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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975,(...)
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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975,(...)
Titre:
Collective Design : Alison & Peter Smithson
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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975, Alison and Peter Smithson, published a series of seven articles in Architectural Design questioning the unity of the architectural form, as well as their commitment as architects. In recognition of the inevitable cultural fragmentation of society, they question the collective dimension of their work and their relationship with the community.
Collective Design : Alison & Peter Smithson
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Publiés initialement dans Architectural Design entre 1973 et 1975, la série des sept articles intitulée Collective Design rappelle l’essence collective de l’architecture. Au constat d’une fragmentation culturelle de la société jugée inéluctable, les Smithson interrogent la dimension politique de leur travail à un moment charnière de leur carrière. | Between 1973 and 1975, Alison and Peter Smithson, published a series of seven articles in Architectural Design questioning the unity of the architectural form, as well as their commitment as architects. In recognition of the inevitable cultural fragmentation of society, they question the collective dimension of their work and their relationship with the community.
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livres
livres
Publication:
janvier 2026
janvier 2026
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$56.00
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Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of(...)
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Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of(...)
Publication:
avril 2004, New Haven / London
avril 2004, New Haven / London
Titre:
Mirror-Travels : Robert Smithson and history
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Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of the twentieth century. Less well known is the connection between the Jetty and the nearby Golden Spike National Historic Site, location of the completion of the first U.S. transcontinental railroad. The link between these two monuments is but one facet of an entire complex of historical reference and reflection that structures Smithson’s work. Mirror-Travels encompasses the full span of Smithson’s career, offering a close analysis of the artist’s working model of history and featuring comprehensive case studies of three of his most influential works: The Monuments of Passaic, Incidents of Mirror-Travel in the Yucatan, and the Spiral Jetty. Incorporating abundant new material from Smithson’s personal papers and library, Jennifer Roberts offers surprising new interpretations about the artist and his responses to the social, ideological, and material contradictions of his time.
Mirror-Travels : Robert Smithson and history
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Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of the twentieth century. Less well known is the connection between the Jetty and the nearby Golden Spike National Historic Site, location of the completion of the first U.S. transcontinental railroad. The link between these two monuments is but one facet of an entire complex of historical reference and reflection that structures Smithson’s work. Mirror-Travels encompasses the full span of Smithson’s career, offering a close analysis of the artist’s working model of history and featuring comprehensive case studies of three of his most influential works: The Monuments of Passaic, Incidents of Mirror-Travel in the Yucatan, and the Spiral Jetty. Incorporating abundant new material from Smithson’s personal papers and library, Jennifer Roberts offers surprising new interpretations about the artist and his responses to the social, ideological, and material contradictions of his time.
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livres
livres
Publication:
avril 2004, New Haven / London
avril 2004, New Haven / London
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livres
livres
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$105.00
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"Robert Smithson and the American Landscape" is a social history of the artist’s earthworks and their critical reception. Providing a close analysis of Smithson’s own writings and art works, Ron Graziani demonstrates how his earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Smithson’s humanized environments were a powerful indictment of(...)
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"Robert Smithson and the American Landscape" is a social history of the artist’s earthworks and their critical reception. Providing a close analysis of Smithson’s own writings and art works, Ron Graziani demonstrates how his earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Smithson’s humanized environments were a powerful indictment of(...)
Titre:
Robert Smithson and the American landscape
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"Robert Smithson and the American Landscape" is a social history of the artist’s earthworks and their critical reception. Providing a close analysis of Smithson’s own writings and art works, Ron Graziani demonstrates how his earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Smithson’s humanized environments were a powerful indictment of modernist sense of art and nature. Moreover, Graziani shows how Smithson’s earthworks formed part of what was called the ‘new conservationism’ in the late 1960s and how they gave material form to the contradictions of a sociological issue that was inseparable from its economic legacy.
Robert Smithson and the American landscape
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"Robert Smithson and the American Landscape" is a social history of the artist’s earthworks and their critical reception. Providing a close analysis of Smithson’s own writings and art works, Ron Graziani demonstrates how his earthworks were part of an aesthetic and civic fault line that ruptured in the 1960s. Smithson’s humanized environments were a powerful indictment of modernist sense of art and nature. Moreover, Graziani shows how Smithson’s earthworks formed part of what was called the ‘new conservationism’ in the late 1960s and how they gave material form to the contradictions of a sociological issue that was inseparable from its economic legacy.
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livres
livres
Publication:
mai 2004, Cambridge / New York
mai 2004, Cambridge / New York
Sujet:
Land Art
Land Art
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Description:
237 pages ; 21 cm.
Description:
237 pages ; 21 cm.
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London : Whitechapel Gallery ; Cambridge, MA : The MIT Press, [2016]
London : Whitechapel Gallery ; Cambridge, MA : The MIT Press, [2016]
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livres
livres
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London : Whitechapel Gallery ; Cambridge, MA : The MIT Press, [2016]
London : Whitechapel Gallery ; Cambridge, MA : The MIT Press, [2016]
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ix, 286 pages : illustrations (some color), portraits (some color) ; 26 cm
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ix, 286 pages : illustrations (some color), portraits (some color) ; 26 cm
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New Haven : Yale University Press, [2021], ©2021
New Haven : Yale University Press, [2021], ©2021
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How photography became contemporary art : inside an artistic revolution from pop to the digital age / Andy Grundberg.
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ix, 286 pages : illustrations (some color), portraits (some color) ; 26 cm
How photography became contemporary art : inside an artistic revolution from pop to the digital age / Andy Grundberg.
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ix, 286 pages : illustrations (some color), portraits (some color) ; 26 cm
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livres
livres
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New Haven : Yale University Press, [2021], ©2021
New Haven : Yale University Press, [2021], ©2021
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$39.95
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Résumé:
The death of Robert Smithson in 1973 robbed postwar American art of an unusually creative practitioner and thinker. Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the(...)
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The death of Robert Smithson in 1973 robbed postwar American art of an unusually creative practitioner and thinker. Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the(...)
Titre:
Earthwards. Robert Smithson and art after Babel
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The death of Robert Smithson in 1973 robbed postwar American art of an unusually creative practitioner and thinker. Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the limitations of the museum prefigures key themes in postmodern criticism while underscoring the uniqueness of Smithson's own work as an artist, filmmaker, and writer. Gary Shapiro's elegant and incisive study of Smithson's career is the first book to address the full range of the artist's dazzling virtuosity. Ranging from Smithson's best known works such as Spiral Jetty and Partially Buried Woodshed to his photographs, films, and theoretical readings and writings, Shapiro's masterful book analyzes Smithson's art in relation to the legacy of American art of the 1960s and central philosophical themes in its contemporary reception.
Earthwards. Robert Smithson and art after Babel
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$39.95
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The death of Robert Smithson in 1973 robbed postwar American art of an unusually creative practitioner and thinker. Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the limitations of the museum prefigures key themes in postmodern criticism while underscoring the uniqueness of Smithson's own work as an artist, filmmaker, and writer. Gary Shapiro's elegant and incisive study of Smithson's career is the first book to address the full range of the artist's dazzling virtuosity. Ranging from Smithson's best known works such as Spiral Jetty and Partially Buried Woodshed to his photographs, films, and theoretical readings and writings, Shapiro's masterful book analyzes Smithson's art in relation to the legacy of American art of the 1960s and central philosophical themes in its contemporary reception.
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livres
livres
Publication:
novembre 1997
novembre 1997
Sujet:
Land Art
Land Art
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livres
livres
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$45.00
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This beautifully produced and fully illustrated volume collects the most important essays published on the couple's work, from older texts by Reyner Banham, Peter Cook, Kenneth Frampton and Philip Johnson to the most recent texts by Peter Eisenmann, Christine Boyer, Beatriz Colomina and Louisa Hutton. The first publication in Poligrafa's new "Critical Anthology" series,(...)
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This beautifully produced and fully illustrated volume collects the most important essays published on the couple's work, from older texts by Reyner Banham, Peter Cook, Kenneth Frampton and Philip Johnson to the most recent texts by Peter Eisenmann, Christine Boyer, Beatriz Colomina and Louisa Hutton. The first publication in Poligrafa's new "Critical Anthology" series,(...)
Titre:
Alison & Peter Smithson: a critical anthology
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$45.00
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This beautifully produced and fully illustrated volume collects the most important essays published on the couple's work, from older texts by Reyner Banham, Peter Cook, Kenneth Frampton and Philip Johnson to the most recent texts by Peter Eisenmann, Christine Boyer, Beatriz Colomina and Louisa Hutton. The first publication in Poligrafa's new "Critical Anthology" series, it provides an essential critical context for the reception of New Brutalism in England.
Alison & Peter Smithson: a critical anthology
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This beautifully produced and fully illustrated volume collects the most important essays published on the couple's work, from older texts by Reyner Banham, Peter Cook, Kenneth Frampton and Philip Johnson to the most recent texts by Peter Eisenmann, Christine Boyer, Beatriz Colomina and Louisa Hutton. The first publication in Poligrafa's new "Critical Anthology" series, it provides an essential critical context for the reception of New Brutalism in England.
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livres
livres
Publication:
septembre 2011
septembre 2011
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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$66.95
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Robert Smithson: Art In Continual Movement is a seminal compilation of material from different archives in the Netherlands and the US: photographs, film recordings, drawings, texts and letters dealing with the famous land art work Broken Circle/Spiral Hill in Emmen, Drenthe (Netherlands), which Robert Smithson designed in 1971 for the exhibition Sonsbeek buiten de perken.(...)
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Robert Smithson: Art In Continual Movement is a seminal compilation of material from different archives in the Netherlands and the US: photographs, film recordings, drawings, texts and letters dealing with the famous land art work Broken Circle/Spiral Hill in Emmen, Drenthe (Netherlands), which Robert Smithson designed in 1971 for the exhibition Sonsbeek buiten de perken.(...)
Titre:
Robert Smithson : art in continual movement
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Robert Smithson: Art In Continual Movement is a seminal compilation of material from different archives in the Netherlands and the US: photographs, film recordings, drawings, texts and letters dealing with the famous land art work Broken Circle/Spiral Hill in Emmen, Drenthe (Netherlands), which Robert Smithson designed in 1971 for the exhibition Sonsbeek buiten de perken. This is one of only three preserved land art works of Smithson worldwide. The significance of this particular art work has been relatively neglected in the extensive literature on Smithson’s work, nevertheless, it is one of his key works.
Robert Smithson : art in continual movement
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Robert Smithson: Art In Continual Movement is a seminal compilation of material from different archives in the Netherlands and the US: photographs, film recordings, drawings, texts and letters dealing with the famous land art work Broken Circle/Spiral Hill in Emmen, Drenthe (Netherlands), which Robert Smithson designed in 1971 for the exhibition Sonsbeek buiten de perken. This is one of only three preserved land art works of Smithson worldwide. The significance of this particular art work has been relatively neglected in the extensive literature on Smithson’s work, nevertheless, it is one of his key works.
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livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Land Art
Land Art
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Description:
180 pages : illustrations, map ; 23 cm
Description:
180 pages : illustrations, map ; 23 cm
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Chicago : University of Chicago Press, 2008.
Chicago : University of Chicago Press, 2008.
Titre:
Spiral Jetta : a road trip through the land art of the American West / Erin Hogan.
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Description:
180 pages : illustrations, map ; 23 cm
Spiral Jetta : a road trip through the land art of the American West / Erin Hogan.
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180 pages : illustrations, map ; 23 cm
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livres
livres
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Chicago : University of Chicago Press, 2008.
Chicago : University of Chicago Press, 2008.
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livres
livres
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$63.95
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
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Résumé:
Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
Titre:
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Classification:
livres
livres
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
