Bingham Copper Mining Pit—Utah / Reclamation Project

Robert Smithson
1973
Bingham Canyon Copper Mine, Utah, USA
Photostat, clear plastic overlay, grease pencil, and tape
18 1/2 x 13 1/2 in. (47 x 34.3 cm)
Collection: The Metropolitan Museum of Art, Pat and John Rosenwald Gift

Part of a proposal for the reclamation of the world’s largest man-made excavation, this sketch outlines the design for a rotating disk at the base of Bingham Canyon Mine in Bingham, Utah. The disk serves as a platform from which viewers could observe the gradual reversal of industry back to nature. In the instance of a heavy rain, the crescent rises would jetty out of the pool of collected water. The existing spiral structure of the mine was in perfect alignment with Smithson’s aesthetic interests, and would remain unaltered. Initially proposed two years before his death, Bingham Canyon Reclamation would have been Smithson’s largest earth work to date.

Writing

Scholarly Text

Bingham Copper Mining Pit—Utah / Reclamation Project (1973) and Robert Smithson’s “land ethic”

André Leal

Robert Smithson’s earthworks Spiral Jetty (1970) and Broken Circle /Spiral Hill (1971) are located in sites ravaged by mineral extractions. Both have their origins in the artist’s idea of “entropic landscape,” and are localities where the encounter between two temporalities can be apprehended: geology’s deep time, which has shaped the landscape over millions of years, and the “intensive,” or “superficial,” time of human culture and its extractive processes that revolve and devastate the surface of the Earth in a mere few years.

Writing by the Artist

Untitled

Robert Smithson
Across the country there are many mining areas, disused quarries, and polluted lakes and rivers. One practical solution for the utilization of such devastated places would be land and water recycling in terms of “Earth Art.”

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