569:, something like a "gash in the ground" or pile of rocks, if encountered by a "leveling improver", as described by Price, would have been smoothed over and the area terraformed into a more aesthetically pleasing contour. For Smithson, it was not necessary that the disruption become a visual aspect of a landscape; by his anti-formalist logic, more important was the temporal scar worked over by natural or human intervention. He saw parallels to Olmsted's Central Park as a "sylvan" green overlay on the depleted landscape that preceded his Central Park Defending himself against allegations that he and other earth artists "cut and gouge the land like Army engineers", Smithson, in his own essay, charges that one of such opinions "failed to recognize the possibility of a direct organic manipulation of the land.." and would "turn his back on the contradictions that inhabit our landscapes".
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306:, (1966) composed of ten units, the title of which refers to the Greek word for an unnamable, irrational number. Smithson's interest in entropy led him to write about a future in which "the universe will burn out into an all-encompassing sameness". His ideas on entropy also addressed culture, "the urban sprawl and the infinite number of housing developments of the post war boom have contributed to the architect of entropy". He called these urban/suburban sprawls "slurbs." Smithson viewed entropy as a form of transformation of society and culture, which is shown in his artwork, for example, the non-site pieces. Smithson became affiliated with artists who were identified with the
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recovers issues of site specificity and human intervention as dialectic landscape layers, experiential multiplicity, and the value of deformations manifest in the picturesque landscape. Smithson further implies in this essay that what distinguishes the picturesque is that it is based on real land. For
Smithson, a park exists as "a process of ongoing relationships existing in a physical region". Smithson was interested in
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372:. The journeys he undertook were central to his practice as an artist, and his non-site sculptures often included maps and aerial photos of a particular location, as well as the geological artifacts displaced from those sites. Of these travels, several on-site works were produced including Mirror Displacements a series of photographs that illustrated his essay "Incidents of Mirror Travels in the Yucatan" (1969).
651:. The work consisted of a derelict woodshed on campus that he covered with earth until the central beam broke, illustrating the concept of entropy. By 2018, only a mound of dirt and the structure's concrete foundation remain. An informational plaque is located in a small wooded area immediately behind the
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In 2017 the Holt/Smithson
Foundation was founded to preserve, through public service, the investigative spirit of the two artists who "developed innovative methods of exploring our relationship with the planet, and expanded the limits of artistic practice." The goal of the foundation is to "increase
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excavating tons of earth and rock that he described in an essay as the equivalents of the monuments of antiquity. This resulted in the series of 'non-sites' in which earth and rocks collected from a specific area are installed in the gallery as sculptures, often combined with mirrors or glass. Works
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While
Smithson did not find "beauty" in the evidence of abuse and neglect, he did see the state of things as demonstrative of the continually transforming relationships between humans and landscape. He claimed, "the best sites for 'earth art' are sites that have been disrupted by industry, reckless
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as the cultural and temporal context for the creation of his late-19th-century design for
Central Park. In examining the photographs of the land set aside to become Central Park, Smithson saw the barren landscape that had been degraded by humans before Olmsted constructed the complex 'naturalistic'
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as an outdated 19th-century picturesque aesthetic in landscape architecture that had a static relationship within the continuously evolving urban fabric of New York City. In studying the writings of 18th- and 19th-century picturesque treatise writers Gilpin, Price, Knight and
Whately, Smithson
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The work of Robert
Smithson is held in numerous public collections around the world including the Museum of Modern Art, New York, the Smithsonian American Art Museum, Solomon R. Guggenheim Museum, New York, the Tate Modern, London, the Whitney Museum of American Art, New York, among others.
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between the physical landscape and its temporal context. By re-interpreting and re-valuing these treatises, Smithson was able to broaden the temporal and intellectual context for his own work, and to offer renewed meaning for
Central Park as an important work of
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who often used drawing and photography in relation to the spatial arts. His work has been internationally exhibited in galleries and museums and is held in public collections. He was one of the founders of the land art movement whose best known work is the
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In revisiting the 18th- and early 19th-century treatises of the picturesque, which
Olmsted interpreted in his practice, Smithson exposes threads of an anti-aesthetic anti-formalist logic and a theoretical framework of the picturesque that addressed the
526:... In the spillway that pours out of the Wollman Memorial Ice Rink, I noticed a metal grocery cart and a trash basket half-submerged in the water. Further down, the spillway becomes a brook choked with mud and tin cans. The mud then spews under the
724:. The proposed project consisted of a barge containing broken concrete or glass to be pulled by a tugboat around Manhattan. Other versions of the project were of a barge filled with earth and planted with trees and other vegetation. In 1971 he drew
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is an example of a sited work, while
Smithson's non-site pieces frequently consist of photographs of a particular location, often exhibited alongside some material (such as stones or soil) removed from that location.
732:, a visionary proposal for the three-mile-wide (4.8 km) copper pit mine in Utah owned by the Kennecott Copper Corporation. The mining company responded negatively to the proposal and it was never built.
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During his lifetime, Smithson created several proposals for projects that were unrealized, either due to their visionary nature, lack of support or their impracticality. Between 1966 and 1967 he produced
1978:
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out of the dredging of The Pond in
Central Park, Smithson sought to insert himself into the dynamic evolution of the park. While in earlier 18th-century formal characterizations of the
1973:
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Smithson produced theoretical and critical writing in addition to visual art. In addition to essays his writings included visual-text formats such as the 2D paper work
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earthwork was built in a quarry lake 10-to-15 feet deep. It was 140 feet in diameter, with the canal 12 feet wide, and built of white and yellow sand. The accompanying
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in the form of a 1,500-foot-long (460 m), 15-foot-wide (4.6 m) counterclockwise spiral of local basalt rocks and mud, forming a jetty that juts from the shore of the
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Now the Ramble has grown up into an urban jungle, and lurking in its thickets are "hoods, hobos, hustlers, and homosexuals," and other estranged creatures of the city
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is made of earth, black topsoil, and white sand, and is 75 feet in diameter at its base. The work is still being maintained and occasionally opened for visitors.
620:. Smithson wrote that he deliberately chose the site due to its proximity to a derelict oil jetty. In later years oil and gas extraction has threatened the area.
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urbanization, or nature's own devastation." Smithson became particularly interested in the notion of industrial decay within the spectrum of anti-aesthetic
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near Rozel Point in Utah. Over the years it has accumulated a patina of salt crystals when the level of the lake is low. Some art historians consider the
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and for a period was better known as a critic than as an artist. Some of Smithson's later writings recovered 18th- and 19th-century conceptions of
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He primarily identified as a painter during this time, and his early exhibited artworks had a wide range of influences, including science fiction,
800:. It was originally built to rise from a shallow artificial lake, but the lake later dried up, and the earthwork has become overgrown and eroded.
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movement. His new work abandoned the preoccupation with the body that had been common in his earlier work, and he began to use glass sheet and
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to become a muddy slough that inundates a good part of The Pond, leaving the rest of The Pond aswirl with oil slicks, sludge, and Dixie cups.
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which influenced the pivotal earthwork explorations which characterized his later work. He eventually joined the Dwan Gallery, whose owner
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as concepts for "aerial art", monumental-scaled earthworks to be seen by air travelers. In 1970 Smithson created a series of drawings for
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as a landscape which by the 1970s had weathered and grown as Olmsted's creation, and was layered with new evidence of human intervention.
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2008:
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2013:
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landscape that was viscerally apparent to New Yorkers in the 1970s. Smithson was interested in challenging the prevalent conception of
1903:, Los Angeles and Berkeley, California: The Museum of Contemporary Art, Los Angeles and the University of California Press, Berkeley,
2003:
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to be the most important work by Smithson. He documented the construction of the sculpture in a 32-minute color film also titled
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Other theoretical writings explore the relationship of a piece of art to its environment, from which he developed his concept of
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Roberts, Jennifer L. (September 2000), "Landscapes of Indifference: Robert Smithson and John Lloyd Stephens in Yucatan",
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in Emmen, the Netherlands as part of the Sonsbeek art festival. The subject of the 1971 Sonsbeek exhibition was
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artists, and in 1969 he began producing land art pieces to further explore concepts gained from his readings of
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946:, Archive of American Artists oral history webpage, conducted July 14 and 19, 1972. Retrieved July 16, 2013.
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Smithson documents a series of temporary sculptures made with mirrors at particular locations around the
352:(1969). In September 1968, Smithson published the essay "A Sedimentation of the Mind: Earth Projects" in
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In 1967 Smithson began exploring industrial areas around New Jersey and was fascinated by the sight of
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became of interest to him and informed a number of sculptures completed during this period, including
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392:. Part travelogue, part critical rumination, the article highlights Smithson's concern with the
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was Smithson's pediatrician. When Smithson was nine, his family moved to the Allwood section of
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was made of steel and mirrors and created the optical effect of a "pointless vanishing-point".
257:". Paintings from 1959 to 1962 explored "mythical religious archetypes" and were also based on
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was an enthusiastic supporter of his work. In the late 1960s Smithson's work was published in
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1519:"Broken Circle &/ Spiral Hill?: Smithson's spirals, pata- physics, syzygy and survival"
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relationships which he saw present in the picturesque landscape. In his proposal to make
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After a break from the art world, Smithson reemerged in 1964 as a proponent of the
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177:(January 2, 1938 – July 20, 1973) was an American artist known for sculpture and
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is explored in his writings in part through the recovery of the ideas of the
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tubes to explore visual refraction and mirroring. His wall-mounted sculpture
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1272:"Sight/non-sight: Robert Smithson and photography, 1997 | Chris McAuliffe"
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384:, which sought to show how writing might become an artwork. In his essay
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Smithson, Robert (1969), "Incidents of mirror-travel in the Yucatan",
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was a work which could be displayed in any suitable space, such as an
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was written in 1973 after Smithson had seen an exhibition curated by
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1472:. Kent State University Special Collections and Archives. April 2017
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On July 20, 1973, Smithson, a photographer and the pilot died in a
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Smithson has a following among many contemporary artists. Artists
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Victims of aviation accidents or incidents in the United States
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attributed the accident to the pilot's failure to maintain
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was a work located in a specific outdoor location, while a
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The Writings of Robert Smithson: Essays with Illustrations
212:. He studied painting and drawing in New York City at the
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until he was nine. In Rutherford, the poet and physician
1202:
Robert Smithson: Learning from New Jersey and Elsewhere
1034:
Robert Smithson Unearthed: Drawings, Collages, Writings
1470:"Robert I. Smithson, Partially Buried Woodshed papers"
1493:"How Do You Sell a Work of Art Built Into the Earth?"
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As a writer, Smithson was interested in applying the
1247:"Robert Smithson and the Anglo-American Picturesque"
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Proposals for the Dallas-Fort Worth Regional Airport
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1808:"Sculpture From the Earth, But Never Limited by It"
655:building on the Kent State University main campus.
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along with the hieroglyphs there are also graffiti.
1974:Victims of aviation accidents or incidents in 1973
1872:Ingrid Commandeur and Trudy van Riemsdijk-Zandee:
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1526:Technoetic Arts: A Journal of Speculative Research
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722:Floating Island: To Travel around Manhattan Island
435:to art that he outlined in essays and reviews for
1780:A Decade of Sculpture: the New Media in the 1960s
1415:"Plans to Mix Oil Drilling and Art Clash in Utah"
1935:
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985:, Oxford: Oxford University Press, 2009. p. 664
835:awareness of both artists' creative legacies".
1847:Smithson, Robert (1996), Flam, Jack D. (ed.),
981:Chilvers, Ian & Glaves-Smith, John eds.,
1851:, Berkeley: University of California Press,
1170:Smithson, Robert (1979). Holt, Nancy (ed.).
726:Towards the Development of a "Cinema Cavern"
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356:that promoted the work of the first wave of
170:in 2004, Rozel Point, Great Salt Lake, Utah.
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1078:Mirror Travels: Robert Smithson and History
831:have all made homages to Smithson's works.
346:Eight-Part Piece (Cayuga Salt Mine Project)
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1874:Robert Smithson: Art in Continual Movement
1660:"Robert Smithson, 35, A Sculptor, Is Dead"
1588:Smithsonian American Art Museum Collection
1174:. New York NY: New York University Press.
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983:Dictionary of Modern and Contemporary Art
216:from 1954 to 1956 and then briefly at the
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1889:"New Jersey Images, Unbound by Galleries"
1876:. Alauda Publications, Amsterdam (2012),
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1638:Whitney Museum of American Art Collection
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548:Industrial ruins and disrupted landscapes
386:Incidents of Mirror-Travel in the Yucatan
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1784:, Philadelphia: The Art Alliance Press,
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1128:. Ithaca, NY: Cornell University Press.
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1036:. New York: Columbia University Press.
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1969:Art Students League of New York alumni
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1887:Schwendener, Martha (June 29, 2012),
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1491:Tuchman, Phyllis (January 27, 2017).
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958:"Robert Smithson: Birth of an Artist"
1901:Robert Smithson (exhibition catalog)
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1806:Kimmelman, Michael (June 24, 2005),
1713:National Transportation Safety Board
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1080:. New Haven: Yale University Press.
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782:National Transportation Safety Board
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350:Map of Broken Clear Glass (Atlantis)
245:works that incorporated images from
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764:crash while inspecting the site of
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273:The Inferno, Purgatory and Paradise
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2019:20th-century American male artists
2009:People from Rutherford, New Jersey
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1063:, 2005, retrieved October 21, 2009
730:Bingham Canyon Reclamation Project
711:Bingham Copper Mine, Bingham, Utah
14:
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2014:Brooklyn Museum Art School alumni
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956:Paul, Serge (December 20, 2021).
461:Frederick Law Olmsted's influence
1563:Museum of Modern Art Collections
1413:Johnson, Kirk (March 28, 2008).
944:"Interview with Robert Smithson"
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267:such as the paintings from 1959
2004:People from Passaic, New Jersey
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1669:. New York City. July 24, 1973.
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691:(Dutch: Buiten de perken). The
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89:Art Students League of New York
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1298:Robert Rauschenberg Foundation
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298:structures and the concept of
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1994:20th-century American artists
1954:American contemporary artists
1924:The Estate of Robert Smithson
1076:Roberts, Jennifer L. (2004).
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829:Bruce High Quality Foundation
478:and the Dialectical Landscape
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200:, and spent his childhood in
1613:Guggenheim Museum Collection
1204:. Cambridge, MA: MIT Press.
544:and landscape architecture.
510:.... Walking east, I passed
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16:20th-century American artist
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1964:American postmodern artists
1517:Shanken, Edward A. (2013).
1440:"Partially Buried Woodshed"
997:"Museum Closing Art School"
465:Smithson's interest in the
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241:. He produced drawings and
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1984:Accidental deaths in Texas
1756:"Holt/Smithson Foundation"
1124:Robert Smithson: Sculpture
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433:mathematical impersonality
218:Brooklyn Museum Art School
1817:. Retrieved June 2, 2007.
923:Partially Buried Woodshed
908:Partially Buried Woodshed
685:Broken Circle/Spiral Hill
683:In 1971 Smithson created
677:Broken Circle/Spiral Hill
667:Broken Circle/Spiral Hill
660:Broken Circle/Spiral Hill
637:Partially Buried Woodshed
632:Partially Buried Woodshed
625:Partially Buried Woodshed
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1929:Holt/Smithson Foundation
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1760:Holt-Smithson Foundation
679:, Emmen, the Netherlands
653:Liquid Crystal Institute
279:s three-part structure.
192:Early life and education
1999:Artists from New Jersey
1736:. Holt/Smith Foundation
482:Elizabeth Barlow Rogers
292:Enantiomorphic Chambers
206:William Carlos Williams
1200:Reynolds, Ann (2003).
1120:Hobbs, Robert (1981).
1032:Tsai, Eugenie (1991).
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447:landscape architecture
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1989:American male artists
1899:Crow, Thomas (2005),
1538:10.1386/tear.11.1.3_1
925:remains, Kent, OH, US
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689:Beyond Lawn and Order
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645:Kent State University
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476:Frederick Law Olmsted
196:Smithson was born in
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1338:, pp. 169–170).
1300:. September 16, 2016
910:plaque, Kent, OH, US
604:(1970) is a work of
362:William S. Burroughs
1245:Martin, Timothy D.
703:Unrealized projects
518:... On the base of
318:(whom he married),
198:Passaic, New Jersey
58:Passaic, New Jersey
1813:The New York Times
1666:The New York Times
1497:The New York Times
1444:RobertSmithson.com
1001:The New York Times
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713:
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382:A Heap of Language
314:movement, such as
312:Primary Structures
255:beefcake magazines
172:
1882:978-90-815314-8-1
1688:visitamarillo.com
1634:"Robert Smithson"
1609:"Robert Smithson"
1584:"Robert Smithson"
1559:"Robert Smithson"
878:, The Netherlands
859:, The Netherlands
675:Robert Smithson,
573:Significant works
390:Yucatan Peninsula
166:Robert Smithson,
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1274:. June 28, 2014
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770:Stanley Marsh 3
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455:0 to 9 magazine
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253:clippings from
247:natural history
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175:Robert Smithson
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78:Amarillo, Texas
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54:January 2, 1938
49:
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26:
25:Robert Smithson
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69:July 20, 1973
68:
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1959:Land artists
1900:
1892:
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1770:Bibliography
1759:
1750:
1740:February 13,
1738:. Retrieved
1728:
1718:February 13,
1716:. Retrieved
1709:"FTW74AF004"
1703:
1693:February 13,
1691:. Retrieved
1687:
1664:
1653:
1641:. Retrieved
1637:
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1616:. Retrieved
1612:
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1591:. Retrieved
1587:
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1566:. Retrieved
1562:
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1541:. Retrieved
1529:
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1500:. Retrieved
1496:
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1474:. Retrieved
1464:
1452:. Retrieved
1448:the original
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1422:. Retrieved
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1382:
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1302:. Retrieved
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1123:
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1012:. Retrieved
1000:
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892:Spiral Jetty
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739:
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618:Spiral Jetty
617:
614:Spiral Jetty
613:
602:Spiral Jetty
601:
600:
597:in June 2013
595:Spiral Jetty
594:
586:Spiral Jetty
579:Spiral Jetty
578:
551:
533:
505:
500:Central Park
495:Central Park
489:
474:
473:. His essay
464:
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421:Spiral Jetty
420:
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385:
381:
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353:
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235:Catholic art
232:
195:
185:Spiral Jetty
183:
174:
173:
168:Spiral Jetty
167:
113:Spiral Jetty
111:
107:Notable work
71:(1973-07-20)
18:
1949:1973 deaths
1944:1938 births
1532:(1): 3–14.
1502:January 31,
1014:November 9,
895:, Utah, USA
872:Spiral Hill
825:Mike Nelson
817:Lee Ranaldo
813:Renée Green
805:Tacita Dean
736:Collections
697:Spiral Hill
643:created at
559:process art
520:the Obelisk
514:on boulders
471:picturesque
431:method and
429:Dialectical
417:art gallery
348:(1969) and
341:dump trucks
296:Crystalline
269:Wall of Dis
98:Sculpture,
1938:Categories
1476:October 3,
1454:October 4,
967:January 3,
931:References
827:, and the
809:Sam Durant
790:Nancy Holt
649:Kent, Ohio
542:modern art
330:Later work
324:Sol LeWitt
316:Nancy Holt
308:minimalist
284:minimalist
251:homoerotic
229:Early work
202:Rutherford
135:Nancy Holt
100:Earthworks
50:1938-01-02
1833:0004-3532
1304:March 16,
1278:March 16,
1009:0362-4331
821:Vik Muniz
780:E55; the
641:earthwork
537:dialectic
488:entitled
405:non-sites
335:Non-sites
146:Patron(s)
85:Education
1857:32853450
1824:Artforum
1643:June 17,
1618:June 17,
1593:June 17,
1568:June 17,
1543:June 17,
1424:June 17,
1256:June 11,
1061:NY Times
786:airspeed
606:land art
565:and the
563:pastoral
512:graffiti
467:temporal
442:Artforum
413:non-site
394:temporal
376:Writings
358:land art
354:Artforum
304:Alogon 2
188:(1970).
179:land art
125:Land art
121:Movement
1841:1514329
839:Gallery
776:, in a
756:in 1989
567:sublime
555:dynamic
484:at the
300:entropy
243:collage
239:Pop art
210:Clifton
1907:
1880:
1855:
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1800:804815
1798:
1788:
1208:
1178:
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1007:
524:
516:
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368:, and
224:Career
131:Spouse
116:, 1970
60:, U.S.
1522:(PDF)
1250:(PDF)
876:Emmen
857:Emmen
772:near
401:sites
259:Dante
76:Near
1905:ISBN
1878:ISBN
1853:OCLC
1837:OCLC
1829:ISSN
1796:OCLC
1786:ISBN
1742:2021
1720:2021
1695:2021
1645:2019
1620:2019
1595:2019
1570:2019
1545:2019
1504:2017
1478:2018
1456:2018
1426:2019
1306:2019
1280:2019
1258:2019
1206:ISBN
1176:ISBN
1130:ISBN
1082:ISBN
1038:ISBN
1016:2020
1005:ISSN
969:2022
796:and
439:and
409:site
407:. A
403:and
322:and
271:and
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40:Born
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647:in
310:or
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