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Topic: Robert Smithson

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	BOOKFORUM \| dec/jan 2005
		In its rigor and heft, its scope and illustrations, the new Robert Smithson exhibition catalogue is as compelling as a codex.
		Smithson literalized this principle by fabricating two steel structures into which mirrors were installed at oblique angles; when the viewer stepped between them, the expectation of a coherent, binocular image was defeated by the endless play of reflections the chambers set in motion.
		For Roberts, Smithson's engagement with "continuance"—what she describes as "a term he used in opposition to the atomism and presentism of psychobiographical models of art criticism"—provides the takeoff point for her investigations.
	www.bookforum.com /archive/dec_04/lee.html (4075 words)

	Robert Smithson Summary
		Smithson's life-long concern for "oppositions" surfaced in these early works where, with a decorative and gestural brushstroke, he painted antithetical religious themes of the celestial and the demonic, the earthly and the spiritual, the sacred and the profane.
		Smithson was born in Passaic, New Jersey and studied painting and drawing in New York City at the Art Students League.
		In 1967 Smithson began exploring industrial areas around New Jersey and was fascinated by the sight of dump trucks excavating tons of earth and rock that he described in an essay as the equivalents of the monuments of antiquity.
	www.bookrags.com /Robert_Smithson (2082 words)

	Robert Smithson
		Robert Smithson (1938 - 1973) was an American artist famous for his land art.
		Spiral Jetty 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.
		Smithson died in a plane crash while working on his work Amarillo Ramp in Texas.
	www.ebroadcast.com.au /lookup/encyclopedia/ro/Robert_Smithson.html (197 words)

	AE160D Unit 13: Robert Smithson
		Robert Smithson was born in 1938 in Passaic, New Jersey and died in a plane crash while flying over one of his earthworks to examine it in 1973.
		Smithson became more interested in the actual structure of the building and was involved in the boring of holes to take earth samples.
		Smithson often traveled with Carl Andre and Robert Morris to the decaying urban areas and industrial wastelands in New Jersey during 1966 to 1969.
	arted.osu.edu /160/13_Smithson.php (1153 words)

	Passaic Boys are Hell: Robert Smithson's Tag as Temporal and Spatial Marker of the Geographical Self
		Smithson's project was actively engaged in a polemic with his contemporary modernist history, but his own work was not solely concerned with the "monumental" structures of the "real" and the art world as Gary Shapiro has suggested (in Earthwards: Robert Smithson and Art After Babel [1995]).
		Smithson's articulation of these fluctuating scales of meaning in all of his essays about specific sites was one of his key strategies for describing and accounting for the multiple temporal registers present in a singular location.
		Smithson's interest was within those created, infinitely dilating worlds, as in the created temporality of film, and particularly the world of the science-fiction narrative with its ability to exchange time frames effortlessly: one time is held within another in an infinite and continuous series that is at the same time contained.
	reconstruction.eserver.org /023/colman.htm (5334 words)

	Robert Smithson - Search Results - MSN Encarta
		Smithson, Robert (1938-1973), American artist and writer, a pioneer of the earthworks movement in the 1960s.
		Smithson, James (1765-1829), British mineralogist and chemist, whose legacy provided for the foundation of the Smithsonian Institution in 1846....
		Bruce, Robert (1274-1329), liberator, and, as Robert I, king of Scotland (1306-1329).
	encarta.msn.com /Robert_Smithson.html (106 words)

	Robert Smithson Online
		Robert Smithson at the Metropolitan Museum of Art, New York City
		Robert Smithson in the Los Angeles County Museum of Art Database
		All images and text on this Robert Smithson page are copyright 1999-2007 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/smithson_robert.html (337 words)

	Placement: Robert Smithson's Boiling Curve
		Robert Smithson’s interest in mining and reclamation of wasteland space drew him to the hostile shores of the northern Great Salt Lake.
		Smithson’s complexity lies not only in the difficulty in enjoying the primary object but the frequently contradictory and evolving positions the artist held.
		For Smithson, once the contractor’s trucks pulled away, the “Jetty” is free to permeate under the erosion of salt water and the corrosion of art history.
	www.mathematos.com /placement/archives/2005/08/robert_smithson.php (1087 words)

	It's Not Easy Making Art That Floats - New York Times (Site not responding. Last check: 2007-09-17)
		Robert Smithson, the artist, specified that he wanted the island's trees to be native to the New York region.
		Smithson sketched out in a rough drawing three years before he died in a plane crash in 1973, an image that showed a tiny, forested, man-made island being towed by tugboat with the city's skyline in the distance.
		Smithson's rudimentary sketch - which was very specific in some areas (pointing out, for example, that there should be moss growing on one boulder,) yet vague in others (no exact dimensions; no color scheme; only a rough ideas about the topography and placement of bushes and trees that Smithson might have wanted).
	www.nytimes.com /2005/09/16/arts/design/16floa.html?ex=1284523200&en=f2914036e49724ed&ei=5090&partner=rssuserland&emc=rss (661 words)

	deborah garwood on robert smithson at the whitney
		deborah garwood on robert smithson at the whitney
		The Robert Smithson retrospective on view at the Whitney, which originated at LA's Museum of Contemporary Art, thoughtfully presents the singular intelligence of Smithson’s radical vision.
		Smithson was born in Passaic, NJ, in 1938.
	www.artcritical.com /garwood/DGSmithson.htm (701 words)

	Robert Smithson (Site not responding. Last check: 2007-09-17)
		Robert Smithson accomplishes trough his works the dialectics between the Site and Nonsite that he invented and followed as conceptual structure.
		She had never been especially interested in such piece or in Robert Smithson's work, but she thought it was a good opportunity to go and see that mythical work of art.
		Smithson donated the earthwork to the University, which represented and act of subversion and almost a political performance because he donated - for the eyes of school bureaucrats - just dirt, and because they already owned the woodshed, which had no value in any esthetical or sentimental way.
	www.matatena.com /asp/Articulos/smithson.htm (4495 words)

	Robert Smithson (Site not responding. Last check: 2007-09-17)
		Robert Smithson's profound impact on contemporary art and its discourse derives less from formal and conceptual innovation than from his inventive and restless explorations of multiple avenues, genres, and media.
		Smithson's work suggests that the concrete materiality of sculpture depends on the mind's ability to see metaphorically in order to comprehend meanings within the language of art.
		For Smithson, an exemplar of the elsewhere was the Great Salt Lake in Utah, where his iconic earthwork Spiral Jetty (1970) is located, where "sites [recede] into the Nonsites and the Nonsites [recede] back into the sites," as he explained in an interview in 1969.
	www.diabeacon.org /exhibs_b/smithson/essay.html (465 words)

	Diabooks.org
		Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic pro...
		Robert Smithson (1938-1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation.
		Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since.
	www.diabooks.org (337 words)

	pierogi 2000 press: robert smithson
		Instead, they are probing the physical qualities of Smithson's materials and the intellectual challenges of his process: the dialectical existence/non-existence in question has become the oeuvre of Smithson himself.
		Trees, as Smithson in effect demonstrated, are innately satisfying sculptural presences, both soaring and earthbound, delicate and massive.
		The interdependent relationships that Smithson outlined in some sense determine the curators' actions, because his output becomes both the object and the process; his works are both (re-)created and destroyed.
	www.pierogi2000.com /press/smithson.html (1698 words)

	Robert Smithson. Corner Mirror with Coral. 1969
		Smithson's three mirrors in a corner create a structure both lucid and elusive: as each mirror reflects the space around it, it multiplies the reflections in the other mirrors, creating an image with the symmetry of a crystal.
		Mirrors appear often in Smithson's art, as do fragments of the natural world—here, there are pieces of coral piled in the angle where the mirrors meet.
		Smithson also combined mirrors with heaps of sand, gravel, and other rocks, matching nature's brute rubble with its precise visual twin.
	www.moma.org /collection/printable_view.php?object_id=80925 (509 words)

	Amazon.fr : Robert Smithson: Livres en anglais: Robert Smithson,Eugenie Tsai (Site not responding. Last check: 2007-09-17)
		Robert Smithson's Spiral Jetty is the poster child for the antiformalist Earth Art movement of the 1960s and 1970s.
		A coil of earth, salt, and stone that Smithson built into Great Salt Lake, Utah, the piece is a tribute to the movement's scale and engineering as well as to its visionary union of art and nature.
		Smithson's questioning of the conventional attitudes of art and culture did not stop with the creation of objects and images; he was committed to exploring of attitudes and ideas as a critical component of his work.
	www.amazon.fr /Robert-Smithson/dp/0520244087 (499 words)

	Art: Robert Smithson, Pre-Minimal Paintings - New York Times
		ROBERT SMITHSON (1938- 1973) is so well known as a sculptor of Minimal austerities in the mid-60's - and later, as founding hero of the Earth Art division of the movement - that his early work comes as a bit of a shock.
		By 1963, Smithson seems to have done with painting, and begun his shift into what he thought of as "mature" production.
		We would have missed that Smithson had he stayed a painter, yet seeing this early phase of his work enriches our sense of his accomplishments.
	www.nytimes.com /1985/02/01/arts/design/02011985smithson.html (432 words)

	Amazon.com: Robert Smithson: Books: Eugenie Tsai (Site not responding. Last check: 2007-09-17)
		Straddling the movements of minimalism and land art, Smithson, who died in a plane crash at the age of 35, had a profound impact on the cultural landscape that resonates to this day.
		Smithson's revolutionary ideas positioned art as existing beyond the walls of the museum in media such as writing and film, and even in the landscape itself.
		"An argument could be made that Robert Smithson is at least as important as a thinker and critic as he is as an artist, and in the art history of the Seventies, his words are certain to be returned to and returned to.
	www.amazon.com /Robert-Smithson-Eugenie-Tsai/dp/product-description/0520244087 (729 words)

	Robert Smithson
		Smithson occupied a pivotal position in the 1960s-1970s transition from Modernism to Postmodernism.
		Smithson created several of the films with his partner Nancy Holt, who was instrumental in promoting the artist after his death.
		Like Picasso, Matisse and other Eurocentric Modernists, Smithson was drawn to the art of the Other, to what the previous generation of Europeans had called “primitive art.” Like them, he took a “primitive” structure out of cultural context, neglecting its complex significance to its makers, and appropriated it as his own.
	artscenecal.com /ArticlesFile/Archive/Articles2004/Articles1004/RoSmithsonA.html (660 words)

	ArtandCulture Artist: Robert Smithson (Site not responding. Last check: 2007-09-17)
		Smithson is best known for his large-scale earthworks -- including "Spiral Jetty" (located in the Great Salt Lake, Utah), "Broken Circle," and "Spiral Hill" (both in a Holland quarry) -- in which he reshapes landscapes in a way that recalls both the forces of nature and ancient archeological sites.
		Like all earthworks, Smithson's projects are subject to natural climactic changes in temperature, light, wind, and erosion; for example, "Spiral Jetty" is now submerged in rising lake waters.
		Smithson resisted the temptation to simply attach a separate object of art to the building after it was finished; instead, he created large-scale ground systems on the fringes of the airport, including grids and other configurations that could be seen from the aircraft as they were landing or taking off.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?wosid=NO&id=186 (317 words)

	Placement: Robert Smithson, Intl.
		From 1966-67, Smithson was retained by Tibbets, Abbott, McCarthy, and Stratton (TAMS) as an “artist-consultant.” Smithson’s heavy interest in French films and structuralism saw a number TAMS related works based on maps, aerial art, and with a different perspective.
		In an article by the artist, Smithson later wrote of the project: “Art today is no longer an architectural afterthought, or an object to attach to a building after it is finished, but rather a total engagement with the building process from the ground up and from the sky down.
		Smithson hoped to include live video feed of the sites within the airport to recreate the experience within as a sort of museum.
	www.mathematos.com /placement/archives/2005/06/smithson_intl.php (540 words)

	Robert Smithson
		For this reason it is fortunate that "Robert Smithson: Language to be Looked at and/or Things to be Red, Drawings from 1962-63," held this spring at James Cohan Gallery, focused on Smithson's early works on paper.
		Smithson's proclivity for marrying banal and apocalyptic themes during this period is demonstrated by the incantation "Price War Last Day" inscribed like a doomsday pediment across the bottom of the page.
		While affinities between the early collages and drawings and Smithson's later projects are intriguing, these works even more telling as evidence of what he left behind in the construction of his mature, self-described oeuvre.
	dsc.gc.cuny.edu /part/part6/reviews/rclark.html (1052 words)

	Dallas Museum of Art - Past Exhibitions
		“Robert Smithson is increasingly being seen as one of the most influential American artists of the late 20th century,” said Charles Wylie, The Lupe Murchison Curator of Contemporary Art at the Dallas Museum of Art, who, with Suzanne Weaver, Associate Curator of Contemporary Art, coordinated the Dallas installation of the exhibition.
		The exhibition also focuses on Smithson’s fascination with nature’s tendency toward increasing disorder or randomness—what is defined broadly as entropy—and with the entropic landscape, which evokes the primordial past as well as the science-fiction future.
		Robert Smithson was organized by The Museum of Contemporary Art, Los Angeles, with Suzanne Weaver and Charles Wylie as organizing curators in Dallas.
	dmaws.dallasmuseumofart.org /stellent/idcplg?IdcService=SS_GET_PAGE&ssDocName=ID_021485&ssSourceNodeId=531 (547 words)

	Robert Smithson - A Review by Donald Goddard
		Images in Smithson’s early paintings and collages smash up against the picture plane from behind so that their wounding, desperation, or threat impinges on our conscience: the many images of Christ and of prehistoric and post-historic worlds.
		When Smithson lectured at the University of Utah in 1972 on his Yucatan trip, it was about not the ancient ruins of Palenque but the Hotel Palenque, where he, Holt, and his friend and dealer Virginia Dwan had stayed.
		Robert Smithson was scheduled for June 23 through October 23 at the Whitney Museum of American Art, New York.
	www.newyorkartworld.com /reviews/smithson.html (1448 words)

	A tree dies in Brooklyn - artist Robert Smithson ArtForum - Find Articles
		In his "site/non-site" projects of the late '60s and early '70s, Robert Smithson mapped the ravages and beauties of the twentieth-century landscape.
		Smithson's work - conceived in rebellion against the gallery system and operating in the noncommodifiable formats of Earth art and installation - often ended up dismantled and destroyed.
		When Smithson realized his original Dead Tree project for the "Prospect 69" exhibition at the Dusseldorf Kunsthalle (curated by Konrad Fischer and Hans Strelow), the space was much grander, and the tree with its mirrors appeared isolated, almost stately.
	www.findarticles.com /p/articles/mi_m0268/is_n6_v36/ai_20544480 (883 words)

	Robert Smithson (Site not responding. Last check: 2007-09-17)
		Robert Smithson was born in Passaic, New Jersey, in 1938.
		Smithson used fl basalt rocks and earth from the site surrounding the Great Salt Lake in Utah, to create the monumental Earthwork Spiral Jetty (1970), a coil 1,500 feet long and fifteen feet wide that stretches out counterclockwise into the translucent red water of the lake.
		Smithson died in a plane crash in Amarillo, Texas, in 1973, while working on Amarillo Ramp.
	www.diachelsea.org /exhibs_b/smithson (311 words)

	Guggenheim Collection - Artist - Smithson - Hotel Palenque
		Robert Smithson may be best known for his Spiral Jetty (1970), a monumental spiral of crushed rock gracing the waters of Utah’s Salt Lake.
		Throughout his tragically short career, Smithson mounted an attack against the strictures of art history, which venerates the static object and divides art from the exigencies of the real world.
		Smithson used these images in a lecture presented to architecture students at the University of Utah in 1972, in which he humorously analyzed the centerless, “de-architecturalized” site.
	www.guggenheimcollection.org /site/artist_work_md_146E_1.html (430 words)

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