Bigger Than This Room | form & concept gallery

Director's Note
Jordan Eddy
Bigger Than This Room pushes against the confines of the gallery space, gathering small objects that act as portals to much larger ones. By compressing legendary (and lesser-known) land artworks, these artists give us the opportunity to view monuments within larger cultural vistas. What does it mean to reshape land in the American West? Two generations of artists—split between our ground floor and catwalk—wrestle with this immense question at a human scale.
Curatorial Statement
Marissa Fassano & Jordan Eddy
This show started with a question: how can we access the monumental in a gallery setting? When confronted with soaring Southwestern vistas, we can’t help but try to encapsulate them: through the pinhole lens of a camera, a pebble in our pocket, or a scribble in a journal. We cradle these memory-laden objects with the same care that a land artist might shape their next monumental site. These are the objects, works on paper, footage, documentation and ephemera of things bigger than this room.
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Artists & Contributors

Mira Burack, L. E. Brown, Yael Eban, Michael Heizer, Lucie Laflorentie, Diego Medina, Ruben Olguin, Edward Ranney, Elaine Ritchel, Charles Ross, Robert Smithson, Michelle Stuart & Gregory Waits. Special thanks to Mayeur Projects and Lucy Lippard.
Featured
Edward Ranney
Star Axis Series
I began to photograph Star Axis on Charles Ross’s invitation, in December of 1979, and have continued to photograph the site with black-and-white film and a 5 x 7” view camera almost every year since then. In contrast to the work I have done over fifty years at archaeological sites in ancient America, my photographs of the evolution of Ross’s earth sculpture represent a kind of archaeology in reverse.
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Yael Eban
Chair in Field
Yael Eban made this image on the periphery of Walter De Maria’s The Lightning Field (1977) in Catron County, New Mexico. Rather than capturing the artwork’s vast grid of 20-foot steel poles, Eban evokes the perceptual shift catalyzed by the piece.
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Ruben Olguin
Retablos: St. Augustine
Ruben Olguin examines the rerouting of New Mexico’s rivers by mission churches, and the enduring effects of this colonial project on tribal access to water. These densely codified artworks offer a broader look at the history and significance of sculpting the land of this region.

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Lucie Laflorentie
Memory Stick (Small)
In 2019, French artist Lucie Laflorentie conducted a three-month residency at Mayeur Projects in Las Vegas, New Mexico. Engaging with Robert Smithson’s definition of the “non-site,” these mini-monuments offer an outsider’s view of the state’s geographic and cultural strata.

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Artworks

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