Paris Correspondent for Artsy.net
Earth Matters- Lukas Wegerth
Published in Trend Tablet, June 16, 2016
For Berlin based artist Lukas Wegwerth, crystals serve as a glue that gives a glamourous second life to broken ceramic objects. In some ways, Wegwerth is like a modern day alchemist. When looking for a solution to fix a favorite broken teapot, he became intrigued by the Japanese method of applying gold dust in the glue to purposely reveal the fissures in a broken vessel, and as such, elevating the object to a new status. After lengthy research and experimentation, he developed a process of applying a special salt-based solution along the unglazed edge of the ceramic. Overtime the crystals flourish and expand in unimaginable ways, as if transforming, Terminator style, right before our eyes. Click for full article on Trend Tablet. Photo courtesy of Gallery Fumi
Bari Ziperstein is part of a vibrant and growing community of Los Angeles makers; Multi-talented and multidisciplinary artists, designers, craftspeople, architects and overall creatives who are experimenting and challenging the definition of what their individual fields can be. Ziperstein’s primary medium is clay, but she moves fluidly moves between making art, design and objects. She studied fine art at Cal Arts in Los Angeles, and regularly exhibits her work in galleries in public art projects. About five years ago she began to focus on her line of design objects called BZIPPY, which features her signature style of building modular, brutalist style vases and lamps that are as sculptural as they are functional, as well as a line of architectural jewelry and accessories. In the same 6-months Bari might have an exhibition in a gallery, participated in a design project, and had a booth in the Echo Park craft fair, yet all of these pieces fit together under one cohesive artistic and creative practice. Here Bari discusses her connection to LA, growing up scouting flea markets with parents who collected vintage objects, her formative education at Cal Arts, and her interest in suburban house fences.
Blaire Dessent: There is a growing movement of creative people across Los Angeles who are establishing successful careers, a sense of community, and having fun across multiple fields: visual art, architecture, design, fashion, craft. How has living and working in Los Angeles affected your work?
Bari Ziperstein: I’ve been living in LA since 2002, while attending Cal Arts for grad school. Los Angeles has always been a place for me to try to understand and I am surrounded by inspiration daily from my former commute to the studio across the city: it’s politics and diverse neighborhoods divided by class, its shifting architecture, the hand painted signs of local business, to the extreme desert landscape.
BD: When you were at Cal Arts and studying fine art, did you have an interest already in making jewelry or housewares or did that develop later through other interests and experiences?
BZ: My history with objects has always been there – but making specific design products for a design audience started to run parallel with my fine art practice about 5 years ago. It seemed like a natural progression where my fine art was teetering between those worlds for so long.
While at Cal Arts, I was deeply invested in large-scale site-specific sculpture and conceptual art. But running parallel was my childhood history of being raised by a father who was an obsessive collector and a mother who loves to shop. My father, Robert (Zippy) collected ceramic cookie jars, boomerang 1960s lamps, and always dressed head to toe in vintage – usually adorned with a fun bakelite pin. Traveling the country and visiting flea markets with my parents is where I first learned about aesthetics and ceramics.
For full interview click here:
Jay De Feo
Frank Elbaz Gallery presents the first solo exhibition in Paris of Jay DeFeo (1960-1989), a San Francisco Bay Area artist who was a formative part of the Beat Generation of artists including Bruce Conner and Wallace Berman.
The exhibition of drawings, collages, painting, and black and white photography, provides an interesting cross-section of DeFeo’s work that spans her career and emphasizes the connections that link her artistic practice across mediums and time. After receiving her Master’s in Fine Art from UC Berkeley in 1951, she was awarded a fellowship which she used to travel around Europe and North Africa in 1951-52, foreshadowing the same trips her better known contemporaries like Gregory Corso and William Burroughs would make soon after. This trip was hugely formative for DeFeo and early drawings made during her time spent in Paris in 1951, already demonstrate her exploration of depth, darkness, voids and space. The swirling lines, circles and deep black stains on paper are echoed in her later work right before her death in 1989, including a series titled “Reflections of Africa,” originally inspired from her trip to Morocco, in which deep cuts built up through shadow and line bring the eye into inner cores and unexpected twists across the paper.
One of the larger works in the show is the acrylic on Masonite painting, Pend O’Reille No. 2, (Eternal Triangle series), 1980. It appears unfinished at first glance, this undeveloped form hovering in the central plane of the board, but upon closer look, that form becomes a mix of organic shapes, references to the body, to caves, and geometry.
One of the most revealing features of the show is a selection of black and white, gelatin silver prints taken by DeFeo following the removal of the monumental and legendary sculptural painting, The Rose, 1958-1966, from her Fillmore Street studio. She was at a turning point, if not blocked artistically about how to continue her career as a painter and she began taking photographs as a way to keep exploring the world through art but with an entirely new medium. The results are illuminating and underscore her vision, always capturing the shadows, voids, fragments and mystery of the natural world. Her instincts for materials and textures seen in her layered drawings and collages comes through just as strongly in these small photographs which are jewel-like in their subtle beauty. Close-ups of muddy river banks, wrapped bundles including an image of the cast from her dog, named R. Mutt, after he broke his leg, and still life’s that include broken wine glasses or cracked vases, all confirm her sharp eye for form, surface, and composition, and her continued interest in the triangle.
Also included in this series of photographs are two Untitled images from 1973 of ripped fragments of an older painting, the images of which foreshadow a large painting/collage titled Tuxedo Junction, made in 1974, and which is currently on view at the Pompidou Center in Paris as part of the “Beat Generation” exhibition. The story behind Tuxedo Junction is that when DeFeo left her Fillmore Street Studio she ripped off pieces of a painting from 1965 titled The Estacado, and kept them under her bed for a few years. They collected dust, got slightly rusty from being next to metal bed springs and so forth. We know she was at a crossroads in her career in the early 1970s, and one wonders if by looking at these pieces of painting several years later through the lens of her camera, it led to the inspiration for Tuxedo Junction, an unusual, but beautiful work that reminds us that DeFeo did not distinguish much between life and art, the two seamlessly flowing side by side, overlapping, influencing and transforming over time. The exhibition at Frank Elbaz is on view through July 30th.
TL Magazine Spring/Summer 2015
Decorum: Artist's Weavings & Tapestries-Exhibition Review
Decorum: Artist Weavings and Carpets at the Musee d'Art Moderne de la Ville de Paris
This exhibition was on view from October 11, 2013-February 9, 2014.
Published in the Spring 2014 issue of Fiber Art Now.
Decorum: Artist Weavings and Carpets is a comprehensive exhibition that brings together over 100 works of art including carpets, tapestries, weavings, installations, and sculptural work. The exhibition doesn't try to retrace the history of weaving in the 20th century, as Fabrice Hergott, director of the Museum of Modern Art in Paris, notes in the catalog introduction. Instead, curator Anne Dressen has chosen to present the work thematically in five sections: Painterly, Decorative, Orientalist, Primitive and Sculptural.
With over 20 artists in each section, Decorum generates an engaging visual dialogue within a large cross-section of styles and practices including hand woven and digitally produced weavings, conceptual installations and collaborative workshops, non-Western rugs by anonymous artisans, unique sculptures, and multiples. The exhibition highlights the relationship of textiles to contemporary art and artists with a nod to the recent trend of using fiber based mediums, such as the Neo-Craft movement, and the emphasis on the handmade, as seen in the work by Caroline Achaintre, whose colorful, hand-tufted wall hanging titled, Moustache-Eagle (2008), seems part shamanistic-part vintage shag rug, and Michael Beutler, whose gigantic installation, Weaving Workshop, 2009-2013, consists of an enormous handmade loom that measures roughly 8’ x 10’ x 19.5’, with in-situ weaving that spreads out from the loom and throughout the final room in the exhibition.
Other contemporary practices with the medium are seen through the work of artists like Rosemarie Trockel, who has used knitting techniques and yarn in her highly conceptual artwork for decades; Mike Kelley, whose use of discarded or thrift store blankets and throws are repurposed to the effect of their original intent being completely subverted; and Los Angeles based artist, Pae White, whose spectacular wall hanging depicting a plume of billowy smoke, Berlin B, 2012, reflects the realm of possibilities offered in digitally produced, machine made weavings.
There is significant space dedicated to early 20th century artists as well. Taken as a broad theme, the Decorative section of the show investigates the development of weaving in workshops and schools such as the Bauhaus, the Omega Workshop, and the Vienna Secession. It looks at the link between design, craft, art, and architecture and how many artists worked within this crossover, particularly women, such as Anni Albers, Gunta Stotzl, and Evelyn Wyld who often collaborated with architect Eileen Gray.
Fernand Leger, Sonia Delaunay and Le Corbusier, who coined the term muralnomad to describe the virtues and possibilities of tapestries, are present in the Painterly section with beautiful wall hangings, as is Picasso with two large-scale, Cubist influenced tapestries titled, Femmes à leur toilette, 1967-70, that were made at the historical Gobelins workshop in France.
The link between old and new is made clear throughout the show. The inclusion of several works by anonymous artists or workshops from non-Western countries provides a refreshing counter-balance and underscores the importance of historical lineage of weaving. Examples include a stunning geometric abstract kilim from Iran, a gorgeous weaving from Tihuanaco, Peru, and a colorful tufted rug from Morocco, that is a current obsession in the design and interiors world.
There is a range of politically inspired work as well. Swedish-Norwegian artist, Hannah Ryggen, a self-taught weaver whose almost naïve figures and forms held messages about deep and threatening social issues of her day from Communism to WWII.
Pioneers of off-loom weaving, including free-form sculptural work and installation that took root in the 1960s appears in the Sculptural and Primitive sections of the show with work by Magdalena Abackanowicz, Jugada Buic, Sheila Hicks, Josep Grau-Garriga, and Elsi Giauque, represented with her fantastic installation, Spatial Element, 1979.
At times the installation feels chaotic and overwhelming but at the core it’s an incredible opportunity to view work by so many talented, often overlooked and in some cases forgotten artists, and fully appreciate the diverse potential of this medium.
Jules de Balincourt-Exhibition Review
Jules De Balincourt- Blue Hours- Thaddaeus Ropac, Paris
Printed in White Hot Magazine Winter Issue 2014
Blue hour describes that dreamy, twilight moment at dawn or dusk, when the colors in the sky shift, and there is a sense of feeling suspended in time, between the before and after. Blue Hour is also the title of Jules de Balincourt’s third solo show with Thaddaeus Ropac Gallery in Paris, which opened on September 8. The exhibition presents a series of nineteen new paintings that are bathed in this blue hour moment, very moody and atmospheric, almost as if they are lost in time.
De Balincourt, who prefers wooden supports to canvas, paints directly onto the surface without sketches or photographs, building his universe up from acidy pastels, minty greens, and beautiful purple-blue hues. The imagery varies widely from small, sparsely populated paintings to larger, hyper-surreal works, with a slight ominous quality that resonates throughout. Even if he paints groups of people, there is often a sense of man alone in the universe, and an uncertain relationship to the nature that surrounds these souls.
In several paintings, one gets the impression of witnessing a preview of future climate change disasters and the survivors, or the new settlers, who are making their island refuge. The Island Where Everyone wants to be Saved, 2014, literally shows the top of a small, red island being submerged into the sea. Boats swarm around it and the tops of other submerged buildings where people stand with their arms up as if trying to be saved.
In Colonial Island, 2014, the stern, purple washed profile view of an unknown person floats above an island, the hair dripping into the tops of the trees, the landscape filtering back into her cheekbones. A multitude of small figures dot the center of the painting, all of whom seem to all be moving boxes or suitcases from one boat to another one on the opposite side of the island. Are these settlers seeking a new life after the storm? Tourists simply on an island adventure, an escape from city life? Who is this figure overseeing this exchange?
De Balincourt has a strong, painterly style, able to capture so much in the tiniest flecks of paint. A magnifying lens would be useful to let us investigate some of the minute features in more detail. He moves deftly between jokey social commentary, as with Looking for Jesus and Osama, 2014, a colorful portrait mash-up that could be the next spiritual guru for these new settlers, and a more serious reflection on society, as with Misfit Island, 2014, one of the more haunting and political paintings in the show. Here he presents the face of man painted in deep shades of blues, blacks, and umbers and set against the background of a deep, blue sea. Tiny boats dot the canvas, passing through the face, inserting themselves into his lines and creases. It suggests the precarious journey so many immigrants make, whether the recent wave from Africa to Europe, or the history of Ellis Island.
We Come Here to Forget, 2014, is the only painting in the exhibition depicting an interior scene. In a grand room of a museum-like setting, people lay on the large Oriental carpet in various states of repose. There is a couple engaged in conversation while leaning up against the base of a classical looking statue. A table holds the remnants of something, perhaps food and drinks? Debris scatters the floor. What is going on here? Is it a post-apocalyptic safe zone for the last remaining citizens? A special all-night at the museum party? De Balincourt leaves us in the mystery.
Blue Hours is an intriguing and alluring exhibition. It can be rare these days to encounter paintings that hold our attention for so long. De Balincourt makes the viewer feel as if they have been made privy to some secret world from which they are able to imagine their own version to this unexplained scenario.
Exhibition Dates: September 8-October 18, 2014
Sheila Hicks-Exhibition Review
Originally published in Fiber Art Now
In many ways, Sheila Hicks’s work is about raveling and unraveling. In both a material and conceptual sense, she constantly challenges the possibilities of what fiber can be and how it can be perceived. Whether natural cotton or high tech threads, multi-colored or monochrome, her free-standing sculptures, wall-hangings and works on paper transcend categories of art, design, or craft, letting her be at once painter, sculptor, weaver, colorist, and poet.
Unknown Data, is Hick’s first solo show with Frank Elbaz gallery, who will also present a solo show of her work at the upcoming FIAC art fair in Paris from October 23rd-26th. The exhibition presents a selection of new works that are deeply personal to the artist. This might appear on a metaphorical level such as the invisible threads hidden within the sculpture Cordes Sauvages, 2014 or more literally, such as with the series of small sculptural objects, titled Trésors des Nomades, 2014, in which she has hidden a small, personal object from one her many travels in the center of each layered bundle. Each small sculpture in Trésors des Nomades is a perfect example of Hicks’s expertise with color. Though bound by a top layer of cords, underneath patches of color pop out, bright yellows mixed with rust, blue and red, or pink, yellow, and blues.
Sheila Hicks makes work that is highly sensory, often with the intention that it be touched or walked through, and this once again challenges the status of what art in a museum or gallery context can be. Atterrissage, 2014 begs to be brushed up against and even sat upon if we dare. Long twisted, colorful cords tumble from above, landing on the floor in a puff of colorful, fiber clouds. The title is a French word referring to the landing of an airplane and there is a strong sense of movement in this piece that visually anchors the exhibition space, drawing our eye up and across the room.
Hicks continues to challenge herself and her materials. With Tanné Cousu, 2014, she breaks away from her use of cords and threads, using pieces of dyed blue fabric that have been treated giving them a leathery texture. The pieces were then arranged into a large, geometric wall composition sewn at the seams with red stitching. Or in Drawing IV, 2014 in which tufts of indigo blue threads that suggest gestural brush strokes or calligraphy, have been pressed against a light ivory background and framed. To use the title of a current exhibition at the Drawing Center in New York, these pieces are literally thread lines, an act of drawing with threads.
Several of the works in the exhibition exude a spiritual, if not a shaman-like presence, such as with La Sentinella, 2013, a sculpture that feels nearly animated, as if it’s about to give a little shake and shimmy or Cordes Sauvages, 2014 that seems out of a pre-Columbian myth, while still being a completely contemporary piece of art.
There is a powerful sense of connection within Sheila Hicks’s body of work. A certain color, a piece of yarn or textile, a memory or a souvenir from a trip all feed into the relationships between the small, spontaneous gestures, or the large-scale architectural installations. For many, Sheila Hicks is herself a mythic being. A force of inspiration and creativity and as Unknown Data coincides with her 80th birthday it seems all the more important to mark her singular career as artist, designer, and visionary.
Exhibition Dates: September 6-October 18, 2014
Sabine Moritz-Exhibition Review
Limbo, the state of being suspended in time, between past and future, repose and action, is the title of Sabine Moritz’s solo show at Marian Goodman Gallery in Paris, her first with the gallery. Spread over two floors, the exhibition includes eighteen oil on canvas paintings and over sixty drawings, a dense body of work started in late 2001. Moritz, who lives and works in Cologne, Germany, was on her way to New York City on September 11th when the plane was diverted up to Nova Scotia. For three days she was stuck in this remote landscape, with thousands of other displaced travelers, watching the events and its aftermath unfold. This period of waiting and disconnect, gave her time to reflect about the changing nature of borders, conflict, and the technology of war.
Most of the work in Limbo is based on press clippings after 9/11. But this is just the starting point. Apart from the occasional title, we cannot make out where the image is from or what nationality the people, but we know the signs. Helicopters, soldiers, planes, warships, destruction, chaotic landscapes; the references to war are clear but it’s not a specific war, not a specific news story. Through copious layers of frenetic, linear brushstrokes Moritz deconstructs the photographic reference and focuses her acute perception on isolated moments, hovering objects, figures at rest. She is not interested in showing the violent, graphic images of war, preferring those intimate moments of pause, of limbo. Occasionally we see traces of figures or objects that have been erased, as if they disappeared just before we arrived. There is a feeling of unease, tension, uncertainty, but there is also a sense of calm.
In Sleeper, 2010 a lone soldier rests on his side. He seems at peace but when we try to take in his surroundings we are blocked. Are those missiles behind him? Barbed wire? We have the same feeling of unease with In the Forest, and Flight both 2012, which show figures sitting or laying in a dreary landscape. Are they escaping, hiding, or about to attack? We see traces of smeared, red paint at the feet of one figure and another in fetal position. It can’t be good. Moritz reinforces this unease through the piercing brushstrokes that cut across their bodies and into the dense forest behind.
A recurring motif for Moritz is the helicopter. Planes, drones and warships are also well represented but it’s the helicopter that fully demonstrates her rigorous practice as an artist. The helicopter serves as the emblematic image of recent wars and military engagements-from Vietnam, to Black Hawk Down, to the raid on Osama Bin Laden. In Dust, 2008 or Parade 1, 2007 the helicopter is placed as the central figure, hovering above a landscape. Is it a rescue mission or on its way to attack? In Kandahar, 2004 two helicopters, one on top of the other, are shown towards the bottom of the canvas and about to emerge from a large white flurry of dust or smoke that takes up most of the canvas. One arches up or maybe is about to crash. A couple of small figures are seen below. Outcome uncertain for all. In her series of drawings, whether charcoal, oil stick or graphite, she repeats the force of the blades in motion, the sweep of the body of this crucial wartime aircraft.
The images we see feel timeless or as if they are suspended in time. Painted mainly in muted, earthy tones of green, gray, brown, dark blue, with occasional spots of yellow or red, there is almost the impression that a veil is covering the canvas. Nearly out of focus when looking up close, we only begin to take in the overall picture from a distance back, when the layers and textures of brushstrokes start to reveal their subject matter.
We can’t look at this body of work without thinking about Moritz’s upbringing in East Germany. Born in a small town near the border in 1969, she grew up amid the anxiety, economic hardships, and isolation of the cold war regime. She experienced first hand the atmosphere of threat, fear, and displacement like the figures and moments she captures in paint. Limbo is unspecific and because of this it resonates on many levels. Old or new, we don’t need graphic images to understand the suffering, fear, loss that comes with whatever war it may be.
Originally published in Art Observed, April 2013
image courtesy of marian goodman gallery
Mounir Fatmi: Sonia, Sonia, Sonia
It took over 100 prayer rugs of varying colors and patterns to create Sonia, Sonia, Sonia, a large-scale triptych by Mounir Fatmi from 2012. Each of the three panels measures 189 x 124 cm (roughly 6’ 2” x 4’ 5”), and is covered entirely with pieces of cut-up carpets. The title of the collage, Sonia, Sonia, Sonia, is an homage to Sonia Delaunay, the forward thinking artist from the early 20th century who pushed the boundaries of abstraction and seamlessly integrated her work as a visual artist into fashion, textiles and books. She helped open up the possibilities of certain mediums like textiles, a typically feminine medium, to be acceptable as art in era that was still quite macho.
Like Delaunay’s paintings from the 1910s-30s, Sonia, Sonia, Sonia is a very lyrical and rhythmic piece. It plays with color theory, pattern and movement. The work instantly engages you and your eye flows across all of the arcs and diagonals from one side to another. And like Delaunay’s work, there is another dimension to this piece, beyond the visual appeal, that engages contemporary politics and modernization. Whereas she spoke to the change in Europe before and between the two world wars, Fatmi engages the contemporization of the Arab world; the speed of development, the blur of daily life surrounded by warfare and urbanization, and issues surrounding religion.
In Sonia, Sonia, Sonia, the use of prayer rugs is deliberate. First of all it’s an unusual material from which to create such a large collage, but rather than use any old carpets, these are specifically prayer rugs, therefore a desacralization of an object typically used in communion with god. The value of the rug as a religious object is gone, but its value as a work of art has emerged. By this very act, the collage confronts conceptions of what the sacred means and how it can be interpreted. Many consider art that hangs on the walls of great museums to be sacred. Though the rugs have been desacralized in the eyes of religious figures, the artwork itself, presented on a gallery wall, reclaims what could be considered its sacred status-it’s now part of another establishment that holds the work in a new light.
From afar the collage is abstract and consumed with color. It’s non political, non-referential. In the details however, you see snippets of the carpet’s original intent: an image of the Ka’aba, fragments of Islamic architecture, tips of a mosque. Another layer to this piece lies behind the scenes in the fabrication of prayer rugs. Typically this was and remains a thankless job done by women, and that is reiterated during prayer in the mosque, where men kneel up front, while the women take back stage. By transforming the carpets into a large-scale, beautiful artwork, Fatmi has subtly brought this secondary role into the fore.
Fatmi has never shied from pushing his own boundaries, transforming possibilities of materials including the use of religious objects and iconography. Prayer rugs become collage, the Koran forms part of a sculptural installation, the Ka’aba of Mecca, a black abstraction that calls to mind Malevich’s painting Black Square. In doing so, he risks censure, threats and perhaps worse, but for the artist, these are simply tools in the studio to create his body of work.
Deux Frontieres Blog
The Spiral Jetty
The Spiral Jetty, Published in White Hot Magazine, October 2008
“The route to the site is very indeterminate. It's important because it's an abyss between the abstraction and the site; a kind of oblivion.” This quote from artist Robert Smithson in an interview with William Lipske in 1969 aptly describes the experience of journeying to the Spiral Jetty, the earthwork Smithson created in 1970 in Rozel Point, in the Great Salt Lake in Northern Utah. Measuring roughly 1500 feet in length, the “Jetty” was constructed using large, black basalt rocks and earth from the area, the shape formed into place with the help of tractors and skip loaders. Most people who studied art and/or art history know about the Spiral Jetty. There is an aura of mystery that surrounds this work, partly because of the untimely death of the artist in 1973, and partly due to the fact that after nearly 20 years of being submerged, the Jetty reappeared on the scene in 2002, still in good condition. This resurfacing allows devotees of the earthwork and Smithson himself, to see it but that is not easy to do so…which may also be part of the allure.
With a road map and directions from the Dia Center in hand, (which acquired the work in 1999 from Smithson’s estate), two friends and I headed north from Park City on our pilgrimage to the Spiral Jetty this August. It was a beautiful Utah desert day with a high, hot sun and dry as a bone. As you wind off the Highway 83, already a quiet road with not much around, you enter into Golden Spike National Monument. The geology of the landscape looks prehistoric, the horizon of undulating red and brown rocks goes on forever, and there is not much in the way of wildlife or shade. You feel the remoteness of the place immediately and when you pass the Golden Spike Visitor’s Center (the last remaining civilization before getting on the dirt road to the Jetty), the real trip begins. Though there are infrequent small white signs pointing the way, the Dia Center directions are more fun to interpret. For example: “Drive 1.3 miles south. Here you should see a corral on the west side of the road. Here too, the road again forks. One fork continues south along the west side of the Promontory Mountains. This road leads to a locked gate. The other fork goes southwest toward the bottom of the valley and Rozel Point. Turn right onto the southwest fork, just north of the corral. This is also a Box Elder County Class D road.”
Maybe it’s more exciting for city dwellers like I am, who are used to describing distance in terms of how many blocks or street lights, but to be on the lookout for cattle girders and the skulls from long dead cows that lay along the road certainly adds to the sense of journey. As we bounced along the dirt road in our SUV, a flock of birds was doing a form of aerial dance above the Salt Lake in the far distance. Mountains surround the view and you are filled with a heightened sense of peace, isolation and vastness.
You first spot the Spiral Jetty as you near the last half-mile of the journey. The three of us yelled out “I see it,” like we were kids spotting the signs for Disneyland. It is not like observing a painting in a museum of course, but this was part of Smithson’s goal. The one thing I heard from people who’d visited the earthwork in the past was that it felt much smaller than expected. Perhaps this is true, but sitting out there all alone in the flat, rusty and white lake, it looked quite proud and noble.
The land was extra dry at the moment of our visit so we were able to walk straight out onto the jetty, the water starting just past the last spiral. The crystallized salt crunched beneath our feet and the sensation of walking along the rocks was spiritual in a way, particularly having seen the fantastic 45-minute film of the construction of the work. One sees Smithson strut along the jetty as it’s being built, talking about his methods and ideas, evoking the contemporary vision of man and nature, macho yet classic. It’s all there and it still comes across well after 38 years of existence.
Though the best view may be from the air, I don’t think that such an experience would resonate without the off road driving which slowly lets the surroundings sink in and thus prepares you for actual engagement with the site. Since the Spiral Jetty has been reproduced endlessly just “see it”, is not to properly understand what it represents. The earthwork is more than visual. It’s about physicality, appearances and perception and how these concepts can be tossed and turned in such a lunar-like landscape. The remains on this landscape, the rusted cars, dead birds, and remnants of old oilrigs are supposed to be part o the work. (Currently there is talk about re-opening oil drilling in this area which could seriously damage not only the Spiral Jetty, but also the pristine beauty of the Salt Lake.) Part of the genius of Earthworks is that they force one leave one’s typical environment and enter nature to experience something fresh and different. Smithson’s Spiral Jetty is a true place, a marker of time and history. In that Utah landscape it is completely otherworldly.