ABSTRACT
This chapter discusses the strategies used by filmmakers to document site-specific art by Christo and Jeanne-Claude, Michael Heizer, Andy Goldsworthy, Anselm Kiefer, Vik Muniz, and Do Ho Suh. Applying art historian Miwon Kwon’s typology of site-specificity, it outlines approaches to phenomenological, social/institutional, and discursive practices, arguing that filmmakers may operate not solely as observers but active collaborators. Doug Pray’s eponymous documentary on Heizer’s Levitated Mass is discussed as an exception in its reimagining of the nature of the artwork’s site, and ultimately its meaning.
