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https://www.laumeiersculpturepark.org/mary-miss
ARTIST BIOGRAPHY. Mary Miss was born in New York in 1944. She received her B.A. at the University of California, Santa Barbara, in 1966 and her M.F.A. at Maryland Art Institute in 1968. Miss' early landscape works dealt primarily with the measurement of distances in relation to a …
https://tclf.org/pioneer/mary-miss
Born in New York, Miss received a B.A. in art in 1966 from the University of California, Santa Barbara, and an M.F.A. in 1968 from the Maryland Institute College of Art, where she studied sculpture. She is a pioneer of the land-art movement along with Nancy Holt, Athena Tacha, and Alice Aycock.
https://dsmpublicartfoundation.org/artist/mary-miss/
Pioneering public artist Mary Miss is internationally acclaimed for redefining the way art functions in the public realm. From her earliest work, she has been interested in bringing the specific attributes of a site into focus along with and audience engagement within public space.
https://www.askart.com/artist_bio/artist/101383/artist.aspx
Mary Miss (Born 1944) is active/lives in New York. Mary Miss is known for Environmental installation, earthworks. Synthesizing sculpture, architecture and landscaping, Mary Miss is considered a pioneering figure in Earthworks* or Land Art, and the ascendancy of her reputation from the 1970s coincided with the feminist* art movement.
https://www.pinterest.com/zhicongming/mary-miss/
Mary Miss, Artist, New York, Caelan Bristow's Portfolio Mary Miss’s 1977–1978 Perimeters/Pavilions/Decoys Mary Miss (1944), pioneer of land art, focuses her outdoor interventions …10 pins
https://www.artsy.net/artist/mary-miss
Mary Miss - 4 Artworks, Bio & Shows on Artsy. Mary Miss. 76 follower s. Follow. following.
https://www.artforum.com/interviews/mary-miss-talks-about-her-life-art-and-her-nonprofit-the-city-as-a-living-laboratory-79846
May 28, 2019 · Mary Miss, WaterMarks: An Atlas of Water for the City of Milwaukee, 2015–, rendering. Rosalind Krauss’s 1979 essay “Sculpture in the Expanded Field” pinpointed Mary Miss’s work as an example of how sculpture, landscape architecture, and architecture itself had become problematically entangled over the course of the postmodern 1970s.
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