That area of terror

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...

Full description

Saved in:
Bibliographic Details
Published in:Nederlands kunsthistorisch jaarboek 2023-11, Vol.73 (1), p.190-213
Main Author: Heuer, Christopher P
Format: Article
Language:English
Online Access:Request full text
Tags: Add Tag
No Tags, Be the first to tag this record!
cited_by
cites
container_end_page 213
container_issue 1
container_start_page 190
container_title Nederlands kunsthistorisch jaarboek
container_volume 73
creator Heuer, Christopher P
description 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.
doi_str_mv 10.1163/22145966-07301009
format article
fullrecord <record><control><sourceid>brill</sourceid><recordid>TN_cdi_brill_journals_10_1163_22145966_07301009</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><sourcerecordid>10_1163_22145966_07301009</sourcerecordid><originalsourceid>FETCH-brill_journals_10_1163_22145966_073010090</originalsourceid><addsrcrecordid>eNpjYJA0NNAzNDQz1jcyMjQxtTQz0zUwNzYwNDCwZGLgBInpggQ5GHiLi7MMDIASFkbmhsacDMIhGYklColFqYkK-WkKJalFRflFPAysaYk5xam8UJqbQd_NNcTZQzepKDMnJz4rv7QoDygeb2gQD7IyHmZlPMxKA9J1AABzYDET</addsrcrecordid><sourcetype>Publisher</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype></control><display><type>article</type><title>That area of terror</title><creator>Heuer, Christopher P</creator><creatorcontrib>Heuer, Christopher P</creatorcontrib><description>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.</description><identifier>EISSN: 2214-5966</identifier><identifier>DOI: 10.1163/22145966-07301009</identifier><language>eng</language><publisher>Netherlands: BRILL</publisher><ispartof>Nederlands kunsthistorisch jaarboek, 2023-11, Vol.73 (1), p.190-213</ispartof><rights>Copyright 2023 by Koninklijke Brill NV, Leiden, The Netherlands</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><link.rule.ids>776</link.rule.ids></links><search><creatorcontrib>Heuer, Christopher P</creatorcontrib><title>That area of terror</title><title>Nederlands kunsthistorisch jaarboek</title><description>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.</description><issn>2214-5966</issn><fulltext>false</fulltext><rsrctype>article</rsrctype><creationdate>2023</creationdate><recordtype>article</recordtype><sourceid/><recordid>eNpjYJA0NNAzNDQz1jcyMjQxtTQz0zUwNzYwNDCwZGLgBInpggQ5GHiLi7MMDIASFkbmhsacDMIhGYklColFqYkK-WkKJalFRflFPAysaYk5xam8UJqbQd_NNcTZQzepKDMnJz4rv7QoDygeb2gQD7IyHmZlPMxKA9J1AABzYDET</recordid><startdate>202311</startdate><enddate>202311</enddate><creator>Heuer, Christopher P</creator><general>BRILL</general><scope/></search><sort><creationdate>202311</creationdate><title>That area of terror</title><author>Heuer, Christopher P</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-brill_journals_10_1163_22145966_073010090</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2023</creationdate><toplevel>peer_reviewed</toplevel><creatorcontrib>Heuer, Christopher P</creatorcontrib><jtitle>Nederlands kunsthistorisch jaarboek</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>no_fulltext</fulltext></delivery><addata><au>Heuer, Christopher P</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>That area of terror</atitle><jtitle>Nederlands kunsthistorisch jaarboek</jtitle><date>2023-11</date><risdate>2023</risdate><volume>73</volume><issue>1</issue><spage>190</spage><epage>213</epage><pages>190-213</pages><eissn>2214-5966</eissn><abstract>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.</abstract><cop>Netherlands</cop><pub>BRILL</pub><doi>10.1163/22145966-07301009</doi></addata></record>
fulltext no_fulltext
identifier EISSN: 2214-5966
ispartof Nederlands kunsthistorisch jaarboek, 2023-11, Vol.73 (1), p.190-213
issn 2214-5966
language eng
recordid cdi_brill_journals_10_1163_22145966_07301009
source
title That area of terror
url http://sfxeu10.hosted.exlibrisgroup.com/loughborough?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-01-31T21%3A58%3A27IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-brill&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=That%20area%20of%20terror&rft.jtitle=Nederlands%20kunsthistorisch%20jaarboek&rft.au=Heuer,%20Christopher%20P&rft.date=2023-11&rft.volume=73&rft.issue=1&rft.spage=190&rft.epage=213&rft.pages=190-213&rft.eissn=2214-5966&rft_id=info:doi/10.1163/22145966-07301009&rft_dat=%3Cbrill%3E10_1163_22145966_07301009%3C/brill%3E%3Cgrp_id%3Ecdi_FETCH-brill_journals_10_1163_22145966_073010090%3C/grp_id%3E%3Coa%3E%3C/oa%3E%3Curl%3E%3C/url%3E&rft_id=info:oai/&rft_id=info:pmid/&rfr_iscdi=true