Wales in Sydney, New South Wales. Duration of the exhibition "Crossing Country: The Alchemy of Western Arnhem Land Art"; Focus on the exhibition of artist Allan Mitelman; Highlights of the show "The Art of Japanese Screen Painting".

Describes a classroom activity on the artworks of artist Stanley James Herd. Impact of the native peoples of the midwest on Herd's first earth project; Significance of his work in the rural communities; Analysis of his works.

Focuses on the project of artist Francis Alÿs entitled 'When Faith Moves Mountains,' in Lima, Peru. Social impact of the project; Deromanticization of land art; Discussion on the essence of modern art.