![]() ![]() But learning about the lake's precarious position this summer left him terrified. It's always been there, and I've assumed it always would be there," said House speaker Brad Wilson at a summit he convened on the issue. Another would pay farmers for sharing their water downstream, and a third would direct money from mineral-extraction royalties to benefit the lake. One proposal would tackle water use in homes and businesses, by measuring outdoor water that's considered some of the country's cheapest. But some worry that the ideas advancing so far at the state Legislature don't go far enough to halt the slow-motion ecological disaster. Spencer Cox proposing spending $46 million and the powerful House speaker throwing his weight behind the issue. This year could see big investment in the lake that's long been an afterthought, with Gov. The nation's fastest-growing state is also one of the driest, with some of the highest domestic water use. Water has been diverted away from the lake for years, though, to supply homes and crops in Utah. For “Displacements,” he photographed outdoor arrangements of mirrors in the United Kingdom and on the Yucatán Peninsula, which “displaced” their surroundings through reflections and refractions.The new burst of energy from the GOP-dominated state government comes after lake levels recently hit a low point during a regional megadrought worsened by climate change. ![]() In this work, Smithson elided the disconnect between found objects and their sources by tying the “timeless” space of the gallery to real-world locations. Smithson also probed the dynamics of site specificity with two series, “Site/Non-Site” and “Mirror Displacements.” The former comprised bin-like structures filled with rocks, sand, broken concrete, and other materials Smithson gathered at various spots around New Jersey, accompanied by photos and maps of the same areas. ![]() Both an article in the December 1967 issue of Artforum and series of photographs taken with an amateur Instamatic camera, “Monuments” charted Smithson’s tour of various industrial and suburban locales in his native New Jersey, evoking a kind of ephemeral, postmodern wasteland that stood in ironic contrast to the standard definition of monument as a permanent marker. Smithson’s aesthetic was effectively dystopian, as his conceptual art project “The Monuments of Passaic” illustrates. Spiral Jetty, for example, was immediately inundated by the lake and remained submerged for three decades, until lower water levels revealed it in 2002. He connected his work to the notion of entropy, the idea that all systems gradually decline into disorder. It made Smithson a star-which irked Heizer, who claimed that Smithson had stolen his ideas.īut while Heizer was interested mainly in figure–ground relationships playing out on an epic scale, Smithson linked scale to time. Constructed in 1970 from 6,650 tons of mud, salt crystals, and basalt, Spiral Jetty consists of a 1,500-foot-long, 15-foot-wide ramp coiling counterclockwise into the water. Still, Smithson is credited with Land Art’s most iconic expression: Spiral Jetty, which juts from the northeastern shore of Great Salt Lake in Utah. Similarly, his Double Negative (1969), located 80 miles from Las Vegas, involved cutting a pair of long, straight trenches into the top of a mesa measuring 30 by 50 feet each, and displacing some 240,000 tons of sandstone, they face each other across a natural chasm in the mesa’s side. Heizer (born 1944) made one of the earliest earthworks, North, East, South, West (1967), which comprised geometrically shaped holes dug in the Sierra Nevada. Michael Heizer and Robert Smithson (1938–1973) played an outsize role in Land art’s development.
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