Tags: 8 Natural Handstands, Alice Aycock, Alice Aycock Clay #2, American art, american artist, American Land Art, American sculptural phenomenon, Arte povera, Atmospheres: Duration Performances, Charles Eames, Charles Eames Ray Eames, Charles Eames Ray Eames Powers of Ten, Charles Simonds, Charles Simonds BodyEarth, Christo and Jeanne-Claude, Christo and Jeanne-Claude's Wrapped Coast, Clay #2, Conceptual Art, Cosmic View, desire to engage the land. , 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.Categories: American, american photographers, beauty, black and white photography, documentary photography, English artist, exhibition, film, gallery website, installation art, landscape, light, memory, photographic series, photography, photojournalism, psychological, quotation, reality, sculpture, space and time Rosalind Krauss, The Optical Unconscious, GETSUYOSHA LIMITED, 2019 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”
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