Although metaphysics is outmoded and blighted, it is presented as tough principles and solid reasons for installations of art. When a finished work of 20thcentury sculpture is placed in an 18th-century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.
In his proposal to make process art out of the dredging of The Pond, Smithson sought to insert himself into the dynamic evolution of the park  Smithson became particularly interested in the notion of deformities within the spectrum of anti-aesthetic dynamic relationships which he saw present in the Picturesque landscape.
His new work abandoned the preoccupation with the body that had been common in his earlier work. Walking east, I passed graffiti on boulders… On the base of the Obelisk along with the hieroglyphs there are also graffiti.
Crystalline structures and the concept of entropy became of particular interest to him, and informed a number of sculptures completed during this period, including Alogon 2. Artists themselves are not confined, but their output is.
Parks are finished landscapes for finished art. Once the work of Robert smithson central park essay is totally neutralized, ineffective, abstracted, safe, and politically lobotomized it is ready to be consumed by society. Skinner rat doing his "tough" little tricks is something to be avoided.
Could it be that certain art exhibitions have become metaphysical junkyards? When Smithson was nine his family moved to the Allwood section of Clifton. In at Kent State UniversitySmithson created Partially Buried Woodshed  to illustrate geological time consuming human history.
Nature does not proceed in a straight line, it is rather a sprawling development. Our land ethic, especially in that never-never land called the "art world" has become clouded with abstractions and concepts.
Language should be an ever developing procedure and not an isolated occurrence. The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality. Smithson was interested in challenging the prevalent conception of Central Park as an outdated 19th-century Picturesque aesthetic in landscape architecture that had a static relationship within the continuously evolving urban fabric of New York City.
Nature is never finished. All is reduced to visual fodder and transportable merchandise. By re-interpreting and re-valuing these treatises, Smithson was able to broaden the temporal and intellectual context for his own work, and to offer renewed meaning for Central Park as an important work of modern art and landscape architecture.
It was entirely submerged by rising lake waters for several years, but has since re-emerged. Also, I am not interested in art works that suggest "process" within the metaphysical limits of the neutral room. A park carries the values of the final, the absolute, and sacred. I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.
It would be better to disclose the confinement rather than make illusions of freedom.
Parks are idealizations of nature, but nature in fact is not a condition of the ideal. Smithson did not see entropy as a disadvantage; he saw it as a form of transformation of society and culture, which is shown in his artwork like his non-site pieces.
In his essay "Incidents of Mirror-Travel in the Yucatan"  Smithson documents a series of temporary sculptures made with mirrors at particular locations around the Yucatan peninsula. They are looked upon as so many inanimate invalids, waiting for critics to pronounce them curable or incurable.
Oxford University Press, In studying the writings of 18th- and 19th-century Picturesque treatise writers Gilpin, Price, Knight and Whately, Smithson recovers issues of site specificity and human intervention as dialectic landscape layers, experiential multiplicity, and the value of deformations manifest in the Picturesque landscape.NATURE, LIKE A PERSON, IS NOT ONE-SIDED ROBERT SMITHSON IN SEARCH OF THE PICTURESQUE IN ENGLAND, WALES, AND CENTRAL PARK Joy Sleeman I n late summer American artists Nancy Holt and Robert Smithson.
Jul 06, · Robert Smithson Central Park Essay. Robert Smithson, Artist – NJN/State of the Arts – YouTube 6/15/ Video embedded Robert Smithson His essay quot;Frederick Law In examining the photographs of the land set aside to become Central Park. Martin, “Robert Smithson and the Anglo-American Picturesque,” Robert Smithson (American, –), about Olmsted—who designed Central Park in New York in the s—it is worth mentioning that Smithson was, at.
Official web site for the Estate of Robert Smithson, renowned earthwork artist, presenting images and text of earthworks/land art: Spiral Jetty, Amarillo Ramp, land art, nonsites, slide works, conceptual writings and more.
Robert Smithson (January 2, Smithson published the essay "A Sedimentation of the Mind: Earth Projects" in Artforum that promoted the In examining the photographs of the land set aside to become Central Park, Smithson saw the barren landscape that had been degraded by humans before Olmsted constructed the complex 'naturalistic Notable work: Spiral Jetty, The Source of Robert Smithson’s Spiral ramp—a trip that Smithson details in “The Monuments of Passaic,” an essay that ran in Artforum in a grave-shaped ditch in Central Park, and.Download