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Journal articles on the topic 'Robert Smithson'

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Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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1

Pico, Ramón. "AERIAL ART, THE NEW LANDSCAPE OF ROBERT SMITHSON." JOURNAL OF ARCHITECTURE AND URBANISM 43, no. 2 (January 15, 2020): 181–91. http://dx.doi.org/10.3846/jau.2019.10354.

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Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson’s Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy’s New Vision or Le Corbusier’s Loi du Méandre.

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2

Bargmann, Julie, and Leigh Kane. "ROBERT SMITHSON: PHOTO WORKS." Landscape Journal 14, no. 1 (1995): 99–103. http://dx.doi.org/10.3368/lj.14.1.99.

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3

Kirschbaum, Michal. "Erosões e Cristalizações." Revista Estado da Arte 1, no. 1 (June 30, 2020): 19–31. http://dx.doi.org/10.14393/eda-v1-n1-2020-54802.

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Este artigo versa sobre o trabalho de dois artistas visuais contemporâneos a partir de questões que se esperam relevantes para pensar a fotografia contemporânea. O texto coloca em reflexão dois trabalhos que problematizam a transparência da imagem e do olhar em relação a um referente. O texto parte da obra “Yucatan Mirror Displacements”, de Robert Smithson (EUA, 1938-1973) afim de pensar questões relacionadas a visualidade e percepção sobre o tempo e o espaço e alonga as reflexões ao encontro do trabalho “Killed Negatives (After Walker Evans)”, de Lisa Oppenheim (EUA, 1975). Ao longo do texto se propõem conversas com outros autores como Jacques Derrida, Yves-Lomax, Robert Smithson, Susan Sontag e Jeniffer Roberts.

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4

Heuer, Christopher P. "That area of terror." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (November 7, 2023): 190–213. http://dx.doi.org/10.1163/22145966-07301009.

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New Jersey artist Robert Smithson reveled in sites untouched by civilization: ‘I like landscapes that suggest prehistory’, he told an interviewer in 1973, just before his tragic death. ‘I was always interested in origins and primordial beginnings’. Augur of ecological collapse, Smithson maintained a strange connection to Northern Europe. Broken Circle / Spiral Hill (1971) – now meekly dissolving in a sand pit outside of Emmen – survives as the artist’s most famous ‘land reclamation’ project and the sole earthwork he completed outside of the United States. The Drenthe piece stands as a harbinger of what the artist may have achieved with his – not unproblematic – fusion of culture and land management: ‘With my work in the quarry I somehow re-organized a disrupted situation’. Smithson wrote of Broken Circle, ‘Holland [sic] is (…) completely cultivated and so much an earthwork itself’. Broken Circle, for its sake, extended Smithson’s dismantling of the bordered, overtly retinal artwork. And this, vaguely Duchampian, notion extended to the work’s material ontology.

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5

Ruyter, Francis. "My life with Robert Smithson." Public 31, no. 62 (December 1, 2020): 152–61. http://dx.doi.org/10.1386/public_00042_1.

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6

Paul, Serge. "Robert Smithson and Apocalyptic Architecture." Interfaces 24, no. 1 (2004): 217–35. http://dx.doi.org/10.3406/inter.2004.1295.

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7

Katz, Daniel. "Where Now? A Few Reflections on Beckett, Robert Smithson, and the Local." Samuel Beckett Today / Aujourd'hui 22, no. 1 (October 1, 2010): 329–40. http://dx.doi.org/10.1163/18757405-022001023.

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This article examines Beckett's legacy in the work of Robert Smithson, stressing how the latter's “site/nonsite dialectic” seems to work through many of Beckett's concerns as played out in , but also in the “Three Dialogues with Georges Duthuit,” a work to which Smithson alludes in an oblique citation. Smithson himself stresses the debt of his “alogon” to the Beckettian “surd,” and I argue here that Smithson extends the Beckettian deconstruction of logocentrism into the realm of matter, objects, and “Earth Art.” It is in the wake of this process that he allows for a reconsideration of the local, itself more important in Beckett than commonly realized.

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8

MENARD, ANDREW. "Robert Smithson's Toxic Tour of Passaic, New Jersey." Journal of American Studies 48, no. 4 (April 10, 2014): 1019–40. http://dx.doi.org/10.1017/s0021875814000620.

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No land artist of the 1960s was more influential at the time than Robert Smithson. If anything, earthworks such as theSpiral Jettyand essays such as “Frederick Law Olmsted and the Dialectical Landscape” have only added to his importance over the years. One of the reasons Smithson still seems so relevant is that his work responded so directly to a nostalgic trend that arose in both American studies and American environmentalism during the 1950s and 1960s. On the whole, it was a nostalgia for nineteenth-century pastoralism, but it also led to a revival of interest in such figures as Thomas Cole, Timothy O'Sullivan, and Olmsted himself. To counteract this elegiac tendency Smithson developed a “toxic discourse” in which he treated the nineteenth-century landscape as a totally engineered prototype for the twentieth. The first fully formed expression of this toxic discourse was an essay he published in 1967, “A Tour of the Monuments of Passaic, New Jersey.” It was there that Smithson began to elaborate an aesthetic that treated the open-pit mine, the suburb, and the desert as mirror images of each other.

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9

Miller, Angela. "Mirror-Travels: Robert Smithson and History. Jennifer L. Roberts." Archives of American Art Journal 45, no. 3/4 (January 2005): 25–29. http://dx.doi.org/10.1086/aaa.45.3_4.25435110.

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10

Rocha, Mariane Pereira, and Aulus Mandagará Martins. "As fotografias compulsivas de Leila Danziger: reflexões sobre o encontro entre poesia e fotografia em “Robert Smithson”." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 9, no. 1 (November 17, 2021): 167–83. http://dx.doi.org/10.14195/2182-8830_9-1_10.

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O presente trabalho se propõe a analisar o poema “Robert Smithson” do livro Três ensaios de fala (2012), de Leila Danziger, em que identificamos reflexões sobre o fazer fotográfico e usos culturais e artísticos da fotografia, a partir das referências ao artista norte-americano, que se entrecruzam com as referências acerca do próprio processo artístico de Leila. O objetivo deste artigo é, dessa maneira, refletir sobre o poema como um lugar de encontro entre as diferentes práticas artísticas, bem como elo entre as produções poético-visuais de Danziger e as fotografias e instalações de Smithson, evidenciadas pelo próprio poema. Para isso, traçaremos uma trajetória que parte das produções artístico-fotográficas de Danziger até a sua lírica, a qual nos possibilitará também tecer reflexões sobre a produção artística do próprio Robert Smithson.

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11

Ewbank, Antonio, and Liliane Benetti. "Escritos não publicados de Robert Smithson." ARS (São Paulo) 16, no. 34 (December 31, 2018): 287–313. http://dx.doi.org/10.11606/issn.2178-0447.ars.2018.151790.

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Conjunto de escritos de Robert Smithson redigidos entre 1966 e 1972 que, embora não tenha sido publicado pelo autor, é contemporâneo às formulações de conceitos-chave para a compreensão de sua obra, em especial o conceito de site.

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12

Smithson, Robert, and André Leal. "Entropia tornada visível." arte e ensaios 29, no. 45 (September 3, 2023): 64–77. http://dx.doi.org/10.60001/ae.n45.4.

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Entrevista com o artista Robert Smithson realizada por Alison Sky e publicada pouco após sua morte na revista On Site#4, em 1973. Na entrevista, Smithson passeia por temas caros a sua produção, como a ideia de entropia, sua relação com o ambientalismo, além de questões relativas à produção artística, arquitetônica e urbanística de seu tempo.

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13

Alcalde, Maxence. "L’imaginaire science-fictif de Robert Smithson." Marges, no. 14 (June 1, 2012): 124–36. http://dx.doi.org/10.4000/marges.295.

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14

Nagel, Alexander. "Robert Smithson removed from the source." Res: Anthropology and aesthetics 63-64 (March 2013): 285–88. http://dx.doi.org/10.1086/690994.

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15

Muir, Peter. "Robert Smithson: a rhetoric of movement." Word & Image 34, no. 4 (October 2, 2018): 363–71. http://dx.doi.org/10.1080/02666286.2018.1496698.

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16

Brown, Maurice, and Eugenie Tsai. "Robert Smithson Unearthed: Drawings, Collages, Writings." Journal of Aesthetic Education 27, no. 1 (1993): 118. http://dx.doi.org/10.2307/3333352.

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17

Rahtz, Dominic. "Review: Jennifer L. Roberts, Mirror‐Travels: Robert Smithson and History." Art Book 12, no. 1 (January 26, 2005): 41–42. http://dx.doi.org/10.1111/j.1467-8357.2005.00506.x.

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18

Herwitz, Daniel, and Gary Shapiro. "Earthwards: Robert Smithson and Art after Babel." Journal of Aesthetics and Art Criticism 56, no. 1 (1998): 78. http://dx.doi.org/10.2307/431956.

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19

Merchán-Basabe, J. Guillermo. "Robert Smithson en el camino de Prometeo." Pensamiento palabra y obra 1, no. 12 (May 2, 2014): 40–51. http://dx.doi.org/10.17227/2011804x.12ppo40.51.

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20

White, Duncan. "Unnatural fact: the fictions of Robert Smithson." Journal of Writing in Creative Practice 1, no. 2 (June 9, 2008): 161–75. http://dx.doi.org/10.1386/jwcp.1.2.161_1.

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21

Lejeune, Anaël. "Robert Smithson : Ceci n’est pas un site." Interfaces 32, no. 1 (2011): 141–51. http://dx.doi.org/10.3406/inter.2011.1399.

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22

Carlson, Allen. "Is Environmental Art an Aesthetic Affront to Nature?" Canadian Journal of Philosophy 16, no. 4 (December 1986): 635–50. http://dx.doi.org/10.1080/00455091.1986.10717140.

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In this discussion I consider one aesthetic issue which arises from certain intimate relationships between art and nature. The background to these relationships can be traced to the seventeenth and eighteenth centuries. It includes factors of considerable importance in the history of the aesthetic appreciation of nature such as the eighteenth century infatuation with landscape gardening and the continuingly influential role of landscape painting. Here, however, I concentrate on these relationships only as exemplified in a contemporary phenomenon – environmental art. By environmental art I mean both the earthworks and earthmarks of artists such as Robert Smithson, Michael Heizer, and Dennis Oppenheim and certain structures on the land such as those of Robert Morris, Michael Singer, and Christo. Some paradigm cases are Smithson's Spiral Jetty (1970), Heizer's Double Negative (1969-70), Singer's Lily Pond Ritual Series (1975), and Christo's Running Fence (1972-76).

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23

Macêdo, Silvana. "A fotografia como uma mídia alegórica no contexto das artes visuais." Revista Crítica Cultural 3, no. 2 (December 1, 2008): 25. http://dx.doi.org/10.19177/rcc.v3e2200825-28.

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Este artigo pretende refletir sobre a possibilidade da fotografia funcionar como uma mídia alegórica no contexto contemporâneo das artes visuais. Inicialmente, discute-se a importância do conceito do fragmento romântico na formulação da teoria de alegoria de Walter Benjamin. Em seguida, consideram-se os debates recentes sobre alegoria, que têm como base a teoria de alegoria de Walter Benjamin, examinando-se a produção de alguns artistas visuais que utilizam a fotografia. Examina-se a relação do conceito de site e non-site formulada por Robert Smithson, e vinculada a estes conceitos. Conclui-se que é possível conceber a fotografia de registro de ações e intervenções artísticas efêmeras como uma mídia alegórica. São abordados trabalhos de Robert Smithson, Richard Long, Hamish Fulton e asikainen&macedo.

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24

Anta Félez, José Luis, and Marc Montijano Cañellas. "Movilidad y transformación. Robert Smithson y el fin de la Historia." Ñawi 4, no. 2 (July 17, 2020): 35. http://dx.doi.org/10.37785/nw.v4n2.a2.

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Estudio que busca contextualizar y poner en valor la obra y la figura del artista estadounidense Robert Smithson, creador que desarrolló su trabajo entre los años 60 y 70 del pasado siglo. Sobrevolamos su biografía, tratando conceptos básicos de su obra, analizando algunas de las fuentes en las que bebe y se nutre, y tratando problemas transversales de su tiempo, relacionados con el arte, la sociedad y la cultura. Además de explorar conceptos novedosos como la entropía aplicada al mundo de la cultura y nuevas manifestaciones artísticas como el Land art y los Earthworks, de las que Smithson es precursor.

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25

Rayck, Diego. "Ruína Programada." Art&Sensorium 1, no. 02 (December 17, 2014): 69–78. http://dx.doi.org/10.33871/23580437.2014.1.02.69-78.

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Este artigo apresenta considerações acerca da obra Partially Buried Woodshed do artista Robert Smithson priorizando a atenção na relação entre desenho e ruína. Para isto analisa o processo de realização desta obra mencionando a idéia de entropia e a tendência a uma metodologia dialética que foram fundamentais ao artista. O entendimento de temporalidade com o qual Smithson trabalha relativiza o encadeamento causal e lhe permite elaborar a noção de "ruína em reverso" , posicionamento que estimula a refletir sobre a participação do desenho em seu processo de trabalho.

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26

Lippard, Lucy R., and André Leal. "Quebrando círculos: políticas da pré-história." arte e ensaios 29, no. 45 (September 3, 2023): 78–98. http://dx.doi.org/10.60001/ae.n45.5.

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O texto aborda a produção de Robert Smithson e as relações políticas, históricas, geológicas e artísticas que ela estabelece. Apresenta as principais earthworks do artista e as articula com questões mais amplas ligadas ao mundo da arte.

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27

Joselit, David, and Ann Reynolds. "Robert Smithson: Learning from New Jersey and Elsewhere." Art Bulletin 85, no. 3 (September 2003): 620. http://dx.doi.org/10.2307/3177393.

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28

Bakker, Conrad. "Untitled Project: Robert Smithson Library & Book Club." Art Journal 73, no. 3 (July 3, 2014): 71–77. http://dx.doi.org/10.1080/00043249.2014.993282.

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29

Riedel, Tom. "ROBERT SMITHSON: SPIRAL JETTY. Lynne Cooke , Karen Kelly." Art Documentation: Journal of the Art Libraries Society of North America 25, no. 1 (April 2006): 64–65. http://dx.doi.org/10.1086/adx.25.1.27949411.

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30

GARY, SHAPIRO. "Robert Smithson, The Collected Writings, Ed, Jack Flam." Journal of Aesthetics and Art Criticism 56, no. 1 (December 1, 1998): 76–77. http://dx.doi.org/10.1111/1540_6245.jaac56.1.0076.

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31

Eggebeen, Janna. "“Between Two Worlds”: Robert Smithson and Aerial Art." Public Art Dialogue 1, no. 1 (March 2011): 87–111. http://dx.doi.org/10.1080/21502552.2011.536712.

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32

Velasco, Alberto. "Robert Smithson : une critique en actes de la photographie." Histoire de l'art 13, no. 1 (1991): 77–89. http://dx.doi.org/10.3406/hista.1991.2448.

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33

Martins, Tatiana da Costa. "Paisagem e ficção nos deslocamentos poéticos de Robert Smithson." ouvirouver 12, no. 2 (December 17, 2016): 418–31. http://dx.doi.org/10.14393/ouv19-v12n2a2016-13.

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34

HERWITZ, DANIEL. "Gary Shapiro, Earthwards: Robert Smithson and Art After Babel." Journal of Aesthetics and Art Criticism 56, no. 1 (December 1, 1998): 78–79. http://dx.doi.org/10.1111/1540_6245.jaac56.1.0078.

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35

Leal, André. "Por uma ‘ética da terra’: arte contemporânea e as paisagens arruinadas da mineração." arte e ensaios 29, no. 45 (September 3, 2023): 49–63. http://dx.doi.org/10.60001/ae.n45.3.

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Apresentação do dossiê Os estratos da Terra são um museu confuso, reunindo as ideias do artista Robert Smithson, as atualizando em relação ao debate da emergência climática e da emergência do Antropoceno, assim como nossa própria ideia de ‘paisagem entrópica’, elaborada em contato com a produção do artista. Ao longo do texto, relacionamos o material presente no dossiê, conectando-o a outras referências bibliográficas e artísticas.

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36

Linsley, Robert. "Minimalism and the City: Robert Smithson as a Social Critic." Res: Anthropology and aesthetics 41 (March 2002): 38–55. http://dx.doi.org/10.1086/resv41n1ms20167555.

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37

Hansen, Morten. ""Follow the Scale of the Earth": Robert Smithson and Globalization." American Studies 62, no. 1-2 (March 2023): 7–27. http://dx.doi.org/10.1353/ams.2023.a910888.

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38

Hüpkes, Philip, and Gabriele Dürbeck. "Aesthetics in a Changing World—Reflecting the Anthropocene Condition through the Works of Jason deCaires Taylor and Robert Smithson." Environmental Humanities 13, no. 2 (November 1, 2021): 414–32. http://dx.doi.org/10.1215/22011919-9320222.

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Abstract This article focuses on an important aspect of aesthetics in the context of the Anthropocene: the situatedness of aesthetic techniques and operations within earth’s (changing) materiality. Aesthetics is not only a way of making sensible but also contributes ontologically to the world it makes sensible. In this view aesthetics does not rely on a subject’s capacity to apprehend the world as a perceptually objectifiable entity. Focusing on works by Jason deCaires Taylor (Anthropocene and La Gardinera de la Esperanza) and Robert Smithson (Spiral Jetty), the authors interrogate how artistic engagements with anthropocenic materiality and temporality have the potential to articulate a double bind between aesthetics and ontology. Both artists not only allow recipients to be confronted with complex earthly entanglements but also have a material and aesthetic impact on their respective sites. Discussing deCaires Taylor’s and Smithson’s works, the authors argue that the artists’ aesthetics is not only a way of granting experiential access to an earth that resists objectification but also a manifestation of the processes through which earth’s materiality transforms throughout time.

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39

Leger, Nina. "Misunderstandings et « Babels illusoires » : penser avec Mel Bochner et Robert Smithson." Marges, no. 22 (April 22, 2016): 36–49. http://dx.doi.org/10.4000/marges.1082.

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40

Roberts, Jennifer L. "Landscapes of Indifference: Robert Smithson and John Lloyd Stephens in Yucatán." Art Bulletin 82, no. 3 (September 1, 2000): 544–67. http://dx.doi.org/10.1080/00043079.2000.10786949.

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41

Roberts, Jennifer L. "Landscapes of Indifference: Robert Smithson and John Lloyd Stephens in Yucatan." Art Bulletin 82, no. 3 (September 2000): 544. http://dx.doi.org/10.2307/3051401.

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42

Ballard, Susan, and Liz Linden. "Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene." Anthropocene Review 6, no. 1-2 (April 2019): 142–61. http://dx.doi.org/10.1177/2053019619839443.

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Despite the call for artists and writers to respond to the global situation of the Anthropocene, the ‘people disciplines’ have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a ‘geological agent’ in 1972. We suggest that Smithson’s land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic ‘golden spike’ for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene.

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43

Zdebik, Jakub. "Strata and Sediment under the Fog: Geological Landscapes in Smithson and Ewen." Brock Review 11, no. 2 (February 10, 2011): 5–18. http://dx.doi.org/10.26522/br.v11i2.316.

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Strata and Sediment under the Fog focuses on geological landscapes and how they are a stand-in for the mind’s landscape. This article looks at how American artist Robert Smithson describes the mind through geological landscapes in his writings and how Canadian artist Paterson Ewen diagrammatically represents the organization of rocks. The work of these two artists is considered according to the philosophies of Gilles Deleuze and Immanuel Kant—two philosophers who rely on geological and geographical models and metaphors to communicate the function of thought.

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44

Adams, Harrison. "Vija Celmins: The Art of Enervation." Zeitschrift für Kunstgeschichte 86, no. 1 (March 1, 2023): 100–127. http://dx.doi.org/10.1515/zkg-2023-1007.

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Abstract The painter Vija Celmins has long been an outlier in narratives of postwar American art. Extensive formal analysis of her work, from her early still lifes to her later night skies and ocean surfaces, shows that Celmins was deeply invested in the issues of time, entropy, and energy that proved crucial to her contemporaries, like Robert Smithson and Hans Haacke. However, Celmins found ways of objectifying energy through naturalistic representation and the most traditional of media, painting and drawing. She explores these issues by discovering contradictions within classical mimesis.

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45

Rahtz, D. "Indifference of Material in the Work of Carl Andre and Robert Smithson." Oxford Art Journal 35, no. 1 (March 1, 2012): 33–51. http://dx.doi.org/10.1093/oxartj/kcs005.

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46

Lacalle García, Carlos. "Framing the Disordered Landscape. On reading Robert Smithson: Architecture as Eological Construction." VERBEIA. Revista de Estudios Filológicos. Journal of English and Spanish Studies, no. 4 (October 28, 2020): 31–51. http://dx.doi.org/10.57087/verbeia.2020.4272.

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[…]and no whiteness (lost) is so white as the memoryof whitenessWilliam Carlos Williams, The Descent, 1954This essay aims to weave the warp where the consideration of architecture understood as a “ruin” can be assumed, but lacking completeness. Architecture as eological construction invites us to consider the space ‘under construction’, an open architecture that is beyond its limits.In this way, following Robert Smithson (1938-1973) in Landscapes of Loss, allows us to reverse the sense of “landscape”, open, always under construction where a dialogue takes place with the past; but accepting that the landscape (architecture) ‘unfolds’ with our new current perspective (inhabiting the space), with our involvement yet to come (poem).Remembrances are but numbers on a map, vacant memories constellating the intangible terrains in deleted vicinities. It is the dimension of absence that remains to be found. The expunged color that remains to be seen… Yucatan is elsewhere. (Holt 103)

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47

Ewbank, Antônio. "Ouro dos tolos." ARS (São Paulo) 11, no. 21 (June 30, 2013): 112. http://dx.doi.org/10.11606/issn.2178-0447.ars.2013.64463.

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<p>Este texto conta os assuntos com pedras, empilhando-os à maneira de Robert Smithson (1938-1973). Em 1965, o artista norte-americano apresentou pela primeira vez a obra dupla aqui em questão, de nome Quick Millions. Ao lado do objeto, uma pequena declaração fora redigida pelo artista para o catálogo da mostra ART ‘65: Lesser Known and Unknown Painters / Young American Sculpture – East to West, editado por Brian O’Doherty (Patrick Ireland). A fim de que a matéria impressa não aparecesse só ou mal acompanhada. Vem daí um monte de complicações.</p>

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48

Infantes Pérez, Alejandro. "Ignoto, incierto, desconocido. La nueva Terra Incognita en la obra de Robert Smithson." rita_, no. 10 (2018): 130–37. http://dx.doi.org/10.24192/2386-7027(2018)(v10)(09).

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Ehninger, Eva. "Die Land Art als Film." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 1 (2010): 109–27. http://dx.doi.org/10.28937/1000106160.

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"Parallel zu ihren monumentalen Außenrauminstallationen, die während der späten 1960er und frühen 1970er Jahre im Westen und Südwesten der USA realisiert wurden, haben einige Vertreter der amerikanischen Land Art auch Arbeiten im filmischen Medium produziert. Die Frage nach dem Stellenwert dieser Filmbeiträge für das jeweilige Œuvre ist in der Forschung ein Streitpunkt. Dieser Artikel bewertet weniger ihren Status als eigenständige Werke oder Dokumentationen, sondern widmet sich einem Thema, das Installationen und filmische Arbeiten gemein haben: die Kritik am klassischen Raumverständnis. Anhand zweier Werkgruppen der Künstler Walter De Maria und Robert Smithson wird die Neuverhandlung der konventionellen Regeln räumlicher Ordnung und perspektivischer Darstellung in beiden Medien diskutiert. Aus den Werkanalysen lässt sich ableiten, daß die filmischen Werke nicht lediglich die veränderte Raumwahrnehmung in den Land Art-Installationen abbilden, sondern eine vergleichbare Kritik am klassischen Raumverständnis mit filmspezifischen Mitteln vollziehen.<br><br>In parallel to their monumental installations, which were built in the Western and South- western deserts of the U.S. in the late 1960s and early 1970s, a number of representatives of American Land Art have also produced works on film. Researchers have held divergent views about the importance of these films for the understanding of the installations and about their character as either independent works or mere documentations. This article takes a different approach and analyses an element common to both installations and films: the critique of conventional constructions of illusionistic space. The repudiation of conventional spatial structures and of the representation of perspective is discussed on the basis of works by Walter De Maria and Robert Smithson. A formal analysis demonstrates that the films go beyond merely showing the conception of space in Land Art installations. Instead, they perform a similar critique of conventional ideas of space with decidedly cinematic techniques."

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Pico Valimaña, Ramón A. "Campos de vuelo : el nuevo papel de los viejos aeropuertos = Airfields : a new role for the old airports." Cuaderno de Notas, no. 21 (July 31, 2020): 16. http://dx.doi.org/10.20868/cn.2020.4469.

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ResumenEste es un artículo en dos tiempos, mediados por un entreacto, en los que naturaleza, ciudad y aviación se entrecruzan. El primero de ellos, centrado a finales de los años veinte del siglo pasado, describe un momento de emoción en el que los primeros aeródromos servirán a geógrafos, artistas y arquitectos como plataformas desde las que explorar las relaciones entre ciudad y naturaleza. El segundo tiempo nos sitúa en la actualidad y lanza sus preguntas al futuro. Un momento en que los paisajes en secuencia, evolutivos, marcan la tendencia en el tratamiento de las instalaciones aeroportuarias obsoletas, revirtiendo gran parte de sus tierras al campo original y difuminando las trazas de su etapa aérea. La experiencia de Robert Smithson en Pine Barrens define el entreacto, subrayando la sensibilidad del artista en la apreciación del vacío del aeródromo como un lugar singular, cargado de valores sensoriales y patrimoniales.AbstractThis is an article in two stages, mediated by an intermission, where nature, city and aviation intersect. The first one, focussed in the late twenties of the last century, describes a moment of emotion in which the first airfields will serve geographers, artists and architects as platforms from which to explore the relationship between city and nature. The second places us today and throws questions into the future. A moment in which the sequential, evolutionary landscapes mark the trend in the treatment of obsolete airport facilities, reversing much of their land to the original field and blurring the traces of their aerial stage. The experience of Robert Smithson in Pine Barrens defines the intermission, underlining the artist’s sensitivity in appreciating the emptiness of the airfield as a unique place, loaded with sensory and heritage values.

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