Incidents of Mirror-Travel in the Yucatan

Robert Smithson
1969
Driving away from Merida down Highway 261 one becomes aware of the indifferent horizon. Quite apathetically it rests on the ground devouring everything that looks like something. One is always crossing the horizon, yet it always remains distant. In this line where sky meets earth, objects cease to exist. Since the car was at all times on some leftover horizon, one might say that the car was imprisoned in a line, a line that is in no way linear. The distance seemed to put restrictions on all forward movement, thus bringing the car to a countless series of standstills. How could one advance on the horizon, if it was already present under the wheels? A horizon is something else other than a horizon; it is closedness in openness, it is an enchanted region where down is up. Space can be approached, but time is far away. Time is devoid of objects when one displaces all destinations. The car kept going on the same horizon.

Untitled

Robert Smithson
1971

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.” Recently, when I was in Holland, I worked in a sand quarry that was slated for redevelopment. The Dutch are especially aware of the physical landscape. A dialectic between land reclamation and mining usage must be established. The artist and the miner must become conscious of themselves as natural agents. In effect, this extends to all kinds of mining and building.

The Spiral Jetty

Robert Smithson
1972
My concern with salt lakes began with my work in 1968 on the Mono Lake Site-Nonsite in California. Later I read a book called Vanishing Trails of Atacama by William Rudolph which described salt lakes (salars) in Bolivia in all stages of desiccation and filled with micro bacteria that give the water surface a red color. The pink flamingos that live around the salars match the color of the water. In The Useless Land, John Aarons and Claudio Vita-Finzi describe Laguna Colorada: “The basalt (at the shores) is black, the volcanos purple, and their exposed interiors yellow and red. The beach is grey and the lake pink, topped with the icing of iceberg-like masses of salts.” Because of the remoteness of Bolivia and because Mono Lake lacked a reddish color, I decided to investigate the Great Salt Lake in Utah.

Interpolation of the Enantiomorphic Chambers

Robert Smithson
1966
‎‏‏‎The surface plane (fluorescent green) is behind the framing support (blue). One cannot see the whole work from a single point of view, because the vanishing point is split and reversed. The structure is “flat,” but with an extra dimension.

Entropy and the New Monuments

Robert Smithson
1966
Many architectural concepts found in science-fiction have nothing to do with science or fiction,instead they suggest a new kind of monumentality which has much in common with the aims of some of today’s artists. I am thinking in particular of Donald Judd, Robert Morris, Sol LeWitt, Dan Flavin, and of certain artists in the “Park Place Group.”

A Sedimentation of the Mind: Earth Projects

Robert Smithson
1968

The earth’s surface and the figments of the mind have a way of disintegrating into discrete regions of art. Various agents, both fictional and real, somehow trade places with each other—one cannot avoid muddy thinking when it comes to earth projects, or what I will call “abstract geology.” One’s mind and the earth are in a constant state of erosion, mental rivers wear away abstract banks, brain waves undermine cliffs of thought, ideas decompose into stones of unknowing, and conceptual crystallizations break apart into deposits of gritty reason.

Towards the Development of an Air Terminal Site

Robert Smithson
1967
Since July, 1966 I’ve been rendering consultation and advice as an “artist consultant” to Tippetts-Abbett-McCarthy-Stratton (Engineers and Architects). The project concerns the development of an air terminal between Fort Worth and Dallas. From time to time, after studying various maps, surveys, reports, specifications, and construction models, I meet with Walther Prokosch, John Gardner and Ernest Schwiebert in order to discuss the overall plan. I have engaged in these discussions not as an architect or engineer, but simply as an artist.

Aerial Art

Robert Smithson
1969
Art today is no longer an architectural afterthought, or an object to attach to a building after it is finished, but rather a total engagement with the building process from the ground up and from the sky down. The old landscape of naturalism and realism is being replaced by the new landscape of abstraction and artifice.

A Tour of the Monuments of Passaic, New Jersey

Robert Smithson
1967
On Saturday, September 30, 1967, I went to the Port Authority Building on 41st Street and 8th Avenue. I bought a copy of the New York Times and a Signet paperback called Earthworks by Brian W. Aldiss. Next I went to ticket booth 21 and purchased a one-way ticket to Passaic. After that I went up to the upper bus level (platform 173) and boarded the number 30 bus of the Inter-City Transportation Co.

A Provisional Theory of Nonsites

Robert Smithson
1968

By drawing a diagram, a ground plan of a house, a street plan to the location of a site, or a topographic map, one draws a “logical two dimensional picture.” A “logical picture” differs from a natural or realistic picture in that it rarely looks like the thing it stands for. It is a two dimensional analogy or metaphor—A is Z.