Writings on Robert Smithson

Haunted: Robert Smithson’s "My House is a Decayed House," 1962

Suzaan Boettger
October, 2020
ISBN 978-1-952603-20-4

“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.

Voice and Vision in "Swamp"

Lori Zippay
July, 2020
ISBN 978-1-952603-12-9

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.…”

Robert Smithson’s "Texas Overflow" (1970)

Leigh A. Arnold
September, 2020
ISBN 978-1-952603-21-1

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.

Island of Broken Glass

Charlie Hailey
May 2020
ISBN 978-1-952603-10-5

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.

Mono Lake: Ring of Fire

Aurora Tang
June, 2020
ISBN 978-1-952603-08-2

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

Robert Smithson, "A Nonsite (Franklin, New Jersey)" (1968)

Phyllis Tuchman
May, 2020
ISBN 978-1-952603-05-1

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.

Swampy Ecologies

Bridget Crone
May 2020
ISBN 978-1-952603-07-5

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.

A heap of Language

Craig Dworkin
May 2019
ISBN 978-1-952603-03-7

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 

Spiral Jetty

Gary Shapiro
November, 2019
ISBN 978-1-952603-02-0

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.