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JBB: An Artblog!
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@robertsmithson
Two-dimensional and three-dimensional things trade places with each other in the range of convergence. Large scale becomes small. Small scale becomes large. A point on a map expands to the size of a land mass. A land mass contracts to a point.
- Robert Smithson (via untitled-1994)
Robert Smithson, Bingham Copper Mining Pit– Utah Reclamation Project, 1973
Wax pencil and tape on plastic overlay on photograph, 20 x 30 inches (50.8 x 76.2 cm)
via: jm-matiere
via manpodcast:
Several months ago The Modern Art Notes Podcast traveled to the Dallas Museum of Art to tape a live-audience program with the curators of two closely related but independently organized Robert Smithson shows: Leigh Arnold, whose "Robert Smithson in Texas" was at the DMA, and Phyllis Tuchman, whose "Robert Smithson’s New Jersey" which was at the Montclair Art Museum.
On the occasion of the Montclair opening, here’s a re-post of The MAN Podcast’s recent Smithson episode!
[Image: Smithson, #7 Red Sandstone Mirror,1971]
Robert Smithson
Mirror Fan, 1969
via: overmoroccantea
Robert Smithson, “The Monuments of Passaic”, Artforum, December, 1967.
via: openstacks
"The artist embodies in his work not only the facts of addition, subtraction, multiplication and division, but also the structure of the numbers system in terms of modules and units." -Robert Smithson
via: trestledesign
Nature is never finished.
Robert Smithson
via: slantedshanty
Robert Smithson, Mirror Displacement: Cayuga Salt Mine Project, 1969 — installed at the A.D. White House at Cornell University as part of Willoughby Sharp’s exhibition Earth Art.
via: grupaok
Robert Smithson
Leaning Strata, 1968
via: lafilleblanc
The New York Times witnesses The Gate: Not the Idea of the Thing but the Thing Itself, a guerrilla performance by BHQF in 2005:
Approaching the Rachel Marie on its starboard side was a small motorboat, affixed to which was a replica of one of the saffron-colored gates created by Christo and Jeanne-Claude that dotted Central Park last winter. Captain Henry remembered “The Gates” and, putting two and two together, he worried that maybe the man in the motorboat was planning on boarding his little version of Central Park and planting a gate somewhere among the trees.
Image via Alice Gregory at Idiom
via: mocatv
Gyrostasis - Robert Smithson, 1968
via: inthetopofboredom
Robert Smithson
Mirror and Crushed Shells, 1969
via: exhibitionmaker
Robert Smithson
YUCATAN MIRROR DISPLACEMENTS (Seven / Nine). Locations on a Trail, Yucatan, Mexico. Nine original 126 format chromogenic-development transparencies, 1969.
Robert Smithson, A Web of White Gravel Paths Surrounding Water Storage Tanks, 1967 — project for the Dallas-Ft. Worth Regional Airport
via: grupaok
Robert Smithson, Spiral Jetty (1970)
Aerial view of ‘Spiral Jetty’, Great Salt Lake, Utah.
{Photographed by David Maisel in August of 2003}
via: magictransistor
Robert Smithson, Four-Sided Vortex, 1967
via: ephemeralol
‘I am convinced that the future is lost somewhere in the dumps of the non-historical past’.
Robert Smithson, A Tour of the Monuments of Passaic
____
Clockwise from top left: Robert Smithson, The Bridge Monument Showing Wooden Sidewalks, Monument with Pontoons: The Pumping Derrick, The Fountain Monument: Side View, and The Great Pipes Monument
via: apastpresentfuture
