![]() Phillips showed Loe the papers he had saved, including Smithson’s drawings, photos and planning documents. Loe’s breakthrough in research was getting one of the first extensive interviews with Bob Phillips, the Utah contractor Smithson hired to dig the dirt and move the rocks that make up Spiral Jetty. The book features words and images from a film about Mono Lake, shot in 1968 and completed by Holt in 2004. The project held some of the themes - an inland sea, an alkaline lake - that Smithson developed further in Spiral Jetty. “Land art is about being at the site, and being with the work, but it’s equally about the journey,” Loe said.įor Smithson, she said, part of the journey was a failed project he, Holt and artist Michael Heizer worked on in California’s Mono Lake. (The book includes a transcript of the film, with images.) The other is the film “Spiral Jetty” (1970), which juxtaposes images of rippling pink water, earthmovers relocating rocks into formation, and the dirt roads leading to the remote site in Box Elder County. One is Smithson’s 1972 essay, in which he recounts how it was built and explains some of his intentions. Her book opens with the supporting documents that curators and art experts say are as much part of Spiral Jetty as the rocks. “In 1970, boom, if people hadn’t heard about the land-art movement before, they heard about it then.” ![]() “Robert Smithson made sure it was everywhere, immediately,” Loe said. Smithson’s gift for public relations within the art world helped make Spiral Jetty, and land art, famous. Smithson and his wife, Nancy Holt ( who later created Sun Tunnels, in Box Elder County near the Nevada border), were among the champions of the movement. ![]() ![]() Spiral Jetty is perhaps the best-known work in the land-art movement of the 1960s and 1970s, when artists left the gallery to create large, immobile works in remote places. ![]()
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