Robert Smithson (University Of California Press)

This fully illustrated book accompanies the first comprehensive American retrospective of Robert Smithson’s (1938-73) complex and influential career. Straddling the movements of minimalism and land art, Smithson had a profound impact on the cultural landscape that resonates to this day. Robert Smithson presents essays by leading Smithson scholars alongside both archival imagery and specially commissioned photography of the artist’s works. Robert Smithson considers the interrelationship of Smithson’s complete artistic output, from the earliest figurative work up to his earthworks. Smithson’s revolutionary ideas positioned art as existing beyond the walls of the museum in media, such as writing and film, and in the landscape itself. This volume explores Smithson’s work within the context of the artistic climate of the late 1960s as well as ensuing decades. Scholar Eugenie Tsai’s essay takes a journey through his early writings, drawings, and work with religious, erotic, and pop culture motifs that deepen our understanding of Smithson’s diverse practice. Other contributions to the volume include an interview with Smithson by Moira Roth; a substantive historical and critical essay by Thomas Crow; an essay by Cornelia Butler discussing Smithson’s lineage and his influence on contemporary artists; and a series of texts focusing on key works from Smithson’s oeuvre, including Incidents of Mirror Travel in the Yucatan by Suzaan Boettger, Enantiomorphic Chambers by Ann Reynolds, Airport Terminal Project by Mark Linder, Spiral Jetty by Jennifer Roberts, Heap of Language by Richard Sieburth, and Proposal for Monument at Antartica [sic] by Robert Sobieszek. This book also features the complete list of Robert Smithson’s Library List, with an introduction by Alexander Alberro, as well as annotated exhibition chronology.

This book is in Good readable condition. It has been read and may show some age & wear to the wraps/boards, or light creasing/wear to the pages. The binding may show very minimal wear, or be fully intact. Generally, most wear will solely be superficial.

*This came from a former professor’s collection, who used low-tack post-it notes to bookmark/annotate his books. Most of them have been removed, however it is possible that a stray few were overlooked. If this is the case, they are both unobtrusive and easily removable. Additionally, there may be annotations. In most, however not all cases, they are solely in the introduction/foreword. Any clarifying questions should be emailed to tornlight@gmail.com*

*Image in the listing is stock. There may be variation in the actual product.