(1944- ) American land artist specializing in large-scale and site-specific sculptures. Working largely outside the confines of the traditional art spaces of galleries and museums, Heizer has redefined sculpture in terms of size, mass, gesture, and process. A pioneer of 20th century Land Art or earthworks movement he is widely recognized for sculptures and environmental structures made with earth-moving equipment, which he began creating in the American West in 1967.
Landscape designers may see themselves as agents of mitigation and mediation, but are we really just opportunists? (…) Should landscape architects have more scruples than others? Landscape architects are no more holy than any other people and should neither place themselves nor be placed in a holier-than-thou position.
Saying that, I believe that we should be operating in a way that helps the earth – and all who inhabit it – in any way we can, and to give something back so we leave this world a better place than when we entered it. But I believe this to be true for everyone. However, the topic of the environment is very wide and broad, and there are many, many ways to contribute to this topic, from the heroic site-specific art pieces done by the ‘earthworks artists’ of the 1960s (such as Robert Smithson, Nancy Holt, Michael Heizer and Walter De Maria), to ecological research, to devoting oneself to saving the snail-darter. These are all within the purview of ‘landscape’ and all make contributions. In a field as broad as landscape architecture, it is important that we must recognize that there are equally broad ways of making contributions, and that one way is not necessarily superior to another. I am definitely an opportunist: I am always looking for opportunities to do something interesting. Given that the landscape is a much more complex, larger and more expensive canvas than most studio art, I must depend on others to supply my ‘canvas’.
What is this thing called theory, and what does it do? James Corner has highlighted the contrast between two fundamentally different roles of theory. On the one hand, theory can generalize and codify knowledge, as a basis for practical action. This corresponds to the type of theory described by Garrett Eckbo in “Landscape for Living”, as “the generalization of social experience”. Such instrumental theory is typically derived from empirical observation. For example, Joan lverson Nassauer’s development of the concept of “cues for care” as a means to “frame” ecological restoration projects in a culturally acceptable way was developed from surveys of the attitudes of Midwestern farmers. Theory can also evolve from practical experience. The staged approach to site planning, codified into a set of principles by Kevin Lynch and John Ormsbee Simonds, is one of the most widely used theories in landscape architecture. It illustrates the way that such theory can provide a stable and coherent framework for a discipline.
On the other hand, theory can have a more critical role, which resists and challenges taken-for-granted ways of thinking, and puts forward alternatives. Elizabeth Meyer’s exploration of landscape architecture as other is an example of a critical theory. It challenges the modern view of landscape as a largely passive setting (or ground) for architecture, and instead argues for landscape architecture as an autonomous design practice expressing its own language of space and form. A second example of a critical theory is Corner’s advocacy of “recovering” landscape, with a consequential recasting of its role from being a passive product of culture to become an active and strategic agent of culture. Theoretical work that critiques current knowledge in this way disrupts and destabilizes the discipline, stimulating a search for new forms of knowledge and new ways of working.
Another potential role for theory lies between these two positions. Corner referred to the hermeneutic tradition of interpretation, and interpretive theory is well recognized in related disciplines as a form of knowledge that does not attempt to predict and control the world in the same way as instrumental theory, yet neither is it as disruptive as critical theory. Instead, an interpretive theory helps us better understand a situation, without necessarily changing it. Much of the knowledge of landscape history expressed in J. B. Jackson’s work is interpretive in this sense.