Les dernières photos aériennes de la sculpture par Tom M...: cliquez ici.
To serve and protect Robert Smithson's earthwork / Préservons l'œuvre de Robert Smithson
Les dernières photos aériennes de la sculpture par Tom M...: cliquez ici.
There's a word called entropy. ...It's like the Spiral Jetty is physical enough to be able to withstand all these climate changes, yet it's intimately involved with those climate changes and natural disturbances. That's why I'm not really interested in conceptual art because that seems to avoid physical mass. You're left mainly with an idea. Somehow to have something physical that generates ideas is more interesting to me than just an idea that might generate something physical.
R. Smithson, Salt Lake City, 1972. Interview with Gianni Pettena in Robert Smithson: The Collected Writings. Jack Flam, ed. (University of California Press, 1996), 298-99
The mere sight of the trapped fragments of junk and waste transported one into a world of modern prehistory. The products of a Devonian industry, the remains of a Silurian technology, all the machines of the Upper Carboniferous Period were lost in those expansive deposits of sand and mud. … This site gave evidence of a succession of man-made systems mired in abandoned hopes.
R. S., "The Spiral Jetty," 1972. Ibid., 145-46
I have already demonstrated that it is possible to combine reclamation and art in two completed projects–the Broken Circle in a sand quarry in Holland which was slated for reclamation, and the Spiral Jetty in the Great Salt Lake, Utah near an old oil mining region. ...The artist must overcome the inequities that come in the wake of blind progress.
R. S., "Proposal," 1972. Ibid., 380
1971: [Smithson] Buys Little Fort Island in Maine, for a possible work. ... 1972: Visits newly acquired island in Maine and decides not to use it because it is too scenic.
"Chronology" by Alan Moore in Robert Smithson: Sculpture. Robert Hobbs, ed. (Cornell University Press, 1981), 242