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Heizercalls his earth projects "The alternative to the absolute city system." Smithson’s site-specific earthworks lead me to contemporary considerations on the function and place of art. unknown. Smithson was born in Passaic, New Jersey and early on lived mostly in Rutherford. Escultura Arte De La Tierra … Robert Smithson’s Nonsite, Site Uncertain (1968) In the late 1960s, Robert Smithson’s “nonsites” radically challenged the limits of sculptural practice and paved the way for the artist’s construction of Spiral Jetty (1970). In Rutherford, William Carlos Williams was Smithson's pediatrician. Linda Barth Goldstein Fund. NON-SITE (Robert Smithson, 1938-1973) At a simple level: ‘In 1967 Smithson began exploring industrial areas around New Jersey and was fascinated by the sight of dumper trucks excavating tons of earth and rock that he described in an essay as the equivalents of the monuments of antiquity. square box: 12 x 34 x 34in. Holt currently works with a Dutch team in editing the video Breaking Ground: Broken Circle/Spiral Hill, including the original film footage she shot in 1971, and video recently shot recently in Emmen by a Dutch crew. Distinguished by its restrained aesthetic and fascinating geological components, Robert Smithson’s Double Nonsite, California and Nevada is a quintessential example of the artist’s pioneering series of Nonsites of 1968-1969. In the 1970s, Smithson began creating Non-Site works, abstracted versions of three-dimensional spaces. The show will feature a selection of maps, drawings and photographs that highlight Smithson's exploration of mapping and its integral relationship to his works defined as "nonsites… Did Vancouver attract Smithson’s interest precisely through its potential to act as a—provincial and wild—Non-Site to the urbanity and bustle of the artist’s New York base? Robert Smithson was a seminal American artist and writer known for pioneering the Land Art movement.His monumental earthen sculptures such as Spiral Jetty (1970), were inspired by the Minimalist work of his contemporaries, as well as geology, science fiction, and the concept of entropy. Robert Smithson designed and directed the construction of his iconic work the Spiral Jetty in April 1970. Smithson began making the Mirror Displacement series shortly after his Site/Non-Site works. The Jetty is a site-specific work, meant to interact with changing conditions of the surrounding water, land, and atmosphere. In these pieces, actual sites are mapped out topographically with additional artistic abstraction and ingenuity, creating a new work of both the record of the actual … © Estate of Robert Smithson / Licensed by VAGA at Artists Rights Society (ARS), New York, Non-sites is the title Robert Smithson gave to a group of geologically and geographically based works he began in 1968. Robert Smithson’s Nonsite, Site Uncertain (1968). CANONIZED FOUNDER OF EARTHWORKS, film-maker, respected antiformalist theorist, "preconscious" religious visionary, homoerotic draftsman, and Beat poet (not to mention posthumous market-driven photographer)--these Robert Smithsons have proliferated since … This work exemplifies Smithson’s dialectic of “sites” and “nonsites,” a theory and sculptural practice that focused on the interplay of outdoors and indoors, there and here, open and closed, scattered and contained, natural and built. A site was a work located in a specific outdoor location, while a non-site was a work which could be displayed in any suitable space, such as an art gallery. Dwan Gallery, New York. Classification "that earth does not exist. Paintings from 1959 to 1962 explored "mythical religious archetypes" and were also based on Dante's Divine Comedysuch as the paint… He primarily identified as a painter during this time, and his early exhibited artworks had a wide range of influences, including science fiction, Catholic art and Pop art. Collage and color pencil on paper, 30 x 22 inches. Hybrids comprised of minerals, metal containers, photographs, maps, and other documents, they encompass both the geographical source of his natural materials (the “site”) and their packaged relocation in a museum or gallery (the “non-site”), where they become legible as sculpture. 1969. In Non-site (Palisades—Edgewater, N.J.), Smithson extracted rock from the area of an abandoned trolley system in his native New Jersey, placing the pieces in an open-slatted aluminum bin that echoes the pattern of the rail tracks as well as the contemporary work of Minimalist artists such as Donald Judd, with its industrial materials and horizontal pattern. Offset. Robert Smithson. Robert Smithson’s New Jersey. In the late 1960s, Robert Smithson’s “nonsites” radically challenged the limits of sculptural practice and paved the way for the artist’s construction of Spiral Jetty (1970). sheet: 22 x 34 1/4" (55.9 x 87 cm); composition: 21 x 34 1/4" (53.3 x 87 cm). By Robert Smithson 1968 By drawing a diagram, a ground plan of a house, a street plan to the location of a site, or a topographic map, one draws a “logical two dimensional picture.” Unnatural fact: the fictions of Robert Smithson Field of representation Relationship between art histories and the ways in which art histories are reported upon Mass media / being a field of representation, or territory, that includes direct experience, or the ‘being there’, of everyday life. 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. Robert Smithson, (born Jan. 2, 1938, Passaic, N.J., U.S.—died July 20, 1973, Amarillo, Texas), American sculptor and writer associated with the Land Art movement. He produced drawings and collage works that incorporated images from natural history, science fiction films, classical art, religious iconography, and pornography including "homoerotic clippings from beefcake magazines". Out of the Blue - Robert Smithson. Smithson was intrigued with synthesizing two contradictory aspects of art: his ecological concerns with nature and geology, and his cynical notions about public art. “The strata of the Earth is a jumbled museum,” he once mused. Theory of Non-Sites, by Robert Smithson (1968) In 1967 Robert Smithson began exploring the industrial areas around New Jersey and, after assisting to dumper trucks excavating tons of earth and rocks, he described them as the equivalent of the monuments of antiquity. Nonsite, Site Uncertain will be on view in the Museum’s modern and contemporary gallery. Robert Smithson, Non-Site (Mica from Portland, Conn.) 1968. Mirror-Travels: Robert Smithson and History, by Jennifer L. Roberts. Robert Smithson (January 2, 1938 – July 20, 1973) was an American artist who used photography in relation to sculpture and land art. Smithson made his first non-sites in 1968, transporting rocks, slate fragments or mica from geological sites into the gallery or the museum. $40. Montclair Art Museum, Montclair, New Jersey. This spring, to honor fifty years of the iconic earthwork, the Museum is thrilled to welcome Smithson’s 1968 sculpture Nonsite, Site Uncertain on loan for one year from the Detroit Institute of Arts. Sculpture, Medium Robert Smithson Non Site - Site Uncertain 1968 View Larger Image View Full Catalog Record Below This image is one of over 108,000 from the AMICA Library (formerly The Art Museum Image Consortium Library- The AMICO Library™), a growing online collection of high-quality, digital art images from over 20 museums around the world. nonsite.org is affiliated with Emory College of Arts and Sciences. The title of the work refers to the transfer of the rocks from their original "site" to a gallery or museum setting, which is the "non site." Smithson selected the site for the way it illustrated the passage of time—through the local geology, the decay of the trolley line, and the gradual integration of nature and technology. Nancy Holt and Robert Smithson made several films together and were married for a decade until his death in 1973. Informs the position of th (80 x 80cm.) While the Site pieces generally used material from outside the gallery - rocks, rubble - which was piled in low containers, the Mirror Displacements saw the materials simply … Robert Smithson (1938-1973) Double Nonsite, California and Nevada signed and dated 'Robert Smithson 68-69' on the masonite backing of the map map with five steel boxes painted white with lava from the Mojave Desert, California and obsidian from the Cinder Cone in Queen Valley, Nevada map: 31 x 31in. With its picture-postcard mountains and ocean views, the West Coast city must have seemed productively closer to the stuff of tourist fantasy than conventional fodder for high art. 162 pages. New Haven, CT: Yale University Press. This series features bin-like structures in which the artist deposited rocks, sand, broken concrete, and other elements he collected at various sites in New Jersey. Find more prominent pieces of installation at Wikiart.org – best visual art database. Enamel on aluminum with stones and ink on paper drawing. While the Site pieces generally used material from outside the gallery - rocks, rubble - which was piled in low containers, the Mirror Displacements saw the materials simply … ‘A Nonsite (Franklin, New Jersey)’ was created in 1968 by Robert Smithson in Minimalism style. 23 February – 22 June 2014 by ANNE BLOOD. Drawings and Prints nonsite.org is an online, open access, peer-reviewed quarterly journal of scholarship in the arts and humanities. American Artist, Looted, Enamel on aluminum with stones and ink on paper drawing. In 1968, Robert Smithson realized an important group of works he collectively called Nonsites. His large-scale sculptures, called Earthworks, engaged directly with nature and were created by moving … Robert Smithson, Untitled [Pink linoleum center], 1964. Robert Smithson, Non-Site (Pallisades-Edgewater, NJ), 1968 From the collection of the Whitney Museum. Smithson began making the Mirror Displacement series shortly after his Site/Non-Site works. Published in Artforum in 1967, Robert Smithson’s A Tour of the Monuments of Passaic, New Jersey is a travelogue, beginning at the Port Authority in New York City and ending with a sandbox in a playground in Passaic. In Non-site (Palisades—Edgewater, N.J.), Smithson extracted rock from the area of an abandoned trolley system in his native New Jersey, placing the pieces in an open-slatted aluminum bin that echoes the pattern of the rail tracks as well as the contemporary work of Minimalist artists such as Donald Judd, with its industrial materials and horizontal pattern. As he explained in the accompanying text panel, “what was once a straight track has become a path of rocky crags—the site has lost its system.”, A 30-second online art project: While at my residency, I met the artist, Ooldouz Alaei Novin, (whose work can be seen here and here) an Iranian mixed-media artist who thinks about issues of exile and assimilation.Although she came to Marble House with an entirely different project in mind, once on the … James Cohan Gallery presented an exhibition of work by Robert Smithson titled Mapping Dislocations. Credit linePurchase, with funds from the Howard and Jean Lipman Foundation, Inc. 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