Private collectors today must manage numerous contextual streams across institutional investment platforms, all of which exclude possibilities for artist-led agency and distributed subjectivity happening βoutsideβ.
While direct artist-to-collector sales of Land Art are possible, most collectors must rely on monopolised exhibition systems, based on the exclusive nineteenth century gallery model to safeguard any value in the underlying art
Despite the growing markets for Land Art, the established art-world
structures of auction houses, museums, commercial galleries, and curatorial
services have largely excluded the unnaturalised artists that cannot negotiate
representation within their singularity.
Land Art involves the investigation of alternative sites, production methods and subjectivities outside established centres. Since the 1960s, Land Art intensifies a media (mediation) practice as much as a sculptural one