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In 1970 Robert Smithson (1938-1973), one of the most innovative and provocative artists of the twentieth century, created the landmark earthwork Spiral Jetty at Rozel Point on Utah's Great Salt Lake. This dramatic and highly influential work forms a coil 1,500 feet long and 15 feet wide and stretches out counterclockwise into the lake's translucent red water. Composed of black basalt rocks and earth, the sculpture comprises the materials of its location: mud, salt crystals, rocks, water. The contributors to this comprehensive publication consider the sculpture in relation to its eponymous companions—a text work and a film. These essays situate this renowned series of works alongside Smithson's critical writings, proposals, drawings, sources, and models. Amply illustrated with archival and new photographs of the Jetty and many comparative illustrations, this book makes evident why Smithson's art and writings have had such a powerful impact on art and art theory for over thirty years.

Heathered fleece lined sweatshirt Front pouch pocket Patch details

Heathered fleece lined sweatshirt Front pouch pocket Patch details

Heathered fleece lined sweatshirt Front pouch pocket Patch details

Heathered fleece lined sweatshirt Front pouch pocket Patch details

Heathered fleece lined sweatshirt Front pouch pocket Patch details

A contemporary take on mid-century modern design, the color blocking from this cream two-drawer nightstand sets it apart from the rest. It features two spacious drawers ideal for all nighttime essentials, including eye wrap and night cream. The top is rooMalaysia enough for a chic table lamp and a tablet. Black and special, light drawer pulls curve off the flat drawer fronts in rhombic shape. Material: Wood.

Adapting the modernist ideals of prewar architecture to the needs of postwar reconstruction in Britain, Alison and Peter Smithson were among the most influential and controversial architects of the latter half of the twentieth century. As younger members of CIAM (Congrès Internationaux d'Architecture Moderne) and as founding members of Team 10, they were at the heart of the debate on the future course of modern architecture; the uncompromising clarity of their Hunstanton Secondary Modern School (1949-1954), which stripped down the language of Mies van der Rohe to a rough simplicity, heralded the Smithsons' role as the leading exponents of the New Brutalism (a term they coined). As members of the Independent Group alongside Richard Hamilton, Eduardo Paolozzi, Reyner Banham and others, they participated in the 1956 landmark show This Is Tomorrow, affiliating themselves with the burgeoning Pop art movement in Britain. This beautifully produced and fully illustrated volume collects the most important essays published on the couple's work, from older texts by Reyner Banham, Peter Cook, Kenneth Frampton and Philip Johnson to the most recent texts by Peter Eisenmann, Christine Boyer, Beatriz Colomina and Louisa Hutton. The first publication in Poligrafa's new Critical Anthology series, it provides an essential critical context for the reception of New Brutalism in England. Alison (1928-1993) and Peter (1923-2003) Smithson met at Durham University in England and were married in 1949. Their Hunstanton School, now a Grade II listed building, announced a new style of construction that foregrounded concrete and repetitive, angular geometries; later works declared a socialist dimension to their philosophy, particularly in the exposure of interior functions.

Robert Smithson (1938-1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty-a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake-is widely appreciated as one of the most significant art projects of the twentieth century. Less well known is the connection between the Jetty and the nearby Golden Spike National Historic Site, location of the completion of the first U.S. transcontinental railroad. The link between these two monuments is but one facet of an entire complex of historical reference and reflection that structures Smithson's work. Mirror-Travels encompasses the full span of Smithson's career, offering a close analysis of the artist's working model of history and featuring comprehensive case studies of three of his most influential works: "The Monuments of Passaic," "Incidents of Mirror-Travel in the Yucatan," and the Spiral Jetty. Incorporating abundant new material from Smithson's personal papers and library, Jennifer Roberts offers surprising new interpretations about the artist and his responses to the social, ideological, and material contradictions of his time.

Discusses the theories and works of sculptor and earth artist, Robert Smithson

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An examination of the interplay between cultural context and artistic practice in the work of Robert Smithson.Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life―magazines, postcards from other artists, notebooks, and perhaps most important, his library―from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again―alone and with fellow artists―to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.

Best known for his radical land art of the 1960s and early 1970s, Robert Smithson (1938-1973) is now widely recognised as one of the most influential artists of the twentieth century. Presenting new research on the figure of the 'time-crystal' in Smithson's practice, this book features essays by Amelia Barikin and Chris McAuliffe, and Stephen Melville, alongside manuscripts by Smithson drawn from the Robert Smithson and Nancy Holt papers at the Archives of American Art, Smithsonian Institution, which are reproduced in their complete form for the very first time.Robert Smithson: Time Crystals is published on the occasion of the first exhibition of Smithson's work to be held in Australia, which has been developed in cooperation with the Holt-Smithson Foundation. The exhibition has been made possible through support from the Terra Foundation for American Art.

Best known for his sculpture and earthworks, Robert Smithson was a revolutionary and influential post-World War II artist. This volume surveys his works on paper from 1957 until his death in 1973, presenting a large number of reproductions of little-known works from his early career.

Some light water staining on spine. Otherwise, a clean unmarked copy in excellent condition. 261 pages.

Discusses the theories and works of sculptor and earth artist, Robert Smithson

Best known for his radical land art of the 1960s and early 1970s, Robert Smithson (1938-1973) is now widely recognised as one of the most influential artists of the twentieth century. Presenting new research on the figure of the 'time-crystal' in Smithson's practice, this book features essays by Amelia Barikin and Chris McAuliffe, and Stephen Melville, alongside manuscripts by Smithson drawn from the Robert Smithson and Nancy Holt papers at the Archives of American Art, Smithsonian Institution, which are reproduced in their complete form for the very first time.Robert Smithson: Time Crystals is published on the occasion of the first exhibition of Smithson's work to be held in Australia, which has been developed in cooperation with the Holt-Smithson Foundation. The exhibition has been made possible through support from the Terra Foundation for American Art.

Since the 1979 publication of The Writings of Robert Smithson, Robert Smithson's significance as a spokesman for a generation of artists has been widely acknowledged and the importance of his thinking to contemporary artists and art critics continues to grow. In addition to a new introduction by Jack Flam, The Collected Writings includes previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs. Together these provide a full picture of his wide-ranging views on art and culture.

Since the 1979 publication of The Writings of Robert Smithson, Robert Smithson's significance as a spokesman for a generation of artists has been widely acknowledged and the importance of his thinking to contemporary artists and art critics continues to grow. In addition to a new introduction by Jack Flam, The Collected Writings includes previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs. Together these provide a full picture of his wide-ranging views on art and culture.

This volume comprises a social history of Robert Smithson's earthworks and their critical reception. In his analysis of the artist's personal writings and art works, Ron Graziani demonstrates how the earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Moreover, Graziani reveals how Smithson's earthworks formed part of the "new conservationism" in the late 1960s and how it gave material form to the contradictions of a sociological issue, inseparable from its economic legacy.