|"The Whitney Museum and the New York-based arts organization Minetta Brook are collaborating to bring life to Floating Island, an unrealized project from 1970 by legendary American Earthworks artist Robert Smithson. Slated for Sept. 17-18 and 24-25, 2005, and planned in conjunction with the Whitney's major retrospective of Smithson's work (opening June 23rd), the project consists of a barge filled with earth and vegetation, towed around the island of Manhattan by a tugboat."
This is exciting.
And a day at the Whitney is due:
on view June 23 – October 23, 2005
Emily Fisher Landau Galleries, Floor 4
Robert Smithson was one of the key figures in American art of the 1970s. Best known for his iconic earthwork Spiral Jetty (1970), his use of mirrors, earth, maps, asphalt, rocks, photography, and film helped to redefine the parameters of sculpture, and his writings have influenced generations of younger artists. This retrospective brings together his sculptures, photographs, films, and earthworks, as well as a largely unknown group of paintings and drawings from 1957 to 1963, providing an opportunity to revisit a career cut short by his death in a plane crash in 1973.
The Catalogue: By Eugenie Tsai with Cornelia Butler. Additional essay by Thomas Crow, with texts by Alexander Alberro, Suzaan Boettger, Mark Linder, Ann Reynolds, Jennifer L. Roberts, Richard Sieburth, and Robert A. Sobieszek, and an interview with the artist by Moira Roth. $35/ $28 member price.
Robert Smithson was organized by The Museum of Contemporary Art, Los Angeles.
Also at the Whitney:
Remote Viewing (Invented Worlds in Recent Painting and Drawing)
on view June 2 – October 9, 2005
Peter Norton Family Galleries, Floor 3
A major overview of recent abstract paintings and drawings that explore themes of virtual reality, the deep unconscious, nomadic travels, and public space. Created by an international and intergenerational group of artists—Franz Ackermann, Steve DiBenedetto, Carroll Dunham, Ati Maier, Julie Mehretu, Matthew Ritchie, Alexander Ross, and Terry Winters—these new works embrace both an analytic and poetic approach to visual stimuli. The exhibition catalogue includes essays by Elisabeth Sussman, Caroline A. Jones, Katy Siegel, and fiction by Ben Marcus.
And incase you missed it last summer and were interested, Janet Cardiff in CP is on again thru September, thanks to the Public Art Fund:
An audio walk in Central Park
June 16 - September 11, 2005
Went to the Whitney with my mom. One thing it’s got over the Modern is the lack of crowds. The Smithson show struck me as rather scanty compared to the one I saw there in the ‘80s, at least in terms of sculptural installations. More space is given to drawings, and especially to early work. The curatorial interest in essentially adolescent work is typical of today’s art world, but it does provide some useful insight into Smithson’s psychology. The irony is that Smithson represents an era that sought to expunge personal psychology from art, and his “classic” work certainly sublimated the psycho-sexual concerns of his early stuff. Even so, his mix of haute-philosophical jargon, pop sci-fi, “real” science, and sheer grandiosity serves as a signpost for the paintings in the Remote Viewing show. To me he makes a better lead-in to Steve DiBenedetto, Matthew Ritchie and the younger artists in the show than do Caroll Dunham and Terry Winters, the slightly older painters enlisted by the curators as ancestors of today’s messy hallucinogenic abstraction.
The real strong point of the Smithson show is the availability of the films, now looping continually in the galleries, instead of being removed to the theater at scheduled times. We saw all of Spiral Jetty and Mono Lake. The Mono Lake film is rather crude, but essentially lays out the format that Spiral Jetty would follow. The Jetty film is also primitive by today’s standards, but it holds up on many levels, and is the best single entry point for anyone wanting to find out about Smithson. A must-see.