Since the 1979 publication of The Writings of Robert Smithson, Robert Smithson's significance as a spokesman for a generation of artists has been widely acknowledged and the importance of his thinking to contemporary artists and art critics continues to grow. In addition to a new introduction by Jack Flam, The Collected Writings includes previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs. Together these provide a full picture of his wide-ranging views on art and culture.

Robert Smithson: The Collected Writings

Smithson, Robert

Arts & Photography

University of California Press

Catalog of an exhibition of Smithson's photographic work that was held at the Los Angeles County Museum of Art, September 9-November 28, 1993. Hardback, not issued with dj. 167 pages; profusely illustrated with color and b&amp;w photographic plates plus text illustrations; 10 x 10 inches. Index. Check list. Bibliography. Lenders list.

Robert Smithson: Photo Works

Sobieszek,Robert A

Individual Artists

Univ of New Mexico Pr

During the late 1960s and 70s, a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices. In particular, these mediums were used to record ephemeral or performative events and to render visible conceptual systems or to question the supposed objectivity of representation itself. This volume focuses primarily on artworks from the last decade and proposes that the extensive use of reproducible mediums in today's art has its roots in an earlier formative period. By the end of the 70s, many artists turned to photography as a vehicle through which to critique photographic representation and to subvert an art system premised on the notion of the original. While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative. Artists working today freely manipulate their representations of the empirical world or invent entirely new cosmologies. They process their subject matter through conceptual systems or use digital processes to alter their images. Some directly intervene in the environment, subtly shifting components of the found world and establishing their quiet presence in it; others fabricate entire architectural environments for the camera lens. This current state of the arts and its recent history are represented via more than 150 works by 55 artists, including Nam June Paik, Kara Walker, Felix Gonzalez-Torres, Marina Abramovic, Vito Acconci, Ana Mendieta, Bruce Nauman, Robert Smithson, Christian Boltanski, Sophie Calle, Fischli &amp; Weiss, Ann Hamilton, Robert Mapplethorpe, Annette Messager, Cindy Sherman, Bernd and Hilla Becher, Elger Esser, Andreas Gursky, Candida H fer, Thomas Ruff, J rge Sasse, Thomas Struth, Olafur Eliasson, Roni Horn, Gabriel Orozco, Hiroshi Sugimoto, Matthew Barney, Gregory Crewdson, Anna Gaskell, Sam Taylor-Wood, Oliver Boberg, James Casebere, Thomas Demand, Vanessa Beecroft, Wolfgang Tillmans, Patty Chang, Trisha Donnelly, Stan Douglas, Pierre Huyghe, William Kentridge, Steve McQueen, Shirin Neshat, John Pilson and Gillian Wearing.

Moving Pictures: Contemporary Photography and Video from the Guggenheim Collection

Abramović, Marina

Walker, Kara

Nauman, Bruce

Acconci, Vito

GURSKY, ANDREAS

Gonzalez-Torres, Felix

Hanhardt, John G.

BARNEY, Matthew

Paik, Nam June

Young, Joan

Villaseñor, Maria-Christina

History & Criticism

Guggenheim Museum

Catalogue was published to accompany the exhibition at James Cohan Gallery, New York, October 13 to November 24, 2001.  Essay by Ann Reynolds.  Interview with Robert Smithson.

Robert Smithson: Mapping dislocations

Reference

James Cohan Gallery

Robert Smithson: Une rétrospective : le paysage entropique, 1960-1973 : 22 avril-13 juin 1993, IVAM, Centre Julio Gonzalez, Valence [et] 17 juin-28 ... des Musées de Marseille (French Edition)

Foreign Language Study & Reference

Diffusion, Seuil

Magnificent in scope, design and scholarship, this essential volume is the first comprehensive LeWitt monograph published since the artist's death, and the first overview since 2000. Besides gathering visual documentation of LeWitt's wall drawings and his sculptures-or "structures" as he preferred-the publication also includes his complete writings; spreads from his artist's books; plus interviews and essays by virtually every artist and author closely associated with LeWitt, among them Lucy Lippard, Rosalind Krauss, Mel Bochner, Dan Graham and Robert Smithson. One of the most important artists of the twentieth century, LeWitt at last receives the definitive treatment of his work in this volume. In his 1967 "Paragraphs on Conceptual Art," Sol LeWitt set out the fundamental principle of his artistic practice: "In conceptual art the idea or concept is the most important aspect of the work.... The idea becomes a machine that makes the art." From the first wall drawing in 1968 until his death in 2007, LeWitt never ceased to develop new "machines," conceiving some 1,200 wall drawings and laying down the foundations of Conceptual and Minimalist art. LeWitt's wall drawings, always installed by assistants, eliminated any intermediary object (such as a canvas) between the work and its support, thereby dovetailing a sensuous material immediacy with a powerful Platonic detachment. His sculptural variations on grids, cubes and pyramids likewise project this moving simplicity and clarity. Sol LeWitt (1928-2007) was born in Hartford, Connecticut, where he took art classes at the Wadsworth Atheneum. After receiving a BFA from Syracuse University he worked as a graphic designer in the office of architect I.M. Pei. In 1976, LeWitt cofounded the artists' book bookstore Printed Matter in New York, with Lucy Lippard. A retrospective of his wall drawings opened to the public in 2008 at MASS MoCA in North Adams, Massachusetts, where it will remain on view for 25 years.

Sol LeWitt

KRAUSS, ROSALIND

Graham, Dan

Lippard, Lucy R.

Bochner, Mel

HOGAN, JOHN

Singer, Susanna

JRP|Ringier

Onnasch Collection

Groys, Boris

Newman, Barnett

Salazar, Jaime

Rauschenberg, Robert

Kienholz, Edward

Motherwell, Robert

OLDENBURG, Claes

Spuybroek, Lars

TWOMBLY, Cy

Oosterhuis, Kas

Flavin, Dan

HOFMANN, Hans

Weiner, Lawrence

HAACKE, Hans

Rhoades, Jason

Louis, Morris

Kipphoff, Petra

EDITORIAL ACTAR

In December 1968, the American artist Robert Smithson embarked on a field trip to the huge industrial complex in the Ruhr district of Germany. His local guides were the Dsseldorf-based artist duo of Bernd and Hilla Becher, and Konrad Fischer, in whose Dsseldorf gallery Smithson was scheduled to exhibit. The Bechers had begun their own project of photographing the vernacular industrial architecture of Northern Europe in the early 1960s, and had already spent several months photographing at Oberhausen as well as at adjacent industrial sites. The different series of photographs made by Smithson and the Bechers of the same site foreground their respective preoccupations with the industrial landscape and the process of production and entropy, with systems and their inevitable dissolution. Their contrasting bodies of work embody alternate perspectives on time: the Bechers' sense of historical time and Smithson's of the geological. Though formally divergent, each artist's work comprises a radical rethinking of classical notions of beauty and landscape. Neither the Bechers' typologies nor Smithson's projects were possible without prospecting in neglected parts of the landscape, whose distressed state refuted the relationship between history and progress.

Robert Smithson / Bernd & Hilla Becher: Field Trips

Lingwood, James

Hilla

Hopefulmonster

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