In 1966, Robert Smithson produced three proposals for monuments in desert settings: Grave Mounds with Object, Proposal for a Monument on the Red Sea, and Proposal for a Monument at Antarctica. These proposals for monuments in Bahrain, Egypt, and Antarctica were made by overlaying illustrations of crystalline forms clipped from science books onto found images.

Robert Smithson’s earthworks Spiral Jetty (1970) and Broken Circle /Spiral Hill (1971) are located in sites ravaged by mineral extractions.

In 1969 and 1970, Robert Smithson created three “pour” sculptures that demonstrated his mastery of a difficult and deadly medium: entropy. In all three, an industrial material was prepared and poured downhill at a remote or neglected site and left to solidify.

We locate ourselves in various ways: phenomenologically we understand our bodies within our surroundings, cartographically we measure our position on the earth, imaginatively we locate ourselves in relation to places we call home as much as those we have never visited. Much of Nancy Holt’s work pays close attention to these interlinked processes of locating. Holt’s 1974 video Underscan brings to the fore the act of imaginative location, and its ties to family and care. This act of locating had a lasting impact on her practice.

It was early in December 1969, while still in negotiations with the government of British Columbia over securing the Miami Islet site for his Island of Broken Glass proposal

Monument wars contesting public space. Controversies arising over renovations of Brutalist landscape design. As the custodian of a world-renowned artist-designed park now in its fourth decade, these recent developments resonate.

“History has many cunning passages, contrived corridors.” If the sardonic analogy sounds like Robert Smithson, you’re close: it was written by his favorite poet, T.S. Eliot. The line could apply to the aged Renaissance and Baroque architecture jumbled on a dusky hillside that Smithson depicted in a gouache, ink and collage painting on paper in 1962.

Inside, we observe nature as if through the wrong end of a telescope: the sky above appears detached; clouds pass as if on film. When occupied, the tower is converted into an observatory from which natural phenomena are contemplated as images, their own representation.

--Craig Owens, “Environmental Art,” Art at the Olympics, 1980

The film opens with a disembodied male voice and a landscape in motion. “Just walk in a straight line,” the man directs, as the camera advances tentatively towards an expanse of tall grasses. “I think, I think I am,” replies an unseen woman, the camera inching forward into the reeds. “Straight in…to that clump,” the man continues. “It’s OK, Nan, you’re on fairly solid ground. Straight in. Just go right in.…”

“This is a major work, I want to have good reproductions in magazines. I want the piece to remain forever. Please help!”

In early December 1970 Robert Smithson traveled to the Dallas-Fort Worth area at the invitation of the Northwood Institute—a private business college located just outside of Cedar Hill, Texas.

It is perhaps appropriate that the work of Robert Smithson I now think amongst the most exemplary is one that wasn’t intended as a work at all.

Robert Smithson prophesied “The true fiction eradicates the false reality.”

In 1975, Nancy Holt created Pine Barrens, an experimental film shot on a tract of land in the dead center of New Jersey known mostly for its cranberry bogs, sand pits, and stumpy pine trees. Pine Barrens is a brilliant rumination on one of modernity’s central dialectical knots: the relationship between center and margin. That it does so not from a metropolis but from a periphery lodged within a periphery makes it prescient indeed. As Holt well recognized, no better place to explore this particular antinomy exists than the Pine Barrens.

Robert Smithson searched for lost islands. He might have found one in Miami Islet, but a telegram from the Canadian government in January of 1970, just two days after the seventieth anniversary of the shipwreck that gave the island its name, stopped the Island of Broken Glass project as it would also halt one hundred tons of green-tinted glass on its way to Vancouver’s coastline.

Nancy Holt strove to provoke the “concretisation of perception” by isolating “limited visions through holes and things” that would cause people to “really focus, really perceive intensely the thing seen.”1  Holt’s 1973 video Zeroing In is a conversation, a game, and an experiment.

In February 1969, Robert Smithson created the Cayuga Salt Mine Project. The impetus for Smithson realizing the work was the landmark exhibition Earth Art at Andrew Dickson White Museum of Art in Ithaca, New York, and marks the only time it was shown in totality.

Rocks and Mirror Square II (1971) is constructed from eight, identically sized mirrors, placed back to back against each other to form a mirrored square shored up with basalt rocks. The granular irregularities of the basalt are juxtaposed against the crisp geometry of the structure as a whole. The mirrors are entirely supported by the rocks.

At any location on earth, as the rock record goes down into time and out into earlier geographies it touches upon tens of hundreds of stories, wherein the face of the earth often changed, changed utterly, and changed again, like the face of a crackling fire.1

–John McPhee

In 1968, Robert Smithson realized an important group of works he collectively called Nonsites. This series features bin-like structures in which the artist deposited rocks, sand, broken concrete, and other elements he collected  at various sites in New Jersey. Accompanying these sculptures, Smithson hung on gallery walls photographs he’d snapped at the same Garden State locations, as well as fragments of maps that could lead other people to these places.

You are in the middle of an expanse of tall thick dry grass, head height. As you look and move through this, a world unfurls that you become immersed in feeling, hearing, seeing, and experiencing fully in each moment. Expansive. The experience feels vivid and rich despite the difficulties of movement across uneven ground and against a fierce wind. Immersive. You cannot see beyond your immediate surroundings. There is no horizon.

Trail Markers was photographed over a short stretch of publicly accessible footpath on the granite upland in the South-West of England known as Dartmoor. The path stretches between Two Bridges and Wistman’s Wood. The painted orange dots were a means to indicate the direction of the path for walkers and hikers. [Fig.1]

Circles everywhere! Upon entering Nancy Holt’s 2018 solo exhibition at Dia Art Foundation in Chelsea, New York City the observer is engulfed by a network of flat circular line drawings, round cast shadows, and orbicular light pools. Circles also appear dimensionally: as dark voids cut into walls and as mirrored surfaces shaped into orbs. Very tangibly Holt’s circles telescope out, forming lens-less viewfinders. As one stoops to look through cast-iron spyholes, for example in Dual Locators (1972), a tunneling effect occurs: circles become layered onto circles.

σάρμα εἰκῇ κεχυμένον ὁ κάλλιστος, φησὶν Ἡράκλειτος, [ὁ] κόσμος

[the most beautiful world is like a heap of rubble tossed down in confusion]

—Heraclitus of Ephesus 

Robert Smithson designed and directed the construction of his iconic work the Spiral Jetty in April 1970. The Jetty is a site-specific work, meant to interact with changing conditions of the surrounding water, land, and atmosphere. While located in a relatively barren, unpopulated place, Smithson chose the site not only because of the vast surrounding landscape, but with reference to nearby abandoned oil rigs and the Golden Spike monument marking the 1869 completion of the transcontinental railway.