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An examination of the interplay between cultural context and artistic practice in the work of Robert Smithson. 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. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life—magazines, postcards from other artists, notebooks, and perhaps most important, his library—from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again—alone and with fellow artists—to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
An examination of the interplay between cultural context and artistic practice in the work of Robert Smithson.
Robert Smithson (1938-1973), one of the most important artists of his generation, produced sculpture, drawings, photographs, films, and paintings in addition to the writings collected here.
Publisher Description
Catalogue accompanying the first exhibition to examine the seminal role of New Jersey in the development of Robert Smithson's work.
Under normal circumstances, a man must face reality to be a sane, well-balanced citizen. But not in that city! Any man who faced and understood the reality of the place was insane!
Newly available in paperback, this landmark volume is the definitive study of the work of visionary American artist Nancy Holt (1938–2014). Since the late 1960s, Holt’s wide-ranging production has included Land art—particularly the monumental Sun Tunnels (1973–76)—as well as significant projects in sculpture, installation, photography, film, and video. A comprehensive representation of Holt’s working process in both word and image, Alena J. Williams’s momentous publication illuminates the artist’s interest in physical space and reveals how the geographic variety and boundlessness of the American landscape afforded her numerous opportunities to develop large-scale projects beyond the confines of New York City’s gallery walls. Contributions by a distinguished group of writers—including Pamela M. Lee, Lucy R. Lippard, Ines Schaber, and Matthew Coolidge—chart Holt’s fascinating trajectory from her initial experiments with sound, light, and industrial materials to major site interventions and environmental sculpture. James Meyer’s valuable interview with Holt and Julia Alderson’s illustrated chronology expand our knowledge of this groundbreaking artist and the crucial contexts in which she worked. More than twenty original writings by the artist and a rare selection of her concrete poetry, documentary photographs, and preparatory drawings reveal Holt’s revolutionary concepts of space, time, optics, and scale.
This innovative study of two of the most important artists of the twentieth century links the art practices of Allan Kaprow and Robert Smithson in their attempts to test the limits of art--both what it is and where it is. Ursprung provides a sophisticated yet accessible analysis, placing the two artists firmly in the art world of the 1960s as well as in the art historical discourse of the following decades. Although their practices were quite different, they both extended the studio and gallery into desert landscapes, abandoned warehouses, industrial sites, train stations, and other spaces. Ursprung bolsters his argument with substantial archival research and sociological and economic models of expansion and limits.
"Between 1950 and 1975, some of the postwar era's most innovative artists flocked to a very unexpected place: New Jersey. Appreciating what others tended to ignore or mock, they gravitated to the state's most desolate peripheries: its industrial wastescapes, crumbling cities, crowded highways, and banal suburbs. There they produced some of the most important work of their careers. The breakthroughs in land, conceptual, performance, and site-specific art that New Jersey helped catalyze are the subject of New Jersey as Non-Site, whose title evokes the mixed-media sculptures that Robert Smithson began to create in 1968 while driving the state's highways with Nancy Holt. This catalogue examines more than 100 works by sixteen artists, including Amiri Baraka, George Brecht, Dan Graham, Allan Kaprow, Gordon Matta-Clark, and George Segal. Organized around three themes--ruin, cooperation, and displacement--Kelly Baum's essay considers their work in relationship to seismic shifts in the world of art and equally dramatic changes to New Jersey's economy, infrastructure, landscape, demography, and social stability."--