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Robert Smithson: Learning from New Jersey and Elsewhere

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Robert Smithson: Learning from New Jersey and Elsewhere Cover

 

Synopses & Reviews

Publisher Comments:

andlt;Pandgt;Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life — magazines, postcards from other artists, notebooks, and perhaps most important, his library — from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time.A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again — alone and with fellow artists — to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.andlt;/Pandgt;

Synopsis:

An examination of the interplay between cultural context and artistic practice in the work of Robert Smithson.

Synopsis:

A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again — alone and with fellow artists — to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was elsewhere; but for Smithson, elsewheres were the defining, if often forgotten, locations on the map of contemporary culture.

Synopsis:

Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life — magazines, postcards from other artists, notebooks, and perhaps most important, his library — from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time.A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again — alone and with fellow artists — to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.

About the Author

Ann Reynolds is Associate Professor of Art and Art History at the University of Texas, Austin.

Product Details

ISBN:
9780262681551
Author:
Reynolds, Ann Morris
Publisher:
Mit Press
Author:
Reynolds, Ann
Location:
Cambridge
Subject:
Individual Artist
Subject:
History - Contemporary (1945- )
Subject:
Individual Artists - General
Subject:
Art - General
Edition Description:
Trade paper
Series:
Robert Smithson
Publication Date:
20041031
Binding:
TRADE PAPER
Grade Level:
from 17
Language:
English
Illustrations:
9 color illus., 91 b, &, w illus.
Pages:
384
Dimensions:
9 x 8 in

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Related Subjects

Arts and Entertainment » Art » Artists
Arts and Entertainment » Art » General
History and Social Science » Politics » United States » Foreign Policy

Robert Smithson: Learning from New Jersey and Elsewhere New Trade Paper
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Product details 384 pages MIT Press - English 9780262681551 Reviews:
"Synopsis" by , An examination of the interplay between cultural context and artistic practice in the work of Robert Smithson.
"Synopsis" by , A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again — alone and with fellow artists — to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was elsewhere; but for Smithson, elsewheres were the defining, if often forgotten, locations on the map of contemporary culture.
"Synopsis" by , Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life — magazines, postcards from other artists, notebooks, and perhaps most important, his library — from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time.A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again — alone and with fellow artists — to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
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