![]() ![]() And while the Site pieces always contained a component situated in the gallery, the Mirror Displacement pieces were sometimes situated outside - as was this example, which was set up in Oxted Quarry in England. 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 dumped in heaps on the floor and divided up by mirrors. Smithson began making the Mirror Displacement series shortly after his Site/Non-Site works. Steel 10 units with square surfaces - The Denver Art Museum While Judd's work is often quite frank about its scale and dimensions, the changing scale in Smithson's Plunge makes it strangely difficult to gauge the scale of its individual components, and this attempt to befuddle the viewer is typical of the latter's work. In particular, the work is made of a series of stepped units that are positioned such that they slowly increase (or decrease) in size this sense of progression is quite different from the kind of straightforward repetition employed by Judd's sculpture. ![]() ![]() ![]() However, there is much in Plunge that departs from the aesthetic of mainstream Minimalists such as Donald Judd. And many critics who saw this work in Smithson's first solo show at the Dwan Gallery in 1966 identified him as a leading Minimalist. His discussion of monuments and ruins in his writing also helped many to think about the purpose art might have in the landscape, after the demise of the tradition of commemorative public sculpture.Ĭonstructed when Smithson was still mostly confining himself to the studio, Plunge is in keeping with Minimalism's preoccupation with geometry, repetition, and industrial materials. Smithson's concepts of Site and Nonsite - the former being a location outside the gallery, the latter being a body of objects and documentation inside the gallery - were important contributions to the body of ideas surrounding Land art in the 1960s.But the idea also informed his outlook on culture and civilization more generally his famous essay Entropy and the New Monuments (1969) draws analogies between the quarries and the strip malls and tract housing of New Jersey, suggesting that ultimately the later will also perish and return to rubble. His interest in geology and mineralogy confirmed this law to him, since in rocks and rubble he saw evidence of how the earth slows and cools. Much of Smithson's output was shaped by his interest in the concept of entropy, the second law of thermodynamics that predicts the eventual exhaustion and collapse of any given system.Smithson's approaches are typical of this group he constructed sculptures from scattered materials, he found ways to confuse the viewer's understanding of sculpture (often by using mirrors or confusing scales), and his work sometimes referred to sites and objects outside of the gallery, leading the viewer to question where the art object really resided. Although inspired by Minimalism's use of industrial materials and interest in the viewer's experience of the space around the art object (as much as the object itself), the Post-Minimalists sought to abandon even more aspects of traditional sculpture. Smithson is one of the most influential artists of the diverse generation that emerged in the wake of Abstract Expressionism and Minimalism, known as the Post-Minimalists.He climbed to the top and threw handfuls of ripped pages from books and magazines over the edge of the facing as Holt filmed it. Smithson and Holt drove to the Great Notch Quarry in New Jersey, where he found a facing about 20 feet high. Many of the pages and some of the pieces of each page are missing”. This idea came from a quote Smithson found …”the earth’s history seems at times like a story recorded in a book each page of which is torn into small pieces. A one minute section is filmed by Nancy Holt for inclusion in the film as Smithson wanted Holt to shoot the “earth’s history”. Sequences filmed in a natural history museum are integrated into the film featuring prehistoric relics that illustrate themes central to Smithson’s work. A voice-over by Smithson reveals the evolution of the Spiral Jetty. This film, made by the artist, Robert Smithson, with the assistance of Virgina Dwan, Dwan Gallery & Douglas Christmas, Director, Ace Gallery, (the aforementioned Dwan & Christmas also assisted Smithson financially with the making of the Spiral Jetty), is a poetic and process minded film depicting a “portrait” of his renouned earth work - The Spiral Jetty, as it juts into the shallows off the shore of Utah’s Great Salt Lake. Standing apart along the northeast shore of the Great Salt Lake is a huge earthworks project, boulders and potholes, clinging brine and mirrored sky, which the film documents, as it moves back geologically to dinosaur history. ![]()
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