![]() ![]() ![]() All following images are Robert Smithson, Spiral Jett y, 1970. Since 2012, a geospatial aerial photographer has documented Spiral Jetty once or twice annually in the Spring and/or Fall. , Art Since 1900: Modernism, Antimodernism, Postmodernism, TOKYO SHOSEKI CO., LTD., 2019Įdited by Koji Tagi and Teruo Fujieda, Dictionary of Modern and Contemporary Art in Japan, TOKYO SHOSEKI CO., LTD. As stewards of Spiral Jetty, Dia is committed to recording changes to the work over time through photographic documentation. In a sand quarry in the Northeastern Netherlands, Smithson has carved into the shoreline, flooding the resulting dikes to form an interlocking canal and jetty. Rosalind Krauss, The Optical Unconscious, GETSUYOSHA LIMITED, 2019 (3-4.5 m) deep Spiral Hill: diameter: 75 ft. Rosalind Krauss, The Originality of The Avant-Garde and Other Modernist Myths, GETSUYOSHA LIMITED, 2021 Robert Smithson, “Hotel Palenque,” The Bulletin of Aichi University of the Arts, 2018 “Rebooting Robert Smithson: Sculptor (Part2),” The Bulletin of Aichi University of the Arts, 2015 “Introduction to ‘Robert Smithson and Nancy Holt Papers, 1905-1987, bulk 1952-1987’ in Archive of American Art,” The Bulletin of Aichi University of the Arts, 2017 “Robert Smithson: From Crystal Structure to Non-Site,” The Bulletin of Aichi University of the Arts, 2020 Professor, Aichi University of the Arts, art critic. © 2022 Holt/Smithson Foundation and Dia Art Foundation / Licensed by ARS, NY and JASPAR, Tokyo G3056ĭistributed by Electronic Arts Intermix, New York Thus, Spiral Jetty exists thrice as site, film and text, each adding meaning to the others across different media and representing a peak in the composite works that Smithson achieved developing his “site/nonsite” dialectic with its natural back and forth between the two.Īt this program, we will look at aspects of Smithson’s polymorphic creativity focusing on both the periods before and after Spiral Jetty, in an attempt to discover the contemporary possibilities of that work. The text “Spiral Jetty” adding a detailed explanation of the work was to be written two years later. Editing of the film commenced in a New York studio immediately after completion of the land art, imbuing it with multiple layers of meaning, and giving it a story and a vital spirit of sorts. It is the film version, so to speak, of Spiral Jetty the 500m-long land art at the Great Salt Lake in Utah, but not merely a record of its creation. Robert Smithson’s film Spiral Jetty (1970) opens with the sound of a respirator, and an image of a solar flare. We will invite Konishi Nobuyuki, Professor of Aichi University of the Arts, who has long studied Robert Smithson, as guest speaker for this talk program focusing mainly on the activities of Robert Smithson. Japanese-English simultaneous interpretation available MAM Screen 017: Nancy Holt and Robert Smithson Related Program Talk “Robert Smithson: Site/Nonsite - From Spiral Jetty” Robert Smithson, Spiral Jetty, 1970, Rozel Point, Great Salt Lake, Utah, 1500 (if unwound) x 15 foot spiral of basalt, sand, and soil ©Holt-Smithson Foundati. The film was shot by Smithson and his wife Nancy Holt, and funded by Virgina Dawn and Douglas Christmas. In 1970 during the construction of the jetty, Robert Smithson wrote and directed a 32-minute color film, "Spiral Jetty". He began work on the jetty in April 1970. ![]() Spiral Jetty was the first of his pieces to require the acquisition of land rights and earthmoving equipment. It is reported that Smithson had a difficult time convincing a contractor to accept the unusual proposal. To move the rock into the lake, Smithson hired Bob Phillips of Parson's Construction of nearby Ogden, Utah, who used two dump trucks, a large tractor, and a front end loader to haul the 6,650 tons of rock and earth into the lake. While observing the construction of the piece from a helicopter, Smithson reportedly remarked "et in Utah ego" as a counterpoint to the famous pastoral Baroque painting et in Arcadia ego by Nicolas Poussin. Smithson was attracted to the Rozel Point site because of the stark anti-pastoral beauty and industrial remnants from nearby Golden Spike National Historic Site, as well as an old pier and a few unused oil rigs. The red hue of the water is due to the presence of salt-tolerant bacteria and algae that thrive in the extreme 27 percent salinity of the lake's north arm, which was isolated from fresh water sources by the building of a causeway by the Southern Pacific Railroad in 1959. Smithson reportedly chose the Rozel Point site based on the blood-red color of the water and its connection with the primordial sea. The water level of the lake varies with precipitation in the mountains surrounding the area, revealing the jetty in times of drought and submerging it during times of normal precipitation. Built on the northeastern shore of the Great Salt Lake near Rozel Point in Utah entirely of mud, salt crystals, basalt rocks and water, Spiral Jetty forms a 1,500-foot-long (460 m), 15-foot-wide (4.6 m) counterclockwise coil jutting from the shore of the lake. ![]()
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