Groundswell: Exploring the Consciousness of Land Art

Land art, a movement where Earth finds itself as both concept and medium, has historically been dominated by male artists. However, the comprehensive exhibition Groundswell: Women of Land Art, curated by Leigh A. Arnold and on view at the Nasher Sculpture Center in Dallas, spotlights the women who have made significant contributions to the field.

The exhibition features the work of 12 artists, each offering a unique perspective on our relationship with the land: Lita Albuquerque, Alice Aycock, Beverly Buchanan, Agnes Denes, Maren Hassinger, Nancy Holt, Patricia Johanson, Ana Mendieta, Mary Miss, Jody Pinto, Michelle Stuart, and Meg Webster. Arnold thoughtfully organizes over 100 works by the artists around thematic ideas, fostering a powerful dialogue throughout the exhibition. Above the museum’s vestibule entrance is a sphere of small branches in tandem among the concrete and metal structures that make up the ceiling of the Nasher. It’s a site-specific piece by Maren Hassinger and the first work to introduce visitors to the showcase before check-in.

Arnold has been with the Nasher for 10 years. Her doctoral thesis focused on the unfinished works of Robert Smithson, one of land art’s most prominent artists, which adds a compelling academic foundation for curating Groundswell. Perhaps a subtler reason for her connection to this exhibition is her experience living in Nebraska and Texas—states that, with their vast, open landscapes, naturally invite contemplation and ideation. Arnold's curatorial vision aims to expand beyond the narrow canon of land art, underscoring the significant contributions of women artists to this movement and others, with nuanced approaches that transcend gender boundaries.

One of the central themes of the exhibition is the freedom these artists found within the land art movement. Rather than imposing their will on the landscape, these women’s works are often additive, rooted in a spirit of collaboration with the Earth rather than a desire to control it.

The exhibition spans almost the entire museum, with the exception of a smaller gallery in the center, which still features work from the Nasher’s permanent collection that specifically relates to Groundswell. Somewhat ironically, the museum’s sculpture garden displays only two works from the exhibit: Nancy Holt’s Pipeline, which winds through the museum and extends outdoors, and Michelle Stuart’s Marici: Light of the Dawn, which is partially submerged in water. Within the galleries, a notable commonality when engaging with nature as subject matter is the emphasis on color and texture. Raw, natural hues—clay red, dusted pink, sky blue, fresh green, wilted yellow, concrete grey, dirt brown, and others—are omnipresent in a compelling way. Beyond the gallery walls is Patricia Johanson’s Fair Park Lagoon (1981-86).

Growing up in Dallas, I can attest to the transformative experience of visiting Johanson's sculpture. This piece, completed in 1986, is an exceptional example of land art that blends seamlessly with the environment and functions as a successful public artwork. Johanson's approach was not about imposing on nature but restoring the ecosystem, showing the power of artists in conversation with the Earth. As a child, I saw the lagoon, shrouded in mystery, as a living, mythical creature lurking beneath the water’s surface—a symbol of the magic of imagination.

The power of land art lies in its ability to speak to us, even without the need for explanations or context. It becomes a conscious force of nature, inviting us to ask questions and explore the art within the Earth itself. Groundswell encourages us to appreciate these poetic acts that women artists have contributed to the movement, reclaiming the history of the Earth's transformation into an art form.